Museo: Galleria Nazionale delle Marche

1. Introduction - Meeting Simone Cantarini: Rovigo and Bologna Backgrounds

Restless and brilliant painter, refined etcher, passionate draftsman, and poet, Simone Cantarini was born in Pesaro in 1612, during a time of transition and contrasts, the same year Federico Barocci passed away. In 1631, the death without heirs of Duke Francesco Maria II Della Rovere marked the end of Urbino's independence. During the pontificate of Urban VIII, a legation wholly dependent on the Holy See was established in place of the duchy: the prosperous state founded at the beginning of the Renaissance thus became a province of Rome. To this period belong the three portraits dedicated by Cantarini to Cardinal Antonio Barberini, the pope's nephew, here reunited for the first time. The magnetic visage of the apostolic legate stands out against the dark preparatory background, with his musketeer-like mustache and gaze directed toward us. The collar and garment are barely suggested, with swift and vibrant brushstrokes that define the volumes of the attire merely summarily, as though the painter had focused his attention on capturing the features and expression of his illustrious model, leaving the rest just sketched. In the same manner, Cantarini captured his own likeness in the vivid self-portrait of the Corsini Gallery, restored for the occasion. At that time, the artist moved between Pesaro, Venice, and Rome, seeking new stimuli in Bologna, where he would distinguish himself, already around 1631-1632, as the most promising and unruly student of Guido Reni. In fact, his apprenticeship under the mannerist of Pesaro, Giovan Giacomo Pandolfi, an elegant draftsman, left little trace on him, while the tutelage in the workshop of Claudio Ridolfi must have been more fruitful, especially concerning the portrait genre, in which Simone became a master. In Pesaro, Fano, and the surroundings of Urbino, the young Cantarini trained on the altarpieces of Guido and, in parallel, on the filtered Caravaggism of Giovanni Francesco Guerrieri, as well as on the various naturalistic interpretations offered by foreign presences in the territory. Already then, "before entering the school" – according to his first biographer Carlo Cesare Malvasia – Cantarini could consider himself a "master."

1.1. Federico Ubaldo Della Rovere's Departure for Florence; Allegory of the Joy of the Wedding and Allegory of the Blessing for the Adoption of Francesco I

Claudio Ridolfi (Verona, 1570 - Corinaldo, 1644) and Girolamo Cialdieri (Urbino, 1593 - 1680) with assistants a. Departure of Federico Ubaldo Della Rovere for Florence 1621. Oil on canvas Urbino, Galleria Nazionale delle Marche, inv. D 365 b. Allegory of the Joy of the Wedding 1621. Oil on canvas Urbino, Galleria Nazionale delle Marche, inv. D 358 c. Allegory of the Wish for the Adoption of Francesco I 1621. Oil on canvas Urbino, Galleria Nazionale delle Marche, inv. D 354

The three canvases, selected from the seventeen that have come down to us, were part of a temporary installation erected in Urbino on May 28, 1621, to celebrate the marriage of Federico Ubaldo, son of the last Duke Francesco Maria II Della Rovere, and Claudia de’ Medici, sister of Cosimo II. This union was the result of a judicious dynastic policy aimed at securing a male heir for the duchy. After the ceremony, held in Florence on April 29, the couple embarked on their journey to Pesaro, stopping in several important centers of the duchy, where they were greeted with additional celebratory setups. In Urbino, the main setup was arranged at Pian di Mercato and consisted of two triumphal arches with double facades connected by curtains and columns, installed facing each other at the beginning of the current Via Raffaello and the road leading to the Ducal Palace. The structures were originally decorated with twenty canvases depicting allegories and episodes from both ancient and recent history, painted by the Veronese Claudio Ridolfi and his Urbino pupil Girolamo Cialdieri. The monochromes simulate bas-reliefs in precious materials, with a style so homogeneous that it is difficult to distinguish between the various artists. Of the entire set of twenty monochromes, eight canvases were dedicated to the Stories of the Duchesses of Urbino, while the remaining four celebrated the Vestal Claudia, to honor the virtues of the new Duchess of Urbino. These panels adorned one of the two arches at Pian di Mercato, while the stories of the Vestal Claudia were displayed on the arch towards Via Raffaello. Along with the female allegories, they formed a cohesive unit aimed at highlighting the virtuous nobility of the Montefeltro-Della Rovere lineage. The painting titled "The Departure of Federico Ubaldo for Florence," the last of the panels related to the cycle of the duchesses, depicts the moment when the young man, portrayed on horseback like an ancient emperor, sets off with his entourage towards the grand duchy's capital. The portrayal of the wooded background and the sky shows an attention to atmospheric details, dear to Venetian painting. The episode is composed in a foreshortened perspective to add dynamism to the scene - as also indicated by the introduction of the character cut off by the right edge - though the lack of character distinction and some anatomical inaccuracies suggest attribution to Cialdieri. A curious detail is the character behind Federico Ubaldo, who is wearing "glasses," recently identified as Vespasiano Caracciolo, the young duke's tutor. The Allegory of the Joy of the Marriage has been identified with the maiden holding a viola and a bow. The Allegory of the Omen for the Adoption of Francesco I is represented by the statue holding a "torch" in hand. The attributes, except for the book, found a precise reference in the description of Vigilance made by Cesare Ripa. Compared to the previous allegory, which is of definite Ridolfian authorship, the features of this figure are angular, the pose is mechanical and characterized by abrupt dynamism. The body’s volume is rigid, and the draperies are heavy; the motion of the woman, who rests her right leg on a step, seems like a "simple mechanical snap devoid of grace." These characteristics suggest a Cialdieri at the beginning of his career.

1.2. Portrait of Felice Cioli

The Portrait of Felice Cioli, painted by Claudio Ridolfi in 1602, stands as one of the most significant works of his production during his stay in Urbino and is currently housed at the Galleria Nazionale delle Marche (inventory number D 117). Ridolfi, an artist originally from Verona (1570 – 1644), created a painting considered the most beautiful among the Urbino collection of the Viviani family portraits. The work, executed in oil on canvas, bears an inscription on the back that clearly documents the identity of the subject and the date of execution: "This portrait is of Don Felice Cioli and was made by Mr. Claudio Ridolfi from Verona on the last day of June 1602 in his age of thirty years." This handwritten note undoubtedly attributes the work to Ridolfi and provides precious information about the age of the depicted character, namely thirty years old. The painting represents the second confirmed pictorial testimony of the artist during his Urbino period and clearly shows the influence of the Baroque style, particularly in the attention given to the psychological characterization of the subject. The depiction of Don Felice Cioli is distinguished by the sensitivity with which the artist succeeds in conveying not only the physical features but also a profound emotional introspection, serving as a particularly relevant example for subsequent painters, including the young Simone Cantarini. This portrait thus constitutes an artistic and historical document of great value, capable of bearing witness to the mature and refined style of Claudio Ridolfi during one of his most inspired phases.

1.3. Portrait of Guido Reni

The Portrait of Guido Reni, housed in the National Picture Gallery of Bologna (inv. 340) and traditionally attributed to Simone Cantarini, is a work created around 1637, a crucial moment in the career of the painter from Pesaro. The painting depicts Guido Reni, one of the leading figures of seventeenth-century Italian painting, not in his official capacity as a celebrated master, but captured in a moment of intimacy and contemplation, far removed from the grandeur of institutional poses. The melancholic gaze, a face marked by time, and a hint of psychological and physical fragility impart an extraordinary humanity to the painting. It is the portrait of a man before an artist, caught at a mature age where public success coexists with more personal and twilight reflections. This sincere and direct approach reflects the naturalistic sensitivity that characterizes Cantarini's portraiture, capable of capturing the inner essence of the subject portrayed. The painting also assumes symbolic and biographical significance when considering the complicated relationship between Reni and Cantarini: a bond initially marked by esteem and admiration but progressively deteriorating until culminating in a violent rupture precisely in 1637, the indicative year for dating the portrait. In this sense, the work can be interpreted not only as a tribute to the master but also as a final testament to an intensely lived human and artistic relationship, destined to end dramatically. A portrait, therefore, of great psychological depth, capable of merging art and life with extraordinary intensity.

1.4. Self-Portrait with Notebook and Pencil

Simone Cantarini (Pesaro, 1612 – Verona, 1648) Self-Portrait with Notebook and Pencil Circa 1634-1635. Oil on canvas Rome, National Galleries of Ancient Art, Corsini Gallery, inventory no. 290

"Simone Cantarini was of average stature, well-formed in physique, with a somewhat fierce appearance, an olive complexion, and lively eyes: overall, more ugly than handsome, as he should appear in the portrait, now lost, that I sought in vain and requested. He was very proud and satirical, both by instinct and nature, spurred on by flatterers who, for their own interests, excessively praised him and sought only to please him, thereby nurturing this trait and allowing him to fall without restraint into fits of presumption and gossip." This is how Carlo Cesare Malvasia outlined the appearance and character of Simone Cantarini, an artist he greatly admired and for whom he longed to own a portrait, which cannot be ruled out as being this very one. This painting, unfinished or only sketched in parts, fits the description mentioned. However, in an attempt to belittle him compared to the "divine Guido," the biographer did not hesitate to brand the Pesarese as "a liar, a traitor, indifferent to advice as he was to criticism, greedy for money, prone to disappointing love affairs, rebellious against any authority, slanderous, and above all, arrogant," thus suggesting that his physical description should also correspond to these questionable characteristics. The artist, not yet in his thirties, did not portray himself with palette and brush, but rather with a pencil and notebook in the act of drawing, in an image both official and conversational. The young man from Pesaro emerges from the shadowy background with a face perfectly in focus and the rest in a deliberate blur. The contours of his skin are highlighted by dark halos around his face and hands, with swift dark brushstrokes suggesting the form and texture of his black jacket, from which white linen cuffs and a flat, embroidered collar emerge. The "expressive" face of the youth, softened by a slightly parted mouth and a well-defined outline, is that of a premature professional, already established and self-assured, comfortable in the resolute expression of someone who believes he knows much. The gold ring on his finger is the only indication of some comfort, complementing the sober elegance of his attire. Sometimes considered a youthful exercise from the beginning of the fifth decade of the century or dated to the painter's final years of activity, this Self-Portrait in the Corsini Gallery is a relatively early proof, likely around 1634-1635, when the artist could directly observe the genesis of the unfinished that marks Reni's "last manner."

1.5. Allegory of Painting

Simone Cantarini (Pesaro, 1612 – Verona, 1648) Allegory of Painting Circa 1633-1635. Oil on canvas Republic of San Marino, State Museums Cultural Institutes

"In this portrait, a young woman is depicted with a palette and brushes: she wears an overgarment tied at the shoulder like the ancient statues of women. Some believe it to be a self-portrait, which is false; perhaps it represents Painting itself. The face is beautiful, full of grace and expression.” Thus described Luigi Lanzi a painting found in the noble house of the Mosca marquises in Pesaro, patrons and protectors of Simone Cantarini. These words evoke our painting not only because of the iconographic description and expressive beauty of the young woman but also because it was thought to be a self-portrait of the painter. Lanzi did not believe this, yet he was somewhat doubtful that it represented Painting, despite the iconography being explicit and respectful of the canons set by Cesare Ripa’s Iconologia. For this reason, currently, this work is the leading candidate to be recognized as the one seen by Lanzi. Both for the expressed consonances with the previous Self-Portrait and for its related style, decidedly youthful, rich in Venetian softness and Marchigian naturalism, in a unique formula of unexpected combinations with the newer Bolognese and Caravaggesque elements, perhaps still available only through local artists, such as Giovanni Francesco Guerrieri or others who had left works there. The subject is known in other versions painted with variations of higher quality, like the one in the Sgarbi collection in Ro Ferrarese, or copies such as the one in the National Museum of Warsaw. Beyond the iconographic and stylistic data, the recognition is supported by the affinity between the San Marino canvas and the Self-Portrait mentioned by Lanzi, perhaps intended by the painter due to a real resemblance: the full lips, the sunken eyes. A total adherence between artist and art, and a revolutionary feminine interpretation of his expressive qualities. Femininity that is emotion, fleeting movement, a sweet yet captivating gaze directed at the viewer. The reflection of the two images, Allegory and Self-Portrait, leads the artist to opt for a more dynamic three-quarter position compared to the original frontal and more static idea that emerges ghostly in the background.

