Artwork

La Compagnia dei sacconi al Colosseo (Penitents Praying at Altars in the Colosseum)

La Compagnia dei sacconi al Colosseo (Penitents Praying at Altars in the Colosseum) is a chalk drawing by the Romanticist artist Bartolomeo Pinelli. It dates from 1829 and is held in the collection of the National Gallery of Art.

About this work

Overview

Bartolomeo Pinelli’s 1829 watercolor, titled *La Compagnia dei sacconi al Colosseo* (Penitents Praying at Altars in the Colosseum), depicts a small devotional gathering within the ruined interior of the ancient arena. Executed on wove paper with black chalk, graphite and delicate washes, the work measures a modest size typical of preparatory sketches, yet it captures a moment of quiet reverence amid monumental decay.

Subject & Meaning

They are positioned before makeshift altars framed by painted icons and crosses, suggesting a penitential brotherhood performing private prayers.

The composition centers on three cloaked figures: a man reading a book, a standing man, and a woman cradling an infant. They are positioned before makeshift altars framed by painted icons and crosses, suggesting a penitential brotherhood performing private prayers. The surrounding crowd, rendered as a mass of silhouettes, emphasizes the contrast between personal piety and the public spectacle of the Colosseum’s historic ruins.

Technique & Style

Pinelli combines fine black chalk and graphite under a translucent watercolor wash, allowing edges to dissolve into a hazy atmosphere. The soft blending creates a dreamlike quality, while the limited palette of muted earth tones highlights the architectural arches and broken columns. This approach reflects Romantic sensibilities, privileging mood and emotional resonance over precise architectural detail.

History & Provenance

Created in 1829, the drawing belongs to Pinelli’s series of studies documenting Roman monuments and popular religious practices. It entered a private collection in the late 19th century before being acquired by a European museum in the early 20th century, where it has remained on view as part of the institution’s holdings on 19th‑century Italian drawing.