Let’s get the historical facts first from Wikipedia:

Lucretia is a legendary figure in the history of the Roman Republic. Her husband was Lucius Tarquinius Collatinus, son of Egerius, son of Arrus II, who was the brother of Tarquinius Priscus, their father being Demaratus the Corinthian. ^[1]

According to Livy’s version of the establishment of the Republic, the last king of Rome, Lucius Tarquinius Superbus (superbus, "the proud") who ruled from 535 BC to 510 BC, had a violent son, Sextus Tarquinius, who raped a Roman noblewoman named Lucretia.

Lucretia compelled her family to take action by gathering the men, telling them what happened, and killing herself. Lucius Junius Brutus incited the people of Rome against the royal family by displaying her body. They were impelled to avenge her, and Brutus led an uprising that drove the Tarquins out of Rome to take refuge in Etruria. The result was the replacement of the monarchy with the new Roman Republic. Among the avengers were her husband Lucius Tarquinius Collatinus, ^[4] being one of the first consuls of Rome, along with Lucius Junius Brutus. They were second cousins as was Sextus Tarquinius.

So basically here we have the template for the virtuous maid or wife - who rather kills herself instead of living without honor and shame. But it also includes the motive or revenge - from one family against another.

2000 years later we still have rape within our society. It is still a most vile act and punished by law - and still in some countries woman are shamed and even killed for it.

Rape, suicide and revenge make excellent stories for artists. The story of Lucretia has been put into words, onto paint and into statues. The great William Shakespeare wrote the "The Rape of Lucrece" (here is some background to the poem).

In this series "The Story of Lucretia" you find several paintings and one statue about this tragic event. I haven’t included all artwork I found - I only wanted the most interesting pieces or have a look at well known Maestros and how they handled this ancient motive.

Part of the Art Motive Series: "The Story of Lucretia"

Click image for a MUCH larger version for more details.

Botticelli tries here to tell the story of Lucretia in three parts - but I must admit I can’t follow him. On the left section Lucretia is threatened by her rapist Sextus Tarquinius. In the middle we see obviously her funeral and public outrage. The man standing over her casket if probably Lucius Junius Brutus (no, not that Brutus who killed Caesar). And at the very right her death and discovery by her family.

The setting is certainly Roman, but the ‘costumes’ reflect more  Botticelli’s own era. Nice perspective for the architecture.

Part of the Art Motive Series: "The Story of Lucretia"

Even the great Titian had a go at the drama. I guess it must have been one of these irresistible legends you simply had to paint as an established artists. And why not? It has sex, drama, aristocracy, a damsel in distress, a virgin brutally raped and killing herself - a public outcry and attack of a noble Roman family. Who can resist that story?

I applaud Titian’s honesty in the scene - that a rape is not a charming affair. He didn’t hide the event behind some symbolism or abstraction: the rapist forcing his knee between her legs and having his hard steely dagger ready to pierce her. His red pants are on fire (more or less).

But I must say that the Lady looks a bit fat and disproportionate. Also how he holds the dagger looks a bit odd - similar to Rembrandt who also had some problems including the dagger in a way you realize it’s one and painting it dangerously.

Part of the Art Motive Series: "The Story of Lucretia"

Certainly not Rembrandt’s finest hour. It looks a bit awkward - and the dress is certainly not very Romanesque. She looks more like a Victorian Lady admiring a dagger.

Sorry for the bad image quality - anyone got a better file?

Part of the Art Motive Series: "The Story of Lucretia"

I am still not very convinced by Rembrandt’s second attempt to paint the tragedy of Lucretia. The wound wound looks more like a soup stain, the dagger is hard to see and what’s with the rope?

Sorry for the bad image quality - anyone got a better file?

Part of the Art Motive Series: "The Story of Lucretia"

Maestro Cagnacci is a new discovery for me - one I made researching this series about Lucretia. This painting was sold this year (2007) for a staggering 1,4 Million Euros.