2. Urbino and the Barberini

On April 28, 1631, Francesco Maria II della Rovere passed away in his palace at Casteldurante (later renamed Urbania in honor of Pope Barberini). This marked the end of the illustrious Della Rovere dynasty, paving the way for the expansion of the Papal States, which reached its greatest extent. In this context, the papal forces entered the Duchy under the leadership of Prince Taddeo Barberini, the Church's general. That same year, Taddeo was appointed Prefect of Rome, a position traditionally held by the Duke of Urbino, and his younger brother Antonio, who was made a cardinal in 1627, was appointed legate of the new papal province. A few years later, Antonio was replaced by his older brother, Cardinal Francesco: the Duchy of Urbino had become a family affair. Without hesitation, Antonio implemented the terms of the Devolution: he occupied the ducal palace, emblazoned it with his own coat of arms, and took possession of the Renaissance paintings from Federico da Montefeltro's Studiolo. Along with other significant works, the paintings from Urbino were reinstalled in Rome in the newly constructed palace of the Pope's family at the foot of the Quirinal Hill.

2.1. Portrait of Antonio Barberini

The Portrait of Antonio Barberini as a Knight of the Order of Malta, executed by Ottavio Leoni between 1625 and 1627 and now part of the Andrea Miari Fulcis collection, is a work of particular significance due to its historical and symbolic value. In fact, it is the only painted likeness that depicts Antonio Barberini junior, the youngest nephew of Pope Urban VIII, in the ceremonial dress of the Order of Malta, a role marking his official entry into the public and religious life of the era. In this portrait, Leoni - an esteemed Roman portraitist from the early 17th century - utilizes a more formal and controlled visual language compared to the more expressive and psychologically penetrating style that others, like Simone Cantarini, would employ to portray the same character a few years later. Here, the image of Antonio is not so much about capturing his inner complexity as it is about affirming his prestige and rank, presenting him with the traditional and solemn iconography befitting a young man destined for a future of power and responsibility. The knight's attire, richly decorated and symbolic of a noble and religious identity, is central to the composition, bestowing a celebratory function on the entire painting. Nevertheless, beneath this official surface, the freshness and ambition of a young man captured at a crucial moment of his social ascension is still discernible. The work, therefore, stands as a visual document of a significant biographical transition, as well as a testament to Leoni's portrait art, capable of balancing institutional representation with hints of individuality.

2.2. Three Versions of the Portrait of Cardinal Antonio Barberini Junior

2.2 [2.2a – 2.2b – 2.2c] Simone Cantarini (Pesaro, 1612 – Verona, 1648) a. Portrait of Cardinal Antonio Barberini Junior circa 1631. Oil on paper mounted on canvas Inscriptions: on the frame, a label from the shipping company Otto e Rosoni in Rome with the indication "312/Sig. Del Drago"; a stamp from the Royal Customs of Florence "no. 5" dated February 22, 1915 Rome, National Galleries of Ancient Art, Palazzo Barberini, inv. 4685 b. Portrait of Cardinal Antonio Barberini Junior circa 1631. Oil on canvas Rome, private collection c. Portrait of Cardinal Antonio Barberini Junior before 1636. Oil on canvas Rome, National Galleries of Ancient Art, Galleria Corsini, inv. 317

The young painter and the young cardinal met around 1631, between Pesaro and Urbino, when Simone Cantarini painted a portrait of Antonio Barberini on paper and canvas, possibly as a tribute to a patron or a commission from the apostolic legate, as suggested by the existence of multiple similar versions of the same likeness. This series of portraits, now exhibited in full, reveals a long-lasting relationship that culminated in 1637 with the Transfiguration for the Forte Urbano in Castelfranco Emilia and continued in Rome between 1640 and 1642. The portrait on paper applied to canvas, acquired in 2021 by the National Galleries of Rome, is the most vivid depiction of the cardinal after those by Ottavio Leoni between 1625 and 1630. The magnetic face, with a moustache, disheveled hair, and direct gaze, emerges from a dark background. The collar and garment are only faintly indicated, with swift brushstrokes emphasizing expression and features, in a display of skill, "with the unfinished part sketched in a few synthetic touches worthy of a Cézanne." The work became known only in 1974, during the sale of the Prince del Drago's collection, initially mistakenly attributed to Voet. That same year, it was declared of cultural interest, later exhibited in Florence in 1979, purchased by the Santilli, and finally became state property through pre-emption. Previously compared to Bernini for its stylistic freedom, it was attributed to Cantarini by Ambrosini Massari, who connected it to two other portraits of the cardinal: one in the Corsini collection (1636), the other larger and now in a private Roman collection. Both derive from the prototype once belonging to Del Drago. The Del Drago piece is oil on paper - a rare technique for Cantarini but experimented with by Barocci and the Carracci - and stands out for its expressive force and speed of execution. The same painterly dynamism is found in the version on reused canvas, where, beneath the mozzetta, a draped female figure has emerged, perhaps a Virtue, Saint Helena, or Saint Ursula, stylistically linked to the female saints in Simone's youthful altarpieces. Antonio’s cardinalate, appointed in 1628, provides a terminus post quem while the 1636 Corsini inventory serves as the other chronological limit. Karin Wolfe dated a specimen to 1629, referring to a trip by the cardinal to Pesaro and possible mentions in his Diary. Armanda Pellicciari speculated on a commission from Ottavio Corsini, close to the Barberini and present in Pesaro between 1629 and 1630. In contrast, Ambrosini Massari proposes 1631, when Antonio was sent to Urbino and received with great honors. On that occasion, the painter would have created the small "alla macchia" oil, depicting the young cardinal with a freshness and immediacy surpassing the other two specimens, one of which might be a workshop piece or a copy from a lost original.

2.3. Legation of the Duchy of Urbino with the Diocese and Governance of Città di Castello and Other Neighboring Governments and States

The Legation of the Duchy of Urbino, encompassing the diocese and government of Città di Castello and other neighboring governments and states, created in 1697 by Filippo Titi, represents a significant cartographic testament to the political and administrative changes in central Italy at the end of the 17th century. This hand-colored etching, now preserved at the Fondazione Cassa di Risparmio di Pesaro (inv. DS 310), was published within the Mercurio Geografico, an important atlas published in Rome by Giovanni Giacomo De Rossi between 1669 and 1703. Curated by the renowned geographer Giacomo Cantelli da Vignola and supported by the Roman Curia, the atlas aimed to provide an updated and politically strategic representation of the territories subject to or bordering the Papal States. Titi's map is particularly distinguished by being the first to officially record the new name of the territory of the former Duchy of Urbino, following its devolution to the Papal States in 1631. In this sense, Titi's work - hailing from Città di Castello and connected to the figure of Cardinal Gaspare Carpegna - has a historical as well as a geographical value: it not only documents the administrative and territorial organization of the area but also reflects the consolidation of papal authority over an important region that was once autonomous. Through refined graphics and careful use of watercolor, the map combines descriptive precision and political intent, fully aligning with the Curia's project to visually affirm its dominion. Titi's work, therefore, is not just a map, but a document of papal power and its desire for territorial control and symbolic representation.

2.4. Eleonora Albani Tomasi

The Portrait of Eleonora Albani Tomasi, painted by Simone Cantarini between approximately 1635 and 1638, is regarded as one of the high points of European portraiture of the 17th century. Housed at the National Gallery of the Marche in Urbino (inv. 13710), on loan from the Banca Intesa Sanpaolo collection, the painting depicts Eleonora Albani, a prominent figure in the aristocracy of Pesaro and wife of Francesco Maria Tomasi, a powerful and influential figure in the city. The couple were among the first significant patrons of the young Cantarini, making this portrait not only an extraordinary work of art but also a crucial milestone in the artist’s development and recognition. The painting is accompanied by two inscriptions: a modern one at the top, added in the early 20th century, identifying the woman; and an older one on the back of the canvas, providing essential biographical details, noting her marriage in 1593 and her death in Pesaro in 1650, at the age of 77. The work is striking for its intensity and its ability to synthesize psychological truth and formal depiction. Eleonora's face bears the marks of time and experience but also of dignity and intelligence, conveyed with a direct and unidealized gaze. In this balance between naturalness and introspection, one can recognize the profound naturalism that, according to Roberto Longhi, characterizes the great "painting of reality" from Caravaggio to Courbet. In this canvas, Cantarini demonstrates his capacity to transcend the rhetorical models of official portraiture, offering an authentic, sincere, and surprisingly modern representation of a woman of his time.

2.5. Portrait of a Gentleman and a Lady with a Rosary

Simone Cantarini (Pesaro, 1612 – Verona, 1648) Portrait of a Gentleman and Lady with Rosary Circa 1634-1639. Oil on canvas Bologna, Art Collections of the Fondazione Cassa di Risparmio di Bologna

In its journey through the antiquarian market in 2006, the radiant canvas arrived with the correct attribution to Simone Cantarini, attributed to Federico Zeri, who had seen it in its last collection location, as indicated by a letter accompanying the work, dated June 18, 1968. The commission from the city of origin, implicitly documented for Eleonora Albani Tomasi, seems convincing for this painting as well, not only based on an old note written by Paolo D’Ancona accompanying it, declaring its provenance from the Machirelli collection in Pesaro but especially in light of previously unpublished mentions related to the painting. The first mention dates back to 1829 and cites, in the Pesaro gallery of the Machirelli-Giordani counts, "two portraits dressed in black, more than half figures of an old man and an old woman: a very valuable painting by Simone Cantarini." The Bolognese scholar Gaetano Giordani saw the work in the collection where it had arrived from another renowned city collection, as also remembered by the Pesaro painter Giannandrea Lazzarini: "[...] a similar subject of an old man and an old woman portrayed by our excellent Simone in a canvas of the most exquisite and precious collection of paintings from the Noble House Zongo Ondedei." This latter is thus the oldest known provenance of the painting today, and perhaps the Zongo Ondedei commissioned it. It could also involve Giuseppe Zongo Ondedei, cousin of Girolamo Giordani, who wrote to him from Rome to acquire works by Cantarini in 1643. With the marriage of Donna Teresa to Odoardo Machirelli in 1796, vital for the financially distressed heritage of the latter, the work, together with the couple, moved to the Machirelli-Olivieri palace. The painting triumphs with Cantarini's most explicitly naturalistic register, which seems very well informed about Caravaggesque painting contexts, not only locally, suggesting possible movements to Rome around the mid-1640s. A comparison with works dated between approximately 1635 and 1638, from the Self-Portrait in the Corsini Gallery to St. Thomas of Villanova in the Civic Art Gallery of Fano, supports this hypothesis. The woman, in her understated simplicity and yet in that receding position, introduces into the painting a compelling immediacy, which morphs into austere realism in another masterpiece of the genre, the already mentioned Portrait of Eleonora Albani Tomasi. Two great families between Pesaro and Urbino, perhaps connected to reformist movements such as the Oratorians, for whom Cantarini created the Miracle of the Cripple for San Pietro in Valle in Fano and the Magdalene and St. Joseph for the Philippians of Pesaro. Broad sections of the nobility were inspired by Filippo Neri and Carlo Borromeo; consider, for instance, the painting by Giovanni Francesco Guerrieri, also for the Philippians of Fano, with the Noble Petrucci honoring Carlo Borromeo dressed as beggars. This aspect might better explain the overly modest image of the subjects portrayed in a seemingly impoverished setting, which becomes even more explicit in Eleonora Albani, though in both women, the rosary stands prominently. Cantarini's esteemed reputation in portraiture was the definitive cause for the artist's summons to Mantua to create a portrait of the duke, marking the beginning of a series of misfortunes that led to his death.

