”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 frame. Oil on copper; carved and polychrome wood, metal. Attributed to a follower of Ludovico Cardi (Chigoli; San Miniato, 1559- Rome, 1613). 17th century. Oil on copper with the theme of the Stigmatization of Saint Francis of Assisi (with Brother Leo) enhanced by a magnificent rectangular frame of carved, polychromed and gilded wood with protruding corners and circular central sides, and decorated on the front with detailed and delicate plant formations alternating one with a winged angel's head and another without it (the angels in the circular forms). On the back, a series of inscriptions can be seen (one on the copper itself and others on the frame) as well as metal rings that allow the work to be hung. Ludovico Cardi (also known as Cigoli) was an Italian painter and architect whose activity was centred in Florence (where he trained) and Rome. His work is preserved in centres 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 in the fresco of the Pauline Chapel is the first faithful representation of the moon, given that the painter was a great friend of Galileo Galilei), the Uffizi Gallery (Florence), the Borghese Gallery (Rome), the Hermitage Museum in St. 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 end of 1590 in the Hermitage, the one entitled Saint Francis Praying (attributed to Cigoli) which is in San Giovanni dei Fiorentini (Rome, Italy), The Stigmatization of Saint Francis dated 1596 in the Uffizi Gallery (note the compositional similarities, but opposite -almost as seen in an engraving in the present case, possibly-, and the small differences existing in colors, composition, background, postures, etc.), and the one of the same subject (dated between 1590 and 1600) located in the Duomo of Guastalla (Italy). The inscription on the copper is difficult to read. In the frame, in addition to other less legible ones, you can see some rather striking ones: above, on the left, “José Vega / 1969”; below, in the centre “It is from the Soterraña of the / Chapel of Jesus to the column”; below the previous one, “Attributed to / Luisa la Roldana (1656-1704) / 1690”. Although the devotion of the Virgin Soterraña was apparently born in the Church of Santa María la Real de Nieva (Segovia), there are brotherhoods in her honour 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 the Supper).

· Size: 46x8x51 int 14,5x20 cms.