The painting is a fragment and has been relined, and a horizontal seam 15cm from the upper edge runs along the width of the canvas. The paint surface is dirty but secure and the impasto is still rich and vibrant. Discoloured retouchings can be made out with the naked eye, e.g. the red drapery in the lower right of the composition as well as small tears, some of which have been repaired, scattered throughout. These are all visible in the catalogue illustration. The paint surface is secure and under and uneven varnish which has oxidized in certain areas. There is some patches of minor abrasion in central reds and turquoises, some scuffs and losses in the bottom left of the canvas as well as a thin crack by the central figures nose. Otherwise large passages of the paint surface remains well preserved and the brush strokes are still dynamic. This lot is offered in a black wooden frame in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

We are grateful to Prof. Lino Moretti for endorsing the attribution to Diziani on the basis of photographs. He compares this picture to the set of four larger canvases depicting scenes from the life of Alexander formerly in the Palazzo Labia in Venice. The pose of Alexander in that depicting Alexander the Great and the family of Darius is particularly close to the present work.¹ Moretti co♏nsiders them to be fully autograph works by Diziani also.

1.  See A. Zugni-Tauro, Gaspare Diziani, Venice 1971, figs. 315-18.