St. Peter and St. Paul. Stories from their life
Jacopo Zanguidi, detto il Bertoja
Oil on the table
The images, recomposed in a diptych in recent times, were to decorate a tabernacle or a cupboard for sacred use. The elegant rendering of the figures, executed in monochrome, is accentuated thanks to the veins of the rosewood on which they are made and the rapid workmanship, rendered through very thin brushstrokes, determines an almost phosphorescent effect. Referred to Polidoro da Caravaggio when they were in the collection of the Marquis of Westminster in the Grosvenor House in London, they have been correctly returned to Bertoia with ample reasoning by D. De Grazia (1991) who referred them to the years in which the artist took part. to the decoration of the oratory of the Gonfalone in Rome (1569), frescoing the Entrance of Christ into Jerusalem. The elegant roundness of the gestures gives the characters, despite the small size, an extraordinary monumentality that refers to the figure of Christ in the Banner. If Bertoia, protagonist of the Farnese culture, stands out for the neo-Mannerist turn impressed on his painting in order to a well-understood revival of Parmigianineschi models, it is also evident that at these dates he must have long ago started those agreements with the Flemish painters, and in particularly with Bartolomeo Spranger, present in Parma and then in Rome from 1566 to 1575, who would have had such a part in his subsequent imagery.