3. Sacred Elegies

The unforgettable lesson of tenderness that flows from Raphael to Federico Barocci is transformed by Simone Cantarini into a new language, markedly sentimental. The painter imparts a renewed lyricism of gestures to various available iconographies, characterized by glances and silences, intimate and everyday moments, ecstasy, and melancholy. Just admire the very selective array focusing on the theme of the Madonna and Child, one of the subjects through which the elegiac vein of the artist shines most clearly: from the realistic Caravaggesque liveliness of the painting in the Prado, to the pinnacle of neo-Raphaelite purity, part of the Renaissance revival of Sassoferrato, evident in the Madonna of the Rose, in the unpublished Holy Family of a private collection, or in the Virgin of the Rosary of Brescia and in the Saint James of Rimini, restored for this occasion. "Sacred Elegies" because even in the sacred, there is an insinuation of that form of poetry which is above all an inward and individual outburst, of the heart and the sentiment: both in altarpieces and in room paintings, there rises a subdued, theatrical, and true chant, capable of modulating the more elevated voice of Guido Reni with the more earthly one of post-Caravaggesque naturalism. This pursuit was initiated by a Venetian education and a vaguely Barocci-esque style, already evident in the Adoration of the Magi, likely the result of a formative journey to Venice between 1627 and 1628. Shortly thereafter, around the age of eighteen, Cantarini was so confident in himself that he portrayed himself in the face of Saint Terenzio, patron saint of Pesaro, in his first major commission, the altarpiece of Santa Barbara, destined for the parish of his birthplace, San Cassiano, the same place where he was baptized on August 21, 1612, just steps from his family home. His homeland always remained a point of reference for him. Moreover, another of his masterpieces, the Immaculate Conception and Saints of the Pinacoteca of Bologna, restored for the exhibition, was also commissioned by the noble Gavardini family, who had moved from Brescia to Pesaro.

3.1. Holy Family

The Holy Family created by Simone Cantarini between approximately 1640 and 1642, now held in a private collection, represents a work of particular interest within the artist's catalogue, both for its purpose of domestic devotion and for the unprecedented emotional intensity that characterizes it. Executed during or immediately after Cantarini's Roman sojourn, the piece stands out from the numerous versions of the same theme that the artist approached during his career, introducing a new and touching interpretation of the family bond. Notably, the delicate and silent dialogue between the Child Jesus and Saint Joseph emerges strongly, an element far from being secondary in the composition. Unlike many traditional representations of the subject, where the emphasis is almost exclusively on the Madonna, here Joseph is given a relational and iconographic prominence of absolute importance. The exchange of glances between father and son, presented with disarming naturalness, reveals the artist's intent to highlight the humanity and everyday nature of the sacred scene, bringing it closer to the sensibility of contemporary believers. The composition is constructed with balance and restraint, in an atmosphere of serene contemplation, reflecting the influences assimilated by Cantarini in Rome, where he had the opportunity to engage with the models of Reni, Carracci, and the Emilian school, reinterpreting them with his personal stylistic signature. The luminous ambiance, the softness of tonal transitions, and the psychological finesse of the expressions make this canvas an exemplary testimony of his mature language, capable of combining devotion and sentiment, classical form and emotional intimacy.

3.2. Holy Family (Prado Museum)

We still do not know whether the Holy Family in question, present in the Royal collection since the 18th century, was acquired by Charles IV directly from the Italian market or if it arrived in Spain through intermediaries. Raffaella Morselli has suggested identifying it with the "Madonna with child in arms [and] St. Joseph reading a book, from Pesaro," described in 1658 in the collection of Cesare Locatelli, a nobleman from Bologna for whom Cantarini had executed several paintings. At the time of the Bologna exhibition, in 1997, the reading of the work was limited by thick layers of dirt and oxidized varnishes that prevented a full appreciation of the original volumes and colors of the painting. After the recent restoration, the curtain in the background has reappeared (darkened due to irreversible alteration of the copper-based green and blue pigments). The painting is characterized by a single significant change, related to the positioning of the Child's head. This Holy Family, marked by severe classicism, adopts the traditional composition scheme with the Madonna placed in three quarters. The reference to Raphaelesque and Renian prototypes is evident in the female face - with its full lips, pronounced nose, well-defined eyebrows, and round, hollow eyes - and a more naturalistic approach in the depiction of St. Joseph's face, a type that recurs frequently in Cantarini’s work. The robust yet soft crafting of the Virgin's dress with deep folds and its intense orange color are similar to those of the Penitent Magdalene of Pesaro. Calibrated lighting effects differently modulate the body of the Child and the face of Mary, highlighted by contrast against the dark background, once greenish, while Joseph remains in the background, almost in shadow. The attitude of the Virgin, with her upright torso in profile and her head turned towards the observer on whom her gaze is fixed, is unique in the vast production of Holy Families by the artist, also due to the relatively small format. The Virgin's position can be compared to that of the Allegory of Painting in the Cavallini Sgarbi collection, while the figure of St. Joseph immersed in reading seems to have been reworked from Guido Reni’s Olivieri Altarpiece. Lastly, the Child standing and turning abruptly towards the parent can be likened to the Holy Family of the church of Sant’Evasio in Bergamo, in a reversed position. The painting is to be considered a late work, executed when the painter had harnessed, upon returning from his Roman sojourn, the study of Raphael's portraiture and ancient sculpture, after a long acquaintance with the models of Guido Reni, Domenichino, and Pier Francesco Mola. According to Alfonso Pérez Sánchez and Mena Marqués, the canvas can be dated around 1645, while according to Raffaella Morselli around 1640. The former hypothesis is more likely, in continuity with the aforementioned works, particularly the Penitent Magdalene, documented between 1644-1646. The profile figure of the woman turning her head appears repeatedly in the artist's graphics, probably stemming from various ideas he formulated for the Allegory of Painting today in San Marino, an invention earlier than the Sgarbi Allegory, in a reversed position.

3.3. Adoration of the Magi

The Adoration of the Magi, painted by Simone Cantarini between 1628 and 1630, represents one of his earliest yet most significant works, currently preserved in the UniCredit Art Collection at the Quadreria di Palazzo Magnani in Bologna. The attribution of this piece is supported by both historical documents and solid stylistic considerations, which place the painting in the very early years of the Pesaro-born artist's career, immediately following his stay in Venice. This Venetian experience left a noticeable imprint on the canvas: Cantarini, still young at the time, had admired the great figures of 16th-century Venetian painting, from Titian to Veronese, including the vibrant and narrative chiaroscuros of Jacopo Bassano. However, what makes this work truly original is the artist's ability to filter these influences through his own personal vision, nurtured by direct contact with Claudio Ridolfi, a Veronese painter active in the Marche region who was a pivotal figure during Cantarini's formative years. Additionally, there was a growing interest in the Bolognese school, particularly in the compositional solutions of the Carracci and the lyrical idealization of Guido Reni, which Cantarini began to explore more deeply during these years. The work already demonstrates extraordinary maturity in composition and color rendering, with a narrative that is dynamic yet orderly, capable of balancing sacred solemnity with human warmth. The Venetian influence is reflected in the rich and luminous colors, while the Marchigian spirit is recognized in the freshness of the faces and the pervasive sense of reality in the scene. Even in this Adoration, Cantarini's unique style emerges: an art that looks to the great Italian traditions but reinterprets them with a new, personal, and surprisingly modern perspective.

3.4. Holy Family with Book and Rose

The Holy Family with Book and Rose, created by Simone Cantarini around 1638, is a work of profound emotional delicacy and understated refinement, currently housed in the Signoretti collection at Palazzo Perticari Signoretti in Pesaro. The painting offers a tender interpretation of a subject much cherished by the artist: the Holy Family, which Cantarini approached multiple times throughout his career, each time depicting it in different ways that reflect the evolution of his pictorial sensibility. In this version, Cantarini adopts a deliberately limited color palette, composed of earthy and muted tones, which impart an intimate and reserved atmosphere to the scene. It is a "non-finished declination" of the subject, as suggested by the sober and somewhat cursory brushwork, possibly intentionally incomplete, which enhances the effect of spontaneity and naturalness. The attention to gestures, glances, and symbolic objects - particularly the book and the rose - contributes to a silent narrative loaded with spiritual and emotional meanings. A particularly notable aspect is provided by contemporary documentation: thanks to an engraving dated 1638, it is possible to precisely establish not only the chronology of the work but also its initial location. The painting, in fact, entered the prestigious collection of Count Alessandro Fava in Bologna, coming directly from Pesaro. The conduit for this transfer was Lorenzo Pasinelli, a pupil of Cantarini, who ensured its circulation within the Bolognese context. Thus, the work represents not only a moment of intense pictorial poetry but also a significant piece in the collecting success and the network of relationships between Pesaro and Bologna during the seventeenth century.

3.5. Rest During the Flight into Egypt

The Rest on the Flight into Egypt, painted by Simone Cantarini between 1635 and 1640 on a copper support, is a work that reveals the artist's sensitivity in addressing sacred subjects through an affectionate and profoundly human lens. Currently preserved in a private collection, the painting bears some inscriptions on the back of the frame - including the name "Boschi" and inventory numbers 32 and 61 - alongside unidentified wax seals, indicative of a collection history that still partially needs to be reconstructed. The theme of the Rest on the Flight into Egypt is one of the most recurring motifs in Cantarini's work, comparable to the Holy Family, and is rendered here in a particularly intimate and home-like version. The artist is noted for a narrative approach that, although rooted in iconographic tradition, focuses on the emotional relationships between the characters. The Virgin, Saint Joseph, and the Child are not merely sacred figures but are also portrayed as protagonists of a familial scene, enveloped in an atmosphere of tranquility and protection, often enhanced by serene landscapes and warm lights. The choice of copper as a support, typical of works intended for private devotion or refined collecting, allows Cantarini to achieve exceptional precision in rendering details and a chromatic brilliance that heightens the visual intensity of the scene. The attention to the affectionate dimension of this subject also emerges from numerous graphic studies and engravings created by the artist, confirming its importance in his creative journey. In this small yet precious masterpiece, Cantarini once again succeeds in blending spirituality and daily life, offering a deeply human vision of the sacred.

