Workshop of Pier Francesco Mola ‘Il Ticinese, The Temptations of Saint Anthony, 1670, Oil on Canvas

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Pier Francesco Mola 'il Ticinese' (Coldrerio, 1612 – Rome, 1666) workshop

The Temptation of Saint Anthony

Oil on canvas
75 … Read more Pier Francesco Mola 'il Ticinese' (Coldrerio, 1612 – Rome, 1666) workshop

The Temptation of Saint Anthony

Oil on canvas
75 x 62 cm. - Framed (defects) 82 x 71 cm.

The Temptation of Saint Anthony Abbot was a beloved subject in Renaissance and Baroque art, depicting the hermit tormented by demonic visions in the desert and symbolizing the spiritual struggle between faith and the forces of evil.

According to the saint's biographies—the most important being the Vita Antonii written by Athanasius of Alexandria—the devil attempted to break down Anthony's resistance by assuming various forms to torment him and distract him from prayer, attempting to entice him with everything a man could desire, but to no avail.

Evil often took the form of hybrid creatures, as in our case, where the devil appears as a ferocious beast, a winged monster with an animalistic face.

These monstrous visions served to test the saint's imperturbability and steadfastness of faith, symbolizing the violence of temptations and the ferocity of the devil, who attempts to frighten the saint with his senses and fear, but Anthony resists through the strength of his prayer.

He appears imperturbable, consulting sacred texts and holding a rosary, both devotional symbols against evil. He caresses a large lion sitting at his side, the Lion of Judah, which appears in one of his prayers, "Fugite, partes advérsæ. Vicit Leo de tribu Juda" (Flee, enemy powers. The Lion of the tribe of Judah has conquered), where the animal symbolizes Christ himself defeating the enemy powers.

Stylistically, the painting can be traced back to the pictorial methods of Pier Francesco Mola (1612-1666), a Baroque painter active primarily in Rome. His work focuses on the themes of faith and devotion, including many scenes of saints in contemplation or moments of spiritual ecstasy, reflecting the religious sensibilities of seventeenth-century Rome.

His style is intense and dramatic, often described as "pre-Romantic," capable of expressing profound interiority and passion, and he is renowned for integrating Venetian chromatic sensibilities with the rigor of Roman classicism.

Regarding the attribution of our fascinating canvas, we are inclined to attribute it to an artist close to Mola's workshop, presumably one of his students, among whom we can mention Francesco Giovani, Antonio Gherardi, Giovanni Battista Pace, or Girolamo Troppa, or to an artist from his circle active immediately afterward.

ADDITIONAL INFORMATION:

The images were taken using a professional photographic set and lighting system.

The work comes with a beautiful gilded wooden frame, a certificate of authenticity, and a descriptive iconographic sheet. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



issues arising from misattribution See less