This panel is part of a series Beccafumi painted for the bedchamber of Francesco di Camillo Petrucci, a wealthy merchant and landowner who was nephew of Pandolfo Petrucci, the ruler of the republic of Siena. The decorations were probably made to coincide with Francesco’s marriage to Caterina di Niccolò Mandoli Piccolomini in 1512 and were completed in 1519.

Six of the paintings for Francesco and Caterina's bedchamber still exist, though they are in different collections. Three show Roman heroines: Cornelia (Galleria Doria-Pamphilj, Rome), Marcia (National Gallery, London) and Tanaquil (National Gallery, London). Two depict the Roman festivals of Lupercalia and Cerealia (both Museo di Casa Martelli, Florence) and one shows Venus and Cupid (Barber Institute of Fine Arts, Birmingham). The panels of the three heroines probably decorated the back of a bench seat; the Venus and Cupid would have been attached to the bedhead; Lupercalia and Cerealia probably formed part of a decorative frieze in the wall panelling. It is possible that there were originally more paintings than these in the bedchamber but others have not yet been identified.

The three Roman heroines are surrounded by antique architectural fragments -- Tanaquil stands by a broken obelisk and Cornelia by a broken column. At the feet of each is a stone tablet inscribed with an identifying Latin couplet. These do not directly quote any known source but contain allusions to multiple classical and early Renaissance texts and were probably invented by a learned advisor.

Though they do not look directly at the viewer, the heroines appear to speak, with parted lips and expressive gestures. Tanaquil points to herself and to the explanatory couplet, which translates as: 'I am Tanaquil. In my prescience I created two kings, first my husband, then my slave.' The principal source for Tanaquil's story is Livy’s History of Rome. Tanaquil was an Etruscan noblewoman celebrated for her devotion to her husband and family. On his way to Rome, an eagle had flown off with her husband Lucumo's hat and then returned it to him -- Tanaquil had interpreted this to mean that the gods wanted him to become king and advised him to move to Rome. As a result of Tanaquil's foresight and determination, Lucumo  was crowned as Tarquin, fifth king of Rome. She raised her slave, Servius Tullius, as her own son believing he would be the next successor to the throne. One day while he was sleeping she saw his head surrounded by flames. Tanaquil took this as an omen of his greatness, and when her husband was murdered she hid the king's death from his subjects and said he had asked Servius Tullius to rule in his place. Servius Tullius was later given the throne by popular support.

In this painting Tanaquil is depicted as a virtuous bride and wife, holding a spindle or distaff celebrating her domestic ability as a gifted spinner of wool. Tanaquil’s two premonitions of an eagle and flames may also relate to the Petrucci coat of arms, which features an eagle and a flame-like zigzag between the blue and gold background.

Marcia, in the National Gallery's other panel, personified the virtues of marital fidelity and wifely obedience as well as fruitful maternity.

Style: High Renaissance