3.6. Madonna with Child in Glory and Saints Barbara and Terenzio

The altarpiece originates from the Pesaro church of San Cassiano, where the painter was baptized on August 21, 1612. It was likely commissioned by the Pia Unione di Santa Barbara, an ancient congregation based in the same temple. The altarpiece remained there until 1811 when it was transferred to Milan during the Napoleonic spoliations, housed by the Directorate General of State Property, and placed in the Pinacoteca di Brera. In 1847, it was positioned in the apse of the parish church of Sant'Andrea Apostolo in Aicurzio, and since 2021, it has been displayed in the Ducal Palace of Urbino. The canvas depicts, in the upper section, the Madonna and Child surrounded by angelic musicians and cherubs. In the lower section of the composition, Saint Barbara, wrapped in a red cloak pointing toward the divine group, and Saint Terenzio, the patron saint of Pesaro depicted as a warrior looking towards the heavens, can be recognized. The dark and contrasted background, closely tied to the Venetian style deriving from Claudio Ridolfi, evokes in the architecture visible below, Rocca Costanza, a symbolic fortress of the Adriatic city. Unmentioned by Carlo Cesare Malvasia, the altarpiece is first cited in the 1783 volume by Antonio Becci, dedicated to the churches of Pesaro, as an "eminent work by Simone from Pesaro, still young"; "in the figure of S. Terenzio, a change can be seen in the hand held to the chest, which was previously extended; it is said that Simone changed it upon returning to his homeland from Bologna." The same volume references an earlier source, which states Cantarini painted "the painting of S. Barbara at the age of eighteen." The altarpiece was thus created in the early 1630s, on the eve of the artist's first stay in Bologna. According to Anna Colombi Ferretti, the altarpiece may have been modified after 1639 when Cantarini is again documented in his homeland. The scholar reached this conclusion based on sources, the observation of various visible changes, and especially the apparently more mature style of the figure of Saint Barbara. However, the restoration carried out in 1997 confirmed that the various changes were all "interventions during the work," with no discontinuity present in the painted surface. Stylistically, the work's "at once youthful and personal" language has been well elucidated by Daniele Benati: from Ridolfi derive the Venetian mixtures, the model of the celestial group, and some expressive details, such as the face of Saint Terenzio in which a self-portrait of the young artist can be recognized; the iridescent colors of the angels' garments reveal the influence of Giovanni Francesco Guerrieri, while the figure of Saint Barbara barely reveals a Renian flavor, filtered through the works of Ludovico Carracci and Carlo Bononi, which Simone might have seen in Fano.

3.7. Madonna of the Rosary

The Madonna of the Rosary by Simone Cantarini, dated between 1637 and 1640, is a work that combines devotional intimacy with formal refinement. It is currently housed in the Tosio Martinengo Gallery in Brescia (inv. 193). The canvas, likely intended for the private devotion of the noble Pesarese family, the Mosca, represents a rare example of pictorial transposition of a venerated sculpture: it is, in fact, a painted reproduction of the famous statue of the Madonna of the Rosary kept in the namesake chapel of the Church of San Domenico in Bologna, an object of deep popular veneration. The choice to reproduce a devotional sculpture in pictorial form underscores not only the importance of the subject within the religious culture of the time but also the intention to make it accessible and contemplative in a private setting, apart from the original liturgical context. In this canvas, Cantarini sensitively and inspiredly reinterprets the stylistic models of his ideal master, Guido Reni, drawing from him in both the compositional balance and the purity of the lines and the Virgin's serene expression. The color palette, illuminated by luminous and delicate tones, accentuates the sense of grace and sacredness of the image, granting it an ethereal and meditative presence. Created in the final years of his training, when the Bolognese influence had been fully assimilated, the work testifies to Cantarini's stylistic maturation and his ability to combine idealization with human affection. The Madonna of the Rosary thus stands as a refined example of private devotion and, at the same time, as a pictorial tribute to Dominican-rooted popular religiosity, deeply embedded in the figurative culture of Emilia at the time.

3.8. Immaculate Conception with Saints

An Immaculate Conception with a peculiar iconography, where the type of figure - with its long hair cascading over the shoulders and the transfigured face - evokes an assumption of Mary Magdalene. The Virgin, seated upon the clouds, casts her glance outward with swollen, almost closed eyes, as if she had been weeping. Her white garment, enveloped by a billowing blue mantle that rests upon the clouds and seems to blend with them, is highlighted by the golden light of the background. This warm light glows around, casting sharp shadows on the face, neck, and hands of Saint Euphemia, flooding Saint John as he writes with brightness, while leaving Saint Nicholas, immersed in reading, completely in shadow, his black robe contrasting with the bright and iridescent garments of the other figures. Central to the composition, an angel depicted in perspective supports the crescent moon, upon which the Virgin rests her foot, trampling her gown. This detail adds depth to the composition and introduces a dynamic echoed by the playful flight of the other angels, who carry an olive branch, a palm, a mirror, and a lily (symbols of the Immaculate Conception and her virtues), leading to the musicians' choir of angels in the background. Saint Euphemia's face, described as that of a "girl with a pearly complexion, made of real flesh and dressed fashionably," was the subject of a meticulous preliminary graphical study before its realization. Her gestures and expressions are as welcoming and inviting, engaging directly with the observer, as the gaze of the tamed lion at her feet is admonitory. The emphasis on the saint highlights the Brescian origin of the patrons, the Gavardini family, who relocated from Brescia to Pesaro. The painting's original destination remains uncertain: likely created for the church of San Giovanni in Pesaro, it was later transferred to the Gavardini altar in Sant’Antonio, in the Sant’Eufemia district of Limone di Gavardo, near Brescia. In 1680, it was sold by the family to Giuseppe Roda of Bologna, and it finally arrived at the Royal National Gallery of Bologna in 1823. Stylistically, the influence of Venetian and Lombard models is evident in the use of color and the atmospheric rendering of the painting. The golden light illuminating the Virgin and the changing reflections on certain fabrics hark back to the grand altarpiece by Giovanni Girolamo Savoldo, currently at the Pinacoteca di Brera but once located in Pesaro, which Cantarini certainly had the opportunity to study. Other influences have already been identified from Andrea Boscoli, Alessandro Turchi, Claudio Ridolfi, and even Orazio Gentileschi for that broken wall that serves as the backdrop in the lower part of the scene. To these, one might add a recollection from Lorenzo Lotto, another Venetian-naturalized Marchigian of an earlier epoch but certainly interesting for the naturalistic reflection Cantarini was pursuing during those years of travels and new assimilations among Marche, Veneto, Bologna, and Rome. Specifically, in the large altarpiece of Cingoli, there is a very similar broken wall, and one can capture a resonance with the gesture of the winking Magdalene who supports the red drape next to the golden gown: the same gesture, but in the reverse, of Saint Euphemia in Cantarini's painting, with the colors of the robes inverted.

3.9. St. James in Glory

The San Giacomo in Glory by Simone Cantarini, executed between 1642 and 1644, represents one of the most significant works of his artistic maturity and is today housed in the Museo della Città “Luigi Tonini” in Rimini (inv. 102 PQ). Originally, the canvas adorned the main altar of the oratory dedicated to St. James in the same city and marks a crucial moment in the path of the painter from Pesaro: the period immediately following his painful and definitive break with his master Guido Reni, which occurred in 1637. This very rupture marks the beginning of a new phase in Cantarini's painting, where the influence of Reni, still present in the composition and formal balance, opens up to more personal, dynamic, and naturalistic solutions. In San Giacomo, the idealized classicism typical of Reni is softened by a warmer and more tangible depiction of the body and face of the saint, captured in a luminous yet at the same time earthly ecstasy. The figure, lifted on a cloud among angels and heavenly glory, is treated with a perspective closer to the Romagna sensitivity of Guido Cagnacci, a contemporary painter whom Cantarini seems to evoke in the softness of the chromatic transitions and the greater emotional intensity. The work is thus fully situated in that transitional phase in which Simone Cantarini, though still tied to the Bolognese models, asserts an autonomous voice capable of merging idealization and observation of reality. The San Giacomo in Glory perfectly reflects this synthesis and stands as one of the highest moments of sacred painting of the seventeenth century in central-northern Italy.

3.10. Madonna of the Rose

The Madonna della Rosa, signed and dated 1642 by an ancient inscription on the back of the canvas - "Year 1642 Mr. Simon from Pesaro made this Painting" - is considered the most complete and refined version of one of the most fortunate and recognizable compositions by Simone Cantarini. Having resurfaced on the international market only in 2009, and now part of Tommaso Caprotti's collection, this canvas represents a pinnacle of the painter from Pesaro's output, both for its executive quality and expressive depth. Created at a crucial moment in Cantarini's career, shortly after his stay in Rome, the work clearly reflects the full maturation of a style that blends various influences with extraordinary naturalness. The composure of the Marian figure, the formal clarity, and the luminosity of the face reveal the absorption of the idealized elegance of Sassoferrato, a painter who was then very active in Rome. At the same time, there is a sense of a "neo-Venetian" sensibility, characterized by diffused light, pearlescent complexions, and a sense of visual harmony that recalls Raphael's teachings, albeit filtered through a modern and analytical perspective. But alongside these cultured citations, the Madonna della Rosa also maintains an affective and realistic component that is rooted in Caravaggio's naturalism: the hand holding the Child, the tender and participative gaze of the Virgin, the simple yet eloquent symbolism of the rose - the Marian flower par excellence - construct a sacred but profoundly human narrative. In this canvas, Cantarini achieves a rare balance between idealization and emotional truth, between formal refinement and devout participation, offering a Marian image that embodies both heavenly beauty and spiritual closeness.

4. Humanist Saints and Philosophers, Beyond Caravaggio and Reni

Father of the Church, ancient philosopher, vigorous intellectual, and ascetic patriarch: this is how Simone Cantarini celebrated Saint Jerome, adding flesh and blood to the classical models he absorbed in his Bolognese master's atelier. More than painting, however, it was sculpture that provided the most authoritative models to embody the virtues of the humanist saint par excellence, whom we see here depicted in various gradations of his inner strength. At the foundation of these portrayals, which are distinguished by a heroic tone of old age and a deeply human melancholy, lies predominantly the model of the philosopher. We know from sources that Guido Reni himself, inspired by an ancient marble he saw in Rome, had crafted a much-copied terracotta head, later called "of Seneca," which in turn influenced those created by Simone, who was also accustomed to shaping clay models to achieve equally naturalistic results in his figures. Sources also specify that one of his sculpted heads was intended for the production of saints and heroes, and the comparison with Reni's two vigorous heads (one unpublished, the other restored for the occasion) demonstrates the terms of a relationship that was as strong as it was free, once again attesting to the intriguing baroque intersection between classicism and naturalism. The breaking down of iconographic schemes, as occurs in the overlapping of saints and ancient philosophers, is central to that humanizing course of art that had seen a peculiar acceleration towards modernity with Caravaggio. It is not by chance that these are the very subjects in which Cantarini was most faithful to the truth. This is demonstrated by his Saint Andrew of the Palatine Gallery in the Palazzo Pitti, the Denial of Peter from a private collection, the Saint Joseph of the Civic Museums of Pesaro, the Saint Matthew of Palazzo Venezia in Rome, and the masterful Saint Jerome of the Fondation Bemberg in Toulouse, or the one in the National Art Gallery of Bologna, all differently aligned with the Caravaggesque ensemble represented here by Bartolomeo Manfredi and Giovanni Francesco Guerrieri.

