A masterpiece of ridiculous genre painting in vogue at the end of the sixteenth century, the canvas is one of the most surprising highlights of Bartolomeo Passerotti's catalog, thanks to the skilful play between artifice and nature, between faithful portrayal of truth and its distortion caricatured with moralizing and sarcastic intent. In consonance with Cardinal Gabriele Paleotti's "Discourse on sacred and profane images" who appeared in Bologna in 1582, this genre of painting, low and trivial, can escape the indispensable "decorum" in high genre painting. If the allusion to the five senses is evident, symbolized by the gaze, the song, the scent of the rose, the hands touching the instrument, the dog biting the bread, the painting also contains a heavy irony towards senile eroticism; the old farmer with the flower on his hat is lost in his amorous serenade and does not notice that the dog is taking away his bread. This type of production by Passerotti, surprising for the degree of truth of everyday objects, dates back to the seventies, in contiguity with the works of Vincenzo Campi and in advance of Annibale Carracci's "Mangiafagioli", a real manifesto of modern realism.