”SAINT FRANCIS RECEIVES THE STIGMATA” WITH IMPORTANT FRAME. OIL ON COPPER; POLYCHROMED AND GILT WOOD, METAL. FOLLOWER OF LUDOVICO CARDI (CHIGOLI; ITALY 1559-1613). 17TH CENTURY.

"Stigmatization of Saint Francis of Assisi", with an important framework. Oil on copper; carved and polychrome wood, metal. Attributed to a follower of Ludovico Cardi (Chigoli; San Miniato, 1559- Rome, 1613). XVII century. Oil on copper with the theme of the Stigmatization of Saint Francis of Assisi (with Brother León) enhanced thanks to a magnificent rectangular frame of carved, polychrome and gilt wood with protruding corners, circular central sides, and decorated on the inside. front with meticulous and delicate plant formations alternating one with a winged angel's head with another that does not present it (the angels in the circular shapes). On the back, you can see a series of inscriptions (one on the copper itself and others on the frame) as well as some metal rings that allow the work to be hung. Ludovico Cardi (also known as Cigoli) was an Italian painter and architect whose activity was centered in Florence (where he trained) and Rome. His work is preserved in centers of great importance such as the Pitti Palace, the Basilica of Saint Peter in the Vatican (Rome), the Basilica of Santa Maria Maggiore (Rome; it has been supposed that the Immaculate Conception in the fresco of the Pauline Chapel is the first reliable representation of the moon, since the painter was a great friend of Galileo Galilei), the Uffizi Gallery (Florence), the Borghese Gallery (Rome), Hermitage Museum in Saint Petersburg, etc. For this work, it is necessary to remember, in order to see similarities and differences, some paintings by the master: the San Francisco from the end of 1590 in the Hermitage, the one entitled San Francisco Rezando (attributed to Cigoli) found in San Giovanni dei Fiorentini (Rome, Italy), The Stigmatization of Saint Francis dated 1596 from the Uffizi Gallery (note the compositional similarities, but opposite -almost as seen in an engraving in the present case, possibly-, and the small differences in colors, composition , background, postures, etc.), and the one with the same theme (dated between 1590 and 1600) located in the Duomo of Guastalla (Italy). The copper inscription is difficult to read. In the frame, in addition to others that are less legible, you can see some rather striking ones: above, on the left, “José Vega / 1969”; below, in the center "Es de la Soterraña de la / Capilla de Jesús a la columna"; under the previous one, “Attributed to / Luisa la Roldana (1656-1704) / 1690”. Although the dedication of the Virgin Soterraña was apparently born in the Church of Santa María la Real de Nieva (Segovia), there are brotherhoods in her honor in other parts of the peninsular geography such as Olmedo (Valladolid), or Seville (Nuestra Señora del Subterráneo Queen of Heaven and Earth of the Brotherhood of Dinner).

· Size: 46x8x51 int 14,5x20 cms.