Description
Bartolomeo Biscaino 1632 Genova-1657 Genova St. Siro driving the rooster from the well The painting presented here turns out to be an important addition to the catalog of the painter Bartolomeo Biscaino. In addition to the obvious references to the works of Grechetto, Fiasella, and Valerio Castello found in the rendering of the figures crowding the composition, the painting's Genoeseness is also attested by its original and indigenous iconographic choice. St. Syrus, bishop of Genoa, was in fact a subject depicted several times within the works of the Genoese masters, drawing inspiration directly from Jacopo da Varagine's Legenda Aurea: "His government is symbolized in the tale of the liberation of the city from a monstrous basilisk, which nestled at the bottom of a well, plaguing the city with its breath." The original text spoke of "serpens uenenose" but also reported, "erat autem aspectu terribilis, crista instar galli incapite insignitus." In the painting in question, in fact, next to the figure of St. Siro Biscaino depicts a rooster, confirming that the artist and his patrons were inspired by this famous source for the creation of this canvas. Cm 128X110 oil on canvas Good conservative/aesthetic condition. Lined (rintelo of not recent execution). Some pronounced repainting and color reinforcement on the figures ( St. Syrus, marginal figure upper right, some reinforcement on the faces, and various scattered others) are evident. This is an early aesthetic intervention, so the aesthetic interventions result in "repainting" . Small and diffuse detachments of pictorial matter are evident. along the upper side of the painting is observed a horizontal line that corresponds to the seam of the canvas. The painting presented here turns out to be an important addition to the catalog of the painter Bartolomeo Biscaino. In addition to the obvious references to the works of Grechetto, Fiasella, and Valerio Castello found in the rendering of the figures crowding the composition, the painting's Genoeseness is also attested by the original and indigenous iconographic choice. St. Syrus, bishop of Genoa, was in fact a subject depicted several times within the works of the Genoese masters, drawing inspiration directly from Jacopo da Varagine's Legenda Aurea: "His government is symbolized in the tale of the liberation of the city from a monstrous basilisk, which nestled at the bottom of a well, plaguing the city with its breath." The original text spoke of "serpens uenenose" but also reported, "erat autem aspectu terribilis, crista instar galli incapite insignitus." In the painting in question, in fact, next to the figure of St. Siro Biscaino depicts a rooster, confirming that the artist and his patrons were inspired by this famous source for the creation of this canvas.
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Bartolomeo Biscaino 1632 Genova-1657 Genova St. Siro driving the rooster from the well The painting presented here turns out to be an important addition to the catalog of the painter Bartolomeo Biscaino. In addition to the obvious references to the works of Grechetto, Fiasella, and Valerio Castello found in the rendering of the figures crowding the composition, the painting's Genoeseness is also attested by its original and indigenous iconographic choice. St. Syrus, bishop of Genoa, was in fact a subject depicted several times within the works of the Genoese masters, drawing inspiration directly from Jacopo da Varagine's Legenda Aurea: "His government is symbolized in the tale of the liberation of the city from a monstrous basilisk, which nestled at the bottom of a well, plaguing the city with its breath." The original text spoke of "serpens uenenose" but also reported, "erat autem aspectu terribilis, crista instar galli incapite insignitus." In the painting in question, in fact, next to the figure of St. Siro Biscaino depicts a rooster, confirming that the artist and his patrons were inspired by this famous source for the creation of this canvas. Cm 128X110 oil on canvas Good conservative/aesthetic condition. Lined (rintelo of not recent execution). Some pronounced repainting and color reinforcement on the figures ( St. Syrus, marginal figure upper right, some reinforcement on the faces, and various scattered others) are evident. This is an early aesthetic intervention, so the aesthetic interventions result in "repainting" . Small and diffuse detachments of pictorial matter are evident. along the upper side of the painting is observed a horizontal line that corresponds to the seam of the canvas. The painting presented here turns out to be an important addition to the catalog of the painter Bartolomeo Biscaino. In addition to the obvious references to the works of Grechetto, Fiasella, and Valerio Castello found in the rendering of the figures crowding the composition, the painting's Genoeseness is also attested by the original and indigenous iconographic choice. St. Syrus, bishop of Genoa, was in fact a subject depicted several times within the works of the Genoese masters, drawing inspiration directly from Jacopo da Varagine's Legenda Aurea: "His government is symbolized in the tale of the liberation of the city from a monstrous basilisk, which nestled at the bottom of a well, plaguing the city with its breath." The original text spoke of "serpens uenenose" but also reported, "erat autem aspectu terribilis, crista instar galli incapite insignitus." In the painting in question, in fact, next to the figure of St. Siro Biscaino depicts a rooster, confirming that the artist and his patrons were inspired by this famous source for the creation of this canvas.
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