4.1. The Denial of Saint Peter and Apostle Saint Andrew

Simone Cantarini (Pesaro, 1612 – Verona, 1648) a. Denial of Saint Peter 1635-1640. Oil on canvas Pesaro, private collection b. Saint Andrew the Apostle 1635-1640. Oil on canvas Florence, Uffizi Galleries

A valuable opportunity to witness together two powerful works by Cantarini in an exhibition that showcases the freedom and richness of his formal language sources, where alongside the Renian classicism, Caravaggesque naturalism is also present. Giovanni Francesco Guerrieri's influence is strong, serving as a fundamental conduit of Caravaggism in the Marche region and a key figure in Cantarini's training across Pesaro, Fano, and Urbino. In "Saint Andrew," one can perceive a Guercinesque energy, while in "Saint Peter," a drama akin to Ludovico Carracci emerges. The orange drapery of Peter's mantle reveals a debt to Guido Reni, who in turn was influenced by Caravaggio, as shown by the famous Brera painting featuring Paul and Peter. Placing this last work alongside our "Saint Peter" triggers a "Caravaggesque short circuit," further enhanced by comparison with works like "Saint Jerome by Canesso," confirming the dating between 1605 and 1610, when Reni too was fascinated by Caravaggio. "Saint Andrew" has a theatrical and direct composition, to the extent that it has been said, "it would not be out of place in a painting by Gentileschi." The atmosphere is loaded with pathos: a melancholic Andrew, a desperate Peter, faces etched by light, in a symbolic moment that unites vocation, betrayal, and human frailty. The composition is succinct and powerful: Andrew leans on the cross, next to two silvery fish, symbolizing his past life as a fisherman. Peter, at the moment of denial, covers his head to avoid hearing the rooster's crow, as Jesus had prophesied. The works, similar in style, size, and intention, might belong to a series of apostles. Compatible measurements (despite some reductions) reinforce this hypothesis, which a restoration could confirm. A 1670 inventory mentions a series with the four Evangelists among the belongings of Count Pepoli. Other half-figures of the same subject exist, like the "Saint Matthew with Angel" in Washington and Palazzo Venezia: the latter more classical, the former closer to the style of our apostles, with material flaking similar to that of Andrea Sacchi. Presumably, the painting at the Uffizi was donated in 1699 to the Grand Prince Ferdinando de’ Medici by the Bolognese Belluzzi. "Saint Peter" also appears in the 1763 inventory of Cardinal Silvio Valenti Gonzaga, where a "Saint Peter in half-figure, on canvas, by Simon of Pesaro" is mentioned. The subject is also present in a series of drawings suggesting more crowded compositions reworked by Lorenzo Pasinelli, pupil and heir of Cantarini's workshop. The discovery of another painting of the same subject, but in a full figure and now in a London collection, shows how the artist proposed two variants of the same theme in close succession. The exhibition allows for comparisons with other figures of saints and philosophers, revealing the centrality of these subjects in Cantarini's production, with chronologically and stylistically different outcomes, yet always with strong expressive and personal tension. Despite Venturi's judgment of the Uffizi "Saint Peter" as a weak work devoid of "elevated concepts," both "Saint Andrew" and the "Denial of Peter" demonstrate otherwise: they are testimonies of Cantarini's mature poetics, capable of blending classical tension, emotional pathos, and innovative naturalism. An artist who contributed to transforming Bolognese and Italian art in the second half of the 17th century.

4.2. Penitent Saint Joseph

The Penitent Saint Joseph, created by Simone Cantarini between 1644 and 1646, stands out as one of the most intense and significant works from the final phase of his artistic production. Presently housed at the Civic Museums of Palazzo Mosca in Pesaro (inventory no. 4001), the painting was commissioned by the congregation of the Oratory of the same city, exemplifying the strong connection Cantarini maintained with his hometown, even during the peaks of his artistic success. The artwork was conceived as a pair with a Penitent Magdalene, both intended for meditation and private devotion, aligning with the spiritual purposes typical of the Oratorian tradition. In this portrayal of Saint Joseph, Cantarini entirely discards the hieratic rigidity found in more conventional depictions of the saint, opting instead to depict him in a moment of inner reflection, kneeling in prayer with a face marked by deep emotion. The style of the work showcases an advanced synthesis in the artist's language, harmoniously and originally intertwining various influences. The Bolognese training remains evident, especially in the elegance and composure of the forms inspired by Guido Reni, yet there is also a noticeable opening toward more naturalistic solutions. Particularly, the dialogue with the painting of Giovan Francesco Guerrieri - an artist active in the Marche region and a representative of a more dramatic and concrete naturalism - enhances the canvas with a more immediate emotional pathos, marrying influences from Cantarini's recent Roman sojourn. In this work, therefore, Cantarini exhibits not only the full maturation of his style but also a profound ability to adapt the models he learned to meet the spiritual and narrative needs of his patrons. The Penitent Saint Joseph thus emerges as a masterpiece of balance between formal refinement, psychological introspection, and devotional strength.

4.3. Head of an Old Man (St. Joseph?)

The Head of an Old Man – possibly identifiable as Saint Joseph – is an intense pictorial work created by Guido Reni between around 1638 and 1640, currently housed at the Corsini Gallery of the National Galleries of Ancient Art in Rome (inv. 222). The piece is an eloquent example of the last manner of the Bolognese master, characterized by extreme formal and spiritual refinement. Beginning in 1635, Reni progressively distanced himself from the plastic fullness of his earlier works to embrace a more ethereal and immaterial style, in which the figures seem suspended in an almost transcendental dimension. In this canvas, the essentiality of the color palette – played out in neutral, silvery, earthy tones – and the conscious adoption of the "unfinished" technique contribute to creating an atmosphere of absolute introspection. The gaze of the old man, directed upwards, combined with the light that caresses the flesh of the face and beard, suggests a sense of calm spiritual elevation, where the humanity of the subject is sublimated into a form of silent contemplation. The painting enjoyed significant success in collections and was even attributed, in an 18th-century inventory of the Corsini collection, to "Simon from Pesaro" – meaning Simone Cantarini. This fact is not surprising: the stylistic proximity between this work and some of the highest examples of the young painter from the Marche region reveals how Reni's reference, in this last stylistic phase, was decisive for Cantarini's formation. Reni's lesson, made of abstract grace and intense spirituality, would be filtered and reinterpreted by him in light of a more marked naturalism, yet never devoid of that lyrical tension that Reni himself was able to bring to its peak.

4.4. Saint Matthew and the Angel

"St. Matthew and the Angel," executed by Simone Cantarini between approximately 1635 and 1640, is one of the most representative works of the stylistic maturation of the Marchigian artist during the decisive years of his Bolognese training. Now housed at VIVE – Vittoriano e Palazzo Venezia in Rome (inv. 904), the canvas originates from the prestigious collection of Cardinal Tommaso Ruffo, one of the most eminent members of the noble Ruffo di Motta Bagnara family. In 1919, along with other works from the same collection, the painting became part of the original core of the newly established Museo Nazionale del Palazzo di Venezia. The artwork impresses with its intense emotional charge and the spiritual and psychological dialogue that is established between the two protagonists of the scene: the evangelist Matthew and the inspiring angel. The exchange of glances, the guided gesture of the hand, the soft corporeality of the angel, and the thoughtful and human face of the apostle reveal a profound narrative sensitivity, capable of transforming a sacred episode into a scene of great intimacy and inner truth. Cantarini's painting in this case distinctly stands out for its stylistic individuality. Although trained in the orbit of Guido Reni, the artist already showcases at this stage his own language, more dynamic and natural, where formal composure merges with an authentic emotional expression. The color palette is warm and enveloping, while the light gently shapes the volumes, enhancing the details of the faces and drapery without ever indulging in excessive decoration. This "St. Matthew and the Angel" represents not only a high point of Cantarini's religious production but also evidence of his ability to combine spirituality with narrative immediacy. It is within a pictorial language that, though indebted to the Bolognese school, anticipates his full expressive autonomy.

4.5. Saint Jerome in Meditation

The ancient provenance of the painting is unknown, having been brought to public attention by Andrea Emiliani in 1997 when it was in a Bolognese collection. Preserved in excellent condition, it was restored in 2020; a minor adjustment on the right hand has been slightly veiled. Saint Jerome is depicted in a half-figure, leaning forward in a cave, as he lifts a skull with both hands, resting his elbows on a rocky crevice. The almost square format enhances the dialogue between the saint and the symbol of death. The face is marked not by penance but by a profound awareness. The light, coming from above, strikes the naked, vigorous body wrapped in a red cloak, highlighting the skin tone. The fluid depiction of the fabric, the physiognomy, and the plasticity clearly point to the hand of Cantarini, as does the realistic treatment of the hair and skin. The piece shows affinities with models by Guido Reni, particularly with a Saint Jerome at the National Gallery in London, possibly of Barberini origin. Similar elements - a thick beard, curly hair - are also found in the "Saint Matthew and the Angel" of the Vatican and in two heads by Guido displayed in the exhibition. The accentuated chiaroscuro and the face marked by the sun reveal influences of post-Caravaggesque naturalism. The still life with books recalls Caravaggio, a great innovator in the iconography of Saint Jerome. Cantarini seems familiar with his models, such as the "Saint Jerome" of Montserrat, where the skull is isolated, or the "Saint Francis in Meditation" of Carpineto Romano, which shows a similar gesture. Cantarini often painted Saint Jerome, a solitary and wise figure, offering multiple versions. The painting in question is a high-quality variation of the "Saint Jerome Reading" housed in Bologna, more vertical with a landscape backdrop. In that version, the saint is engrossed in reading, reflecting on the translation of sacred texts. A more similar iconography to the one discussed here is found in the "Saint Jerome in Meditation" from a private collection, shown here for the first time: two mirroring versions with the saint and skull in confrontation. The piece is considered a contemporary variant of the Bolognese Saint Jerome, likely dating to the end of Cantarini's first Bolognese period (1637–1639), during the phase of "competitive coexistence" with Reni. However, the strong chiaroscuro contrasts and particular iconography could suggest a dating around 1640, during the artist's Roman years, where Reni's lesson merges with Caravaggesque influences.

4.6. Saint Jerome Engrossed in Reading

The painting can be dated between 1637 and 1639, during the period of "competitive coexistence" between Cantarini and Reni, specifically at the time of their rift. The work was created based on a meticulous graphic study preserved in the National Library of Rio de Janeiro, where the seated half-figure and various context details (such as the landscape backdrop, the blocks of square-cut stones in the background, and the skull supporting the scroll) remain unchanged. Due to the high quality of the painting and its public placement (since the 18th century, after being bequeathed by Carlo Salaroli, it was displayed in the Bolognese Senate building), the painting became one of the most frequently cited works of the Pesaro-born artist. In 1797, it was moved to the Institute of Sciences, where all works from the suppressions were collected, which later formed the collections of the National Gallery of Bologna, established in 1808 as the Picture Gallery of the Academy of Fine Arts. On November 9, 1917, at the request of Corrado Ricci, the general director of antiquities and fine arts, the painting left the Bolognese gallery to be deposited at the National Gallery of the Marche, after the Ministry of Public Education had refused director Luigi Serra's request to purchase another St. Jerome by Cantarini, being sold at the Addeo gallery in Rome, for the same gallery. Shortly after it appeared in Paolo Dal Poggetto's catalog of the Urbino museum, the painting returned to Bologna. Malvasia mentions a St. Jerome by Cantarini in connection with a prank played by the painter during his last period in Reni's workshop. The artist from Pesaro had sketched the figure in a few hours, secretly, and left it to the judgment of colleagues, who, believing it to be the master's work, did not hold back their praises. This incident not only illustrates the bold and proud character of the artist from the Marche region but also shows that the subject was one of easy execution for Cantarini, characterized by remarkable technical skill and a deep emotional sensitivity. Moreover, Cantarini's old figures often repeated a similar physiognomy type, as the artist, as Malvasia recalls, had molded a head to use as a model for painting elderly characters from the Old and New Testament. Simone derived "the classical measure" of the figure from the "venerable characters" Reni had depicted in large-scale compositions, such as the Church father featured prominently in the Dispute over the Immaculate Conception in the Hermitage, which the artist also revisited in Lot and His Daughters.

