”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 carved, polychrome and gilded wooden frame of rectangular shape with projecting corners, circular central sides, and decorated in the front with some meticulous and delicate plant formations alternating one with a winged angel head with another that does not present one (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 focused on Florence (where he trained) and Rome. His work is preserved in centers of great importance such as the Pitti Palace, St. Peter's Basilica in the Vatican (Rome), the Basilica of Santa Maria Maggiore (Rome; it has been assumed that the Immaculate Conception of the fresco in the Pauline Chapel is the first reliable representation of the moon, given that 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 Saint Francis from the late 1590s in the Hermitage, the one titled Saint Francis Praying (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 that of the same subject (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 that are somewhat striking: above, on the left, “José Vega / 1969”; below, in the center “It is from the Soterraña de la / Chapel of Jesus to the column”; under the previous one, “Attributed to / Luisa la Roldana (1656-1704) / 1690”. Although the devotion to 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 (Our Lady of the Underground Queen of Heaven and Earth of the Brotherhood of Supper).

· Size: 46x8x51 int 14,5x20 cms.