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The painting belongs to a series of four, two of which representing bacchanalian scenes, the other two brigands. In the 18th century all four was in the collection of the Russian Count Suvalov, then in the 20th century it was tranferred to the Hermitage. (One of the bacchanalian scenes is now in the Pushkin Museum, Moscow.)
The atmosphere of the mysterious theatrical action links Magnasco's painting to the work of Watteau, his contemporary. On Italian soul, however, the performance takes place amid different scenery. In place of the rural idyll are ancient ruins, turned from an object of admiration into a source of amusement. And instead of languorous ladies and ceremonious gentlemen there are abound little figures painted with a few touches of the brush.
The painting was executed in collaboration with Clemente Spera who painted the architectural background.
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