Le tentazioni di Sant’Antonio
Pier Francesco Mola (Coldrerio, 1612 – Roma, 1666) bottega
Pier Francesco Mola, ‘il Ticinese’ (Coldrerio, 1612 – Rome, 1666) - workshop
The Temptations of Saint Anthony
Oil on canvas
75 x 62 cm.
In frame (with defects) 82 x 71 cm.
The theme of the Temptations of Saint Anthony the Abbot was a much-loved subject in Renaissance and Baroque painting, depicting the hermit tormented by demonic visions in the desert, and symbolising 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 sought to break down Anthony’s resistance by taking various forms to torment him and distract him from prayer, attempting to tempt him with everything a man could desire, but without success.
Often, evil took the form of hybrid creatures, as in this case, where the devil appears as a ferocious beast, a winged monster with an animal-like face.
These monstrous visions served to test the imperturbability and steadfastness of his faith, symbolising the violence of temptations and the ferocity of the devil, who attempts to frighten the saint through the senses and fear, but Anthony resists through the power of his prayer.
He appears unshaken as he consults the sacred texts and holds the rosary in his hand, both devotional symbols against evil. He strokes a large lion seated at his side, the Lion of Judah, which appears in one of his prayers, which reads: “Fúgite, partes advérsæ. Vicit Leo de tribu Juda” (Flee, enemy powers. The Lion of the tribe of Judah has conquered), where the animal symbolises Christ himself defeating the enemy powers.
Stylistically, the painting can be traced back to the pictorial style of Pier Francesco Mola (1612–1666), a Baroque painter active mainly in Rome, whose work focuses on the themes of faith and devotion, and includes many scenes of saints in contemplation or in moments of spiritual ecstasy, reflecting the religious sensibility of seventeenth-century Rome.
His style is intense and dramatic, often described as ‘pre-Romantic’, capable of expressing profound inner feeling and passion, and he is renowned for having integrated Venetian chromatic sensibility with the rigour of Roman classicism.
As regards the attribution of this fascinating painting, we are inclined to attribute it to an artist associated with Mola’s workshop, presumably one of his pupils, amongst whom we might mention Francesco Giovani, Antonio Gherardi, Giovanni Battista Pace or Girolamo Troppa, or to an artist from his circle active in the period immediately following.
ADDITIONAL INFORMATION:
The images were taken using a professional photography set-up and lighting.
The work comes complete with a delightful gilded wooden frame, a certificate of authenticity and a descriptive iconographic sheet.
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It is also possible to view the painting at our gallery in Riva del Garda; we would be delighted to welcome you to show you our collection of works.
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