The present study publishes for the first time a portrait which for reasons of style and quality can be assigned to Gian Lorenzo Bernini. Comparisons with the few paintings attributed to the artist lead to a dating around 1629-1630, during the period of his closest affinity with Simon Vouet. The subject of the painting is a Dominican friar, and it is possible that this is a portrait of the Dominican confessor of Bernini himself (as an inventory states), owned by Cardinal Decio Azzolino and Queen Christina of Sweden and exhibited in 1686 at the early art exhibitions of San Salvatore in Lauro in Rome.
Index
Laura Cavazzini, Cristina Conti
Arnolfo di Cambio, Leonardo Sormani and the two 'Madonnas' of the 'Presepe' in Santa Maria Maggiore in Rome
read abstract » 3-22
read abstract » 3-22
Elvia Giudice
Cultual-theatrical Performance on a Skyphos of the Archaic Period
read abstract » 44-50
read abstract » 44-50
Maria Serena Napolitano
Concerning a New Small Amphora from the Workshop of the Micali Painter from the Monte Abatone Necropolis in Cerveteri
read abstract » 51-55
read abstract » 51-55
Bruna Bianco, Raffaele Marrone, Vittoria Pipino
The 'Purification of the Virgin' by Ambrogio Lorenzetti and a Recent Book by Max Seidel and Serena Calamai
read abstract » 56-65
read abstract » 56-65
Alessandro Brogi
An 'Unpublished Saint Jerome in Meditation' by Guido Reni: the “seconda maniera” and the “non-finito”
read abstract » 72-83
read abstract » 72-83
Giacomo Alberto Calogero
Pictorial Chronicles from the 19th Century: Guido Reni and Guercino after Stendhal
read abstract » 84-97
read abstract » 84-97