4.7. Saint Jerome Meditating Before the Crucifix

St. Jerome in Meditation before the Crucifix, painted by Simone Cantarini between 1635 and 1638, serves as an intense testimony to the profound connection the artist maintained with the pictorial tradition of his mentor, Guido Reni, especially during his early phase. The artwork is currently housed in the Koelliker Collection in Milan and is available for viewing courtesy of BKV Fine Art. The scene, with its strong emotional and meditative impact, depicts St. Jerome deep in prayer, kneeling before the Crucifix, surrounded by several traditional iconographic symbols associated with his figure: a skull, facing the viewer as a memento mori, resting on a pile of books that allude to his role as a Doctor of the Church and author of the Vulgate. The atmosphere is silent, suspended, laden with inner and spiritual reflection, further intensified by the light that sculpts the figure of the saint, highlighting his musculature and physical tension, as well as human fragility. The compositional setup of the figure is a clear homage to Guido Reni: it actually reprises the pose of the apostle Matthew depicted by the master in the altarpiece painted for the church of Sant’Agostino in Genoa in 1617. This explicit reference, also present in a second autograph version of the work, confirms Cantarini's interest in the younger, more vigorous Reni, whose harmonious and devout style was a source of study and inspiration for him. Thus, the painting not only serves as an exercise in interpreting an admired model but also as fertile ground for developing a personal language that combines the formal composure of Bolognese classicism with the pursuit of a more direct emotional truth, a hallmark of Cantarini's autonomous maturation. In this meditation on St. Jerome, the tension between imitation and innovation resolves into an image of significant spiritual and pictorial intensity.

4.8. Saint Jerome Writing

Saint Jerome Writing, painted by Bartolomeo Manfredi between 1616 and 1620, is one of the most significant examples of mature 17th-century Caravaggesque painting and is a recent yet valuable acquisition by the National Galleries of Ancient Art in Rome, currently displayed at Palazzo Barberini (inv. 4684). This work adds an important piece to the catalog of the Lombard painter, active in Rome and recognized as one of the most authoritative direct followers of Caravaggio, to the extent of being considered the main exponent of the so-called "classical Caravaggism." The canvas depicts Saint Jerome, one of the most frequently represented saints in 17th-century devotional painting, captured in a moment of meditative writing, likely during the translation of the Vulgate, the Bible in Latin. The saint, shown in half-figure, is immersed in almost complete darkness, emerging thanks to an intense, grazing beam of light that sculpts his face, hands, and the page upon which he writes. This use of lighting, combined with the saint's physical and earthly presence, is typical of the dramatic naturalism pioneered by Caravaggio and reworked by Manfredi with greater balance and composure. The work fits into a highly explored iconographic trend by Manfredi, who repeatedly turned his gaze to the hermit saint, aligning with the shared interest of other painters of the time, such as Jusepe de Ribera. His depictions of Saint Jerome, strongly humanized, became true models for generations of artists, including Simone Cantarini, who drew inspiration from them for several paintings on display. Indeed, Manfredi's influence - alongside the direct influence of Caravaggio - is evident in how Cantarini approaches the figure of the saint: no longer merely a symbol of Christian wisdom, but a man immersed in the penumbra of meditation, transfigured by light, made alive and vulnerable in his spiritual quest. Therefore, this Saint Jerome Writing not only stands out as a masterpiece of Roman Caravaggism but also as a key work for understanding the dialogue between realism and spirituality that runs through Italian painting in the first half of the 17th century.

4.9. Saint Jerome

The "Saint Jerome" by Guido Reni, created between 1605 and 1610 and now housed in the Galerie Canesso in Paris, is a painting of particular importance in reconstructing the early career of the Bolognese master. The work, already known through a seventeenth-century print that definitively attributed it to Reni, is a significant addition to his catalog, traceable to the years of his first stay in Rome when the artist was more clearly defining his stylistic identity. During this period, Reni underwent a process of progressively moving away from the raw Caravaggesque naturalism that had initially fascinated him. "Saint Jerome" reflects this transition: while it retains a certain corporal solidity and a strong physical presence typical of realist painting, it also introduces a sense of ideal and spiritual composure that would become a hallmark of his full maturity. The saint, depicted in meditation, displays measured musculature, well modeled by the light, yet devoid of dramatic ostentation. His expression is absorbed, calm, and his gaze directed at the Crucifix suggests an inner dimension more lyrical than theatrical. The contained and harmonious color palette helps to reinforce this atmosphere of noble contemplation. Thus, the work fits into that phase of "purification" of Reni's language during which the painter sought to depict reality not according to the standards of brutal observation, but through an idealizing lens that aimed for balance, grace, and spiritual beauty. This "Saint Jerome" is, in this sense, an eloquent testament to Guido Reni's intellectual and stylistic evolution, a master who would profoundly influence all seventeenth-century painting, not least that of Simone Cantarini, his favored student.

5. The Artist's Studio: Finished and Unfinished, Shadows and Light, Ideal and Natural

These varied pairs of paintings allow one to delve into the creative process of Simone Cantarini, aligning with the restless temperament of the painter and the diverse demands of the art market at the time. On one hand, there are perfectly finished, clear, and luminous versions, and on the other, more introspective and seemingly unfinished attempts, often executed with earthy and brown tones. The painter was known for creating powerful clear versions of the same composition and additional renditions characterized by a contrasting stylistic register. The execution of these pairs is a constant throughout Simone's journey, a practice that does not correspond to a linear evolution of his language. This is exemplified by the two remarkable "diptychs" dedicated to the meditations of Saint Jerome and the two Lot and His Daughters, displayed together for the first time. In the latter, the figure of the biblical patriarch is drawn from nature using the same model that posed for the two Saint Jeromes on display. These works dramatically illustrate Cantarini's dual expressive and poetic approach. The rendition of Lot currently in Rivoli, slightly smaller in size, is distinguished by numerous visible alterations, almost as if to transfer onto the canvas the variety of proposals and experimental mobility inherent in his sketches. It represents a meticulously calibrated "unfinished," without deficiencies, fading into the indistinctness of a flowing material beyond the rosy dress of the woman in the foreground, painted with more definition. These ideal pairs represent Cantarini's highest response to the painting of Guido Reni in its various phases and inflections: from the more Caravaggesque at the start of the century, to the freer and more rarefied of his later years (1635-1642). The artist from Pesaro pursued this exploration driven by a desire for perfection and completeness, and at the same time, by a baroque impetus permeated by a subtle melancholy: almost an existential declaration closely akin to our "modern" sensibility.

5.1. Two Versions of Lot and His Daughters

Against the shimmering background of the burning of Sodom, the young daughters of the patriarch Lot are about to commit an incestuous act, inducing their father into intoxication to ensure the continuation of their lineage. The two canvases, exhibited together for the first time, showcase the variety of Cantarini's expressive registers. The painting from a private Modenese collection, originating from the gallery of the Marquis Rangoni, dates back to 1635-1638 and is a finished example created during the period of greatest adherence to Guido Reni's style, before "Hercules and Iole." The Rangoni version, compact in its forms, contrasts with the one in Piedmont, which is smaller in size and characterized by a calibrated incompleteness, with visible reworkings, as if the artist sought to transfer the variety of his sanguine sketches onto the canvas. This "unfinished" work lacks nothing in narrative but is without refinements, creating a layered landscape that contains the modeling of ideas. The pastel coloring led many to believe the work was by Guido Reni before it was attributed to Cantarini by Longhi and Voss in 1954. Luciano Cuppini's analysis, which considered the painting to be Reni's, aligns with Cantarini's pictorial intentions, featuring colors resembling vapors and blurred forms in fluid brushstrokes. The success lies in the play of transparencies and the shadow that disembodies the forms. Cantarini must have been aware of Reni's reflection on the same subject, as Charles-Nicolas Cochin documented in his "Voyage d'Italie," describing a copy of Guido's "Lot and His Daughters" executed by Simone. Cantarini's inventive process on the theme is documented in graphic studies presenting various arrangements of the characters, preserved in several collections. The same iconography recurs in other works by the painter, some still unidentified, such as a "Lot with His Daughters" documented in 1776 in Venice and in 1777 in Bologna, as well as a work from 1738 still held by the artist's heirs.

5.2. Two Versions of Saint Jerome in Meditation

In the fourth decade of the 17th century, Cantarini portrayed Saint Jerome as an ancient philosopher, an ascetic and Caravaggisti figure, adding flesh and blood to the models he learned in Guido Reni's Bolognese atelier. The saint is not merely a humanist bowed down by biblical labors, but a penitent thinker confronting death, reflecting on the vanity of the world, as in a documented work in Rome in 1713. Cantarini presents him in a meditative pause, focused on the skull placed on a book, in a precise geometry of forms and movements. Jerome's gesture, antithetical yet akin to that of the melancholic man, is completed by the purple robe that recalls his face and the skull, resembling Hamlet’s, challenging death. Another painting by Cantarini, displayed for the first time in this exhibition, is a second version of the same composition. It is unclear which of the two works came first, but the one presented here is better preserved and depicts Saint Jerome with a more defined face and a more refined crucifix than the twin version. The most significant difference concerns the morphology of the drapery and the color range: the version displayed here is darker, with orange tones and dim lighting, while the other is brighter and more crystalline. Pulini dated the version in the English collection to 1637, during the period of the break between Cantarini and Reni. It is also possible that one of the two works corresponds to the "Saint Jerome with a Skull" documented in Pesaro in 1713. Cantarini's practice of executing light and dark versions of the same subject was a constant in his artistic journey, not necessarily evolutionary, but partly a response to the demands of patrons and a personal poetic choice. Cantarini alternated scenes of daylight with darker compositions, as demonstrated in other works, such as the Colonna Holy Family and Saint Francis in contemplation of the dead Christ. The dark version of "Saint Jerome" (circa 1640) emerges from the darkness like a monochrome, showcasing the artist's ability to shape form even with raw colors. These works highlight Cantarini's challenge to Reni's classicist naturalism, exploring new expressive possibilities, alternating stylistic registers, and using darkness to give meaning to light.

