Fatidica was a prophetess, able to reveal the future to women in dreams and oracles. She is shown sitting in a silver chair. Her pale face and its distant expression suggest that she is brooding over the future.

Although clearly based on Michelangelo's prophets and sybils from the Sistine Chapel ceiling, Leighton’s figure, with its long undulating curves and its rich, almost abstract, drapery patterns, is more decorative than expressive. Lever bought this painting about a year after it was completed, and it was probably the first major contemporary painting he acquired more or less directly from the artist's easel.

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Fatidica was a prophetess, able to reveal the future to women in dreams and oracles. She is shown sitting in a silver chair. Her pale face and its distant expression suggest that she is brooding over the future. Although clearly based on Michelangelo's prophets and sybils from the Sistine Chapel ceiling, Leighton’s figure, with its long undulating curves and its rich, almost abstract, drapery patterns, is more decorative than expressive. Lever bought this painting about a year after it was completed, and it was probably the first major contemporary painting he acquired more or less directly from the artist's easel.

Fatidica

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