Italian school; XVI century.

Italian school; XVI century.
"St. Francis and St. Dominic of Guzman".
Oil on panel.
Measurements: 45.5 x 34 cm; 47 x 34 cm.
Pair of boards in which the bust of a saint is appreciated in both cases. Both the format, as well as the composition and the technique of each one of the works indicate that in origin both were part of a bigger cycle where other saints were surely represented. This theme reflects the existing harmony between the Franciscans and Dominicans, based on the meeting of these two saints, in which Saint Dominic pronounced these words: "The two of us have to work closely together to achieve the Kingdom of God". In fact, for centuries there has existed the custom that every year, on the feast day of St. Francis, the Dominican fathers go to the Franciscan convents to celebrate the feast with them, and on the feast day of St. Dominic the Franciscan fathers go to the Dominican convents. According to the story, St. Dominic in Rome, asking the Pope to approve the foundation of his Order, had an ecstasy: He saw Christ suspended in the air and in an attitude of throwing three spears that he had in his hand over the world because of the corruption that reigned on earth. The Virgin Mary, seeing her son in such a state, exclaimed: 'My son, what are you going to do? Have compassion on mankind. I am going to provide you with two faithful servants who will fight to subdue the world to your will.' Christ replied to his Mother 'I would like you to present these two men to me.'Our Lady presented Dominic of Guzman and Francis of Assisi to Christ: he then said: 'Indeed these are truly my servants. I am sure that they will put great effort into doing what you have said Mother.'
The next day after the vision and while Dominic was in the church in Rome, he met Francis at Mass. The two embraced and kissed, and Dominic said to him: 'You are my companion; with me you will travel the world. Let us establish between us a commitment to collaboration.

With the economy of the State broken, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, the parishes and the confraternities of clerics and laymen who promoted its development, and the works were sometimes financed by popular subscription. Painting was thus forced to capture the prevailing ideals in these environments, which were none other than religious ones, at a time when a realistic language was demanded of art so that the faithful would understand and identify with what was represented, and an expression endowed with an intense emotional content to increase the fervor and devotion of the people. The religious subject is, therefore, the most recurrent theme.