5.3. Two Versions of Saint Jerome Reading in the Desert

The two paintings titled "Saint Jerome Reading in the Desert," created by Simone Cantarini between 1635 and 1640, represent a pair of works that allow one to explore the working methods of the artist from Pesaro, while also understanding his responses to the artistic market demands of the time. The two versions, one housed in the Paride and M. Luisa Gasparini Collection in Modena and the other in a private collection in Pesaro, offer valuable testimony to his stylistic evolution and restless temperament. In the first painting, the Gasparini Collection piece, the figure of Saint Jerome, absorbed in reading the sacred texts in the desert, is depicted with clear and harmonious lighting, characterized by an elegant and balanced presentation that reflects the Renaissance tradition. The light enveloping the saint, along with the chromatic softness and formal composure, makes this version an example of a “finished work,” where every detail is meticulously and serenely crafted. Conversely, in the second version, kept in the private Pesaro collection, the painting exhibits a rougher and more disturbing quality. The lighting is darker, with earthy and brown tones that seem to break the harmony, revealing a stronger internal tension. In this "unfinished" version, Cantarini seems to convey a deep and tormented introspection, almost an existential statement. The beauty of this work lies precisely in its incompleteness, which, far from a perfect visual balance, suggests a more intimate and personal reflection, in harmony with the artist's soul. This pair of paintings thus highlights the contrast between two distinct yet complementary approaches, where Cantarini plays with the concept of “completion” not only as a technique but as a reflection of moods and inner artistic exploration.

6. Classicism and Naturalism: Variations on the Theme

The various unfinished canvases by the artist and the recurring elements of corrections, variations on themes, and "doubles" with differentiated color schemes — the cases of the Holy Families exhibited here are emblematic — speak of a fervent and passionate operational practice. Simone Cantarini was, after all, an indefatigable creator of inventions (we possess numerous engravings and hundreds of his drawings), as well as a champion of speed: dozens of altarpieces and many room paintings executed within a relatively short timeframe. Between 1637 and 1640, when he realized the unprecedented full-length Saint John the Baptist, the painter had in mind the painting by Valentin de Boulogne exhibited in the show and the important prototype by Guido Reni, now at the Dulwich Picture Gallery (1636-1637). It is in works like these that the pupil challenged the master, offering a happy alternative to the weakened classicist-style naturalism and the more immediate approach to reality of Caravaggio's lineage. While Reni corrected the raw nature with ideas, Cantarini explored new expressive possibilities, delighting in emotion and the alternation of stylistic registers. By blending naturalism and classicism - seemingly irreconcilable categories of 17th-century art - the artist from Pesaro gave birth to a new modern language worth much more than the sum of its parts. However, to surpass Guido, Simone first had to be able to imitate him, also for commercial reasons. In this regard, an anecdote shared by Carlo Cesare Malvasia is enlightening, focusing on a small Madonna painted by Cantarini very similar to the unprecedented work displayed here: "Wishing to gift for a baptism, Mr. Guido had Simone make a small Madonna on copper which he slightly retouched, and this, being sold there in a short time as by Guido, was paid forty ducats, whereupon the man from Pesaro became angry [angry] seeing that his works were being taken for Guido’s. And he began to demand Guido’s prices..."

6.1. Praying Virgin

To document the extensive small-scale production practiced by Cantarini for private devotion and the market, using reduced-format canvases or - as in this case - precious copper plates, this previously unseen praying Virgin's head has been chosen for display. Painted with the aid of meticulous graphic studies executed with a model in pose, the painting, despite its small dimensions, showcases inventive sensitivity and high-quality execution, accompanied by the distinctively "touch-based" technique that, according to the apt definition by Carlo Cesare Malvasia, made the artist's language recognizable even to his contemporaries. The small Madonna, dated to the last phase of Simone's brief career, displays physiognomic affinities with the Penitent Magdalene from the Civic Museums of Pesaro, with Agar from the Cassa di Risparmio of Fano, and - among various possible comparisons with other female faces painted by the artist - with the Virgin of the Colonna's Holy Family. The copper support, as in the case of the superb Flight into Egypt displayed in the exhibition, allowed the painter greater definition in the depiction of Mary's face, meticulously painted with the finest brushstrokes, recovering a successful Baroque tradition scheme. The work recovers Reni's style in the definition of the rosy drapery of the Virgin’s garment, forming an important link with various analogous subjects realized by Flaminio Torri, the best student of the Pesarese alongside Lorenzo Pasinelli, such as the Praying Madonna of the Pallavicini Gallery, astutely restored to the Bolognese painter by Federico Zeri. Although lacking measurements, a "Madonna of the Pesarese framed," documented in 1661 in Bologna at the home of the apothecary Matteo Macchiavelli, and the "painting of a Madonna with a most beautiful gilt frame of the Pesarese," recorded in Rome as early as 1644 in Cardinal Lelio Falconieri’s palace, have been noted.

6.2. The Holy Family as the Holy Trinity

The Holy Family as the Holy Trinity by Simone Cantarini, created between 1642 and 1645, is a work of profound spirituality, commissioned for private devotion and currently housed at the National Gallery of the Marche in Urbino, on loan from the Cassa di Risparmio di Pesaro Foundation. The painting features a unique iconographic conception that harmoniously blends the Holy Family with the mystery of the Holy Trinity, resulting in a theological and visual reflection that surpasses traditional religious standards. At the center of the composition is the Christ Child, symbol of divine incarnation, surrounded by Saint Joseph and the Virgin Mary. Above them, in an elevated area, appear the figures of the Trinity: God the Father, depicted in a blessing gesture, and the dove of the Holy Spirit, completing the scene. This visual arrangement creates a connection between the divine and the human, emphasizing Saint Joseph’s role as a spiritual and earthly father, a symbol of virtue and holiness that links him to the trinitarian mystery. Cantarini’s iconographic choice is particularly inspired by Saint Francis de Sales' reflections on the virtues of Saint Joseph, which are represented as a sort of reflection of the Trinity, both spiritual and earthly. Hence, the painting is not just a devotional act but a visual investigation that unites the divine and human realms, suggesting a symbiosis between the sacred and the everyday. In Cantarini's painting, as in many other works by the artist, spirituality and humanity intertwine in a harmony that is not only visual but also deeply contemplative. The sweetness of the faces and the serenity of the characters' gestures suggest a vision of faith that embraces humanity in its entirety, without separating divinity from everyday life. Cantarini thus manages to convey a message of unity between the human and the divine, offering a painting that is not just an object of devotion but also an invitation to profound meditation on the mystery of the Trinity.

6.3. Holy Family with Saint Catherine of Siena

The Holy Family with Saint Catherine of Siena by Simone Cantarini, created between 1632 and 1635, is a work that reflects the stylistic evolution of the artist from Pesaro during his early years of activity. Currently housed in the National Gallery of the Marche in Urbino, on loan from the Banca Intesa Sanpaolo Collection, the canvas represents one of the most significant variations of the Holy Family theme, a subject Cantarini would frequently revisit throughout his career, each time exploring new nuances of meaning and composition. In this particular version, the sacred scene is enriched by the presence of Saint Catherine of Siena, who, although sometimes confused with the figure of Martha, is clearly identifiable thanks to the dragon at her feet and the Dominican habit that characterizes her. The saint is shown kneeling beside the Holy Family, a gesture that emphasizes her role as a devoted intercessor between the divine and the human. At the center of the composition, Saint Joseph is portrayed with glasses and a book, recalling the figure of the ‘philosopher,’ an element that adds an intellectual dimension to the painting and suggests a deeper reflection on the nature of the saint as the guardian of the family and divine wisdom. His depiction in this manner, enriched with symbolic details, highlights the fusion between the sacred and the rational, elements that Cantarini integrates with ease. The painting belongs to the artist’s youthful period, during which he was refining his own style. His attention to detail and use of precise iconographies, such as the inclusion of Saint Catherine and the characterization of Saint Joseph, demonstrate the influence of contemporary artistic trends, while maintaining a personal and innovative imprint. This work represents an example of how Cantarini was able to unite the tradition of religious painting with the introduction of new and distinctive elements, in a process that would eventually make him one of the most representative artists of his time.

6.4. Holy Family with St. John the Baptist

Holy Family with Saint John the Baptist, created by Simone Cantarini between 1635 and 1640, is a work that reflects one of the central phases of the artist’s career, currently housed at the Borghese Gallery in Rome. The painting is distinguished by its serene and silent composition, which conveys a sense of tranquility and intimacy, characteristic features of Cantarini's painting during this period. In this depiction of the Holy Family, the scene is enriched by the presence of Saint John the Baptist as a young boy, whose gaze towards the Infant Jesus adds a layer of spiritual and symbolic depth. Cantarini’s pictorial invention stands out for its sobriety and composure, qualities that are reflected in the refinement of the details and the overall harmony of the composition. This work is part of a particularly productive period for the artist, during which he established himself as one of the leading figures on the artistic scene of his time. In addition to painting, Cantarini was also noted for his skill in engraving; indeed, this painting inspired a refined print that is included in the artist's vast chalcographic catalog. The success he achieved with these etchings helped to solidify his reputation and render him one of the most admired artists of his generation. The Holy Family with Saint John the Baptist is not only an example of Cantarini's painterly mastery but also a testament to his balance between technique, spirituality, and innovative ability, which secured him a prominent place in the artistic panorama of the seventeenth century.

6.5. Two Versions of the Holy Family

More than similar in format and invention, the two paintings are distinguished compositionally by certain details, such as the absent left hand of Saint Joseph in the Corsini example, the rose held by the Christ Child, and the Virgin with her head framed by a halo or light. Furthermore, the backdrop varies: one presents a bright outdoor environment with a palm tree, while the other depicts a domestic interior with dark drapery. The Corsini canvas has a slight reduction in size, visible in the radiograph, which occurred between the late 18th and early 19th centuries. The main difference between the two works lies in the pictorial and chromatic intention. The Colonna painting is characterized by sharp forms and light colors, with the use of pigments such as lapis lazuli, whereas the Corsini painting features poorer and earthy tones, with a thin pictorial matter and frayed impasto. This approach, similar to a workshop sketch, does not imply that the Corsini version is earlier, even though both paintings are attributed to the artist's mature phase (around 1640-1642), based on style and Roman provenance. Cantarini masterfully interprets the concepts of naturalism and classicism, of finished and unfinished, of drawing and color, with two twin works that demonstrate opposing pictorial approaches. A small head study on wood, preserved in the Ducrot collection, documents the initial moment of the artist's operational practice. Simone began with an accurate study from life, adapting it into idealized forms for the Virgin, in accordance with the Bolognese academic tradition. This study, quickly realized, served as a guide for the workshop and as a model for future compositions.

6.6. David Contemplates the Head of Goliath

"David Contemplates the Head of Goliath," created by Guido Reni between 1639 and 1640, marks one of the artist's final reflections on the famous Biblical theme. The painting, now housed in the Galleria Nazionale delle Marche in Urbino thanks to Paolo Volponi's donation in 2003, represents one of the final versions of the subject, which Reni had addressed multiple times throughout his career. In this work, David gazes upon the severed head of Goliath, a scene Reni had explored through various interpretations. However, this late version stands out from the earlier ones due to its luminous and silvery treatment. Unlike the strong light and shadow contrasts characteristic of the previous versions, this last rendering features a paler and more delicate palette, typical of the painter's "late manner." This stylistic evolution reflects a period where Reni, while retaining his mastery in depicting the human form and its emotions, inclined towards softer and more illuminated compositions. The artwork, once owned by Urbino author Paolo Volponi, fits perfectly within Reni's stylistic development. In the final years of his career, he moved away from the dramatic chiaroscuro contrast typical of his earlier works, embracing a more serene and idealized vision of reality. This stylistic shift is evident in the depiction of David, who appears less disturbed and more contemplative, aligning with the calmer and more reflective tone of this phase of Reni's artistic production.