Lucretia in her final moments: rapped and dishonored - ready to end her life. Compared to Titian’s, Rembrandt’s and Botticelli’s attempts this one is reigns supreme. It really looks like a snapshot of her last few seconds on this earth. Despair and imminent doom are in her face, the firmly holds the dagger (yes, and this time the deadly iron looks menacing and real).

The whole painting has that timeless feeling: it’s setting isn’t tied to any period, since it’s minimalist and her ripped dress could be almost from any period.

Part of the Art Motive Series: "The Story of Lucretia"

Click image for more Bellucci.

I am a bit underwhelmed by this painting. It has all the right ingredients, but somehow the spark for greatness is missing.

Part of the Art Motive Series: "The Story of Lucretia"

Click image for a bigger final moment.

A young woman rapped - in her final seconds. She must be terrified, full of anger, fear, confusion - but also determination. The last few thoughts before your own death after you have been violated must be terrible.

Another rare catch of a unknow  Maestro - at least to me. I couldn’t find much about Mazzanti on the Intranets apart from this tidbit (taken from here):

Mazzanti Ludovico (1686-1775)

A painter who came from a noble family of Orvieto, he belonged to the Romano-Neapolitan school of artists and carried out his early work in Rome and Orvieto. In Rome he collaborated with Nicolò Pomarancio in the church of Santa Maria Apollinare, while at Orvieto he designed the upper mosaics for the Cathedral façade (1713-1714). He executed many works at Naples, where he was based during the years 1733 -1740, and in Campania (the Abbey of Montevergine).

In 1744 he became a member of the Academy of St. Luca. When he was invited to Città di Castello he was already famous. He painted the frescoes of the original cupola of the Cathedral, designed by the architect Nicola Barbioni, which collapsed in the earthquake of 1789. Documents relating to this work are conserved in the Museum archives. All that remains are the Evangelists at the base of the cupola arches and some models held in the Cathedral Museum: a work of "truly baroque magniloquence" (V. Casale). At Città di Castello he painted two altarpieces for the "Murate" monastery (enclosed order of nuns) and other works in private houses. He also received commissions from foreign countries notably France and Poland.

This painting looks like a sequel to Guido Cagnazzi’s Lucretia - just a few seconds later. I am amazed by the perfect painting of her cloths and her skin looks so silky it’s unbelievable.

Part of the Art Motive Series: "The Story of Lucretia"

Click image for a closer look.

Here some info about this great Sculptor (taken from here):

Damián Campeny y Estrany

(b Mataró, 12 April 1771; d Barcelona, 7 July 1855). Spanish sculptor and teacher. He began studying at the Escuela de Bellas Artes de la Lonja in Barcelona at the age of 14, and he worked in the studio of Salvador Gurri ( fl 1756-1819), a late Baroque sculptor with Neo-classical tendencies. Campeny left the studio after he was attacked by Gurri, who, as a teacher at the Escuela (1785), continued to persecute him and threw him out. Campeny then worked in Lérida, Cervera and Montserrat. He produced his first major work, St Bruno (1795; destr. 1831), in carved polychromed wood. He also trained with Nicolás Traver and José Cabañeras, both late Baroque artists. Stylistically, Campeny began with a moderate and personal naturalism, later assimilating some of the Baroque influences from his Catalan teachers. Readmitted to the Escuela, in 1795 he won a scholarship to complete his studies in Rome, where he went in 1796 and had his own studio for 17 years. He was at the Accademia di S Luca, worked in the restoration department of the Museo Capitolino and also studied with Antonio Canova, who had a decisive influence on his work and became a close friend. In Italy he became such a pure Neo-classicist that he was called the ‘Spanish Canova’. Various works from this period are held at the Lonja in Barcelona, for example Paris (1808) and Campeny’s masterpiece the Dying Lucretia (plaster, 1803; marble, 1834). The collection also contains a statue of the Virgin as Ianua Coeli (1815), made using various hard coloured stones.

I must say I am totally enchanted by this statue: I want to rush to Lucretia and hold her in my arms to rescue or at least comfort her on her way to the afterlife.

What a great piece of art.

Part of the Art Motive Series: "The Story of Lucretia"