6.7. Saint John the Baptist in the Wilderness

"Vox clamantis in deserto": the voice of Saint John the Baptist echoes in a desolate landscape. The young, wild, and beautiful figure entrusts his words to the wind as he moves toward us in a desert that is defined more by the absence of people than by the lack of vegetation. The desert is a philosophical place where truth is attained through penance and mortification of the body. John is presented at the peak of his asceticism, revealing the vehemence of his prophecy. The last of the prophets and the first of the saints, he points to the lamb, prefiguring the sacrifice of Christ, inviting us to partake in its mystery. This artwork, which combines the ideal and the natural, is a solemn and rugged masterpiece. Despite damages from old restorations, the painting demonstrates remarkable expressive power. The work was known in a derivative held in the Koelliker collection, crafted by a follower based on our canvas, exhibiting greater conceptual freshness. There is a notable alteration in the position of the saint's right leg. The lamb, though incomplete, is finished with a quick and nervous dark mix, challenging to reproduce in a copy. It is possible that Cantarini created another original of the same composition. The painter might have drawn inspiration from Valentin de Boulogne's painting and the model of Guido Reni, though not following it slavishly. The rendering of the skin and the physiognomic features are typically Cantarini's, also evident in other works such as Reni's Saint Sebastian from 1640. The painting also supports the attribution to the Pesarese of the David with the Head of Goliath, displayed at the National Gallery in London. Cantarini's work became a source of inspiration for his followers, particularly Flaminio Torri, creator of the Zambeccari Saint John the Baptist, a synthesis of Simone's two pictorial formulas.

6.8. Saint John the Baptist in the Desert

Saint John the Baptist in the Wilderness, created by Valentin de Boulogne around 1630-1631, is a work that stands out for its emotional intensity and innovative portrayal of the saint. Preserved by the Archdiocese of Camerino-San Severino Marche, the painting is one of the most significant examples of the interpretations Boulogne dedicated to this subject. Unlike traditional depictions of Saint John the Baptist, this canvas is distinguished by the expressive psychology of the saint and his representation in an unusual position. The artist presents him in a dynamic movement, a striking figure that stands out sharply from the more static and conventional representations. The pronounced use of chiaroscuro, reminiscent of Caravaggio's influence, bestows a dramatic intensity upon the scene, heightening the emotion and tension of the figure. This work represents one of the final phases of Valentin de Boulogne's career, who, like Simone Cantarini, died prematurely, leaving a significant mark on the artistic landscape of the seventeenth century. The painting not only testifies to his talent but also reflects a transitional period in his art, where Caravaggio's influence melds with an interest in more theatrical and engaging representations of human emotions.

7. Ancient Poetry and Fables: Secular Singers

Not only altarpieces, devotional canvases, and portraits, but also mythological, philosophical, and allegorical subjects. The Hercules and Iole, exhibited for the first time, represents a pinnacle of Cantarini's secular production. Steeped in literary and theatrical influences, the painting exalts - and at the same time condemns - the follies to which love can lead: after making Iole his concubine, Hercules becomes a slave to the princess, spinning for her like a devoted handmaid. The canvas, admired by Malvasia in Bologna in the collection of Senator Pietramellara, was considered "more beautiful" and "just" than the lost Iole by Reni because it managed to be both ideal and natural, equally divine and simultaneously earthly. Cantarini's high ambitions include poetry, inspired by the fertile literary contexts of his Bolognese and Roman patrons. According to sources, he had gathered his amorous rhymes in a manuscript intended for print. Simone sought to unite lyrical poetry and painting, following a widely shared opinion of the seventeenth century, as suggested by several of his other works exhibited here: Love Disarmed by the Nymphs, the Judgment of Paris, and the Allegory of Poetry.

7.1. Hercules and Iole

This large painting by Cantarini, created between 1642 and 1646, is one of his most significant secular works. The canvas, exhibited for the first time after restoration, has been dated through documentary sources and comparisons with other works by the painter. The painting, preserved in excellent condition, is likely the same one referenced in 1678 by Carlo Cesare Malvasia, who describes it as an artwork of great beauty. Malvasia mentions the painting, which depicts a nude Iole with Hercules, and associates it with the "Senatore Melara," whom we can identify as Giovanni Antonio Vassé Pietramellara Bianchi, the ambassador of Bologna to Rome. Malvasia praises the artwork for its grace and the resemblance of Iole's figure to the style of Guido Reni. Senator Vassé Pietramellara, a Bolognese nobleman, owned a collection of renowned works, including several by Reni, Elisabetta Sirani, and Agostino Carracci. The collection reflected a taste for works in the Renian sphere, as confirmed by the inventory of the assets of Marquis Giacomo Vassé Pietramellara. The painting, dated to the 1640s, shares a color palette and similar dimensions with other works by Cantarini, like the one in Dresden. There also exists a second version of Iole, documented in the collection of Abbot Giuseppe Paolucci and in other historical mentions, such as in 1846 by Federigo Alizeri. A reduced version was recently sold at auction in Brazil. The main difference between the two versions is that the figure of Iole in the second is depicted without veils, as described by Malvasia. Additionally, various replicas from Cantarini's workshop were already circulating in ancient times, such as one by Flaminio Torri and another reported in 1685 in the collection of banker Giacomo Maria Marchesini.

7.2. Allegory of Poetry

This splendid painting, attributed to Simone Cantarini in 1998 by Daniele Benati, represents an allegory of Poetry. The young figure, set against a dark background enlivened by a curtain, holds a book in her left hand and a quill pen in her right, waiting for inspiration. A laurel crown adorns her head, and a blue garment partially reveals her breast, conveying a clear sense of remorse. Other symbols of Poetry, such as the flute and the violin, refer respectively to pastoral and lyrical poetry. Simone Cantarini chose this theme inspired by his passion for poetry, also evidenced by love verses in his drawings. Documentation points to at least two versions of the canvas. Carlo Cesare Malvasia mentions two "large half-figures" in the Bolognese collection of Filippo Ballatino: one allegory of Music and one of Poetry. Another version is noted as belonging to Monsignor Fabio degli Abati Olivieri, exhibited in 1706 in Rome. The work is part of an allegorical series created around 1645, which also includes allegories of Music, Painting, and Astronomy. The planning of these allegories is documented by preparatory studies for each subject. An additional sheet presents an allegorical figure with iconographic elements of Poetry, but the diadem on her head might make her resemble a Sibyl, given that Poetry should be represented with a laurel crown.

7.3. The Blind Homer

Blind Homer, created by Pier Francesco Mola and his workshop between 1655 and 1665, is a work depicting the famous poet of ancient Greece, Homer, as he dictated his verses while playing the lirone. This detail refers to the ancient tradition of accompanying poetry with music, a practice that reveals the period's interest in classical culture and the art of poetry. The painting offers an intriguing reflection on the stylistic connection between Simone Cantarini and Pier Francesco Mola, two artists who shared not only similar cultural influences but also a comparable approach to painting and drawing. Both were profoundly influenced by the artistic movements of Bologna and Rome, where they developed a style rich in poetic and literary references. This approach, which is clearly evident in the work, is characterized by great attention to the quality of drawing, emotional density, and the creation of refined and literary atmospheres. Housed in the National Galleries of Ancient Art at the Corsini Gallery in Rome, this painting not only explores the figure of Homer but also highlights the stylistic and conceptual affinity between the two artists, marking an important moment of connection between classical tradition and new artistic trends of the seventeenth century.

7.4. Philosopher with Compass (Euclid?)

The history of this painting is unknown prior to its appearance at the Pandolfini auction house in Florence on May 17, 2016, when it was listed as a "Portrait of a Mathematician," attributed generally to an "Artist of the 17th Century." Purchased by the current owner, the work has been recognized as one of the most high-quality paintings by Simone Cantarini. This attribution has been confirmed by Massimo Pulini. After restoration in 2018, the painting was exhibited at the exhibition La quadreria del castello in Bologna in 2022. The unfinished work reveals the almost completed face of the philosopher, with natural light and shadow on the wrinkles and skin, and a stylized treatment of the beard. The brush swiftly defines the arm and hand, using a brown hue for details and suggesting the future completion of the piece. During restoration, some retouching was removed, although lower additions, presumably made to align with antiquarian tastes, were retained. The compass and the philosopher's contemplative expression suggest that the figure may represent an ancient philosopher, possibly Euclid, but Heraclitus, Democritus, and Archimedes are also possible candidates. According to Giampietro Zanotti, in 1648, Cantarini entrusted his workshop to Lorenzo Pasinelli while he was in Mantua. After seeking refuge in Verona, Cantarini died at the age of 36. Although this painting does not appear in the 1738 inventory, it is plausible that it was one of the unfinished canvases recovered by his brother Vincenzo. The style of the painting is consistent with the artist's final phase, akin to the altarpiece of Gandino and the Dream of Saint Joseph.

7.5. Hagar and Ishmael in the Desert with Archangel Michael

"Hagar and Ishmael in the Desert with the Archangel Michael" is a work by Simone Cantarini, dated between 1642 and 1645, which explores a theme dear to the artist, one he revisited frequently throughout his career. This canvas, housed at the Pinacoteca San Domenico in Fano, under the management of the Fondazione Cassa di Risparmio, represents one of his most significant versions. The subject of the work, which recounts the biblical story of Hagar and her son Ishmael in the desert, was depicted by the painter on various occasions. Besides the Fano version, other renditions of the same theme are noted, including one commissioned by a Venetian merchant, another for Matteo Macchiavelli, and another preserved at the Musée des Beaux-Arts in Pau. Additionally, Cantarini executed a version for the Bergamasque count Giovanni Pesenti, although the latter has been lost. The painter also produced numerous drawings and an 18th-century etching that translated the subject into new variants. The work demonstrates the depth and variety of Cantarini's interest in this biblical theme, inspiring him to explore different compositional and stylistic solutions. His repeated choice of this subject also underscores its significance in his artistic production.

7.6. The Judgment of Paris

"Judgment of Paris" by Simone Cantarini is a work created between 1643 and 1648, executed in oil on canvas, and is housed at the National Gallery of the Marche in Urbino, on loan from the Pesaro Savings Bank Foundation (inv. D 123). The artist drew inspiration for this painting from a print by Marcantonio Raimondi, taken from a drawing by Raphael, to depict the famous mythological episode. Cantarini, working in the later stage of his career, stylistically adheres to the Bolognese painting tradition of the Carracci school, characterized by its balanced combination of classicism and naturalism. The painting, created towards the end of the artist's brief life, is distinguished by a deliberately unfinished rendering of the figures, which are outlined with thin glazes directly applied to the canvas preparation. This expressive and refined approach reflects Cantarini's sensitivity towards an increasingly nuanced and atmospheric pictorial language, in alignment with his more mature experiments.

7.7. Love Disarmed by Diana's Nymphs

"Love Disarmed by the Nymphs of Diana" by Simone Cantarini, created around 1646-1647, is an oil-on-canvas work housed in a private collection in Milan (Altomani Courtesy). This masterpiece represents one of the pinnacles of the most intense and mature phase of Cantarini's career, during which the artist led a flourishing studio in Bologna. The painting is embellished with a series of highly detailed graphic notes, offering a valuable insight into his creative process and his ability to explore the concept of the "non-finished." This approach, which emphasizes the process of construction and the nuance of forms, is now considered a distinctive feature of his painting and one of the roots of contemporary artistic language. Furthermore, the painting bears witness to Cantarini's professional and personal connections with his students, particularly Lorenzo Pasinelli, who owned the work throughout his life, thereby highlighting the transmission of knowledge and the ongoing creative exchange within the Bolognese environment.