Tátrai Vilmos szerk.: A Szépművészeti Múzeum közleményei 95. (Budapest, 2001)

DOBOS, ZSUZSANNA: Two hitherto unknown paintings by Flaminio Torri

adults, he clutches the Virgin's robe with his right seeking maternal safety. His tentative step, resolute endeavour make a protective affection appear on the tender, heartshaped face of the Virgin. The three figures are entwined into a spiritual unity by the rhyming poses and gazes focusing on each other as well as the intimate, warm atmosphere and this harmony is not even broken by St Joseph's penetrating, grim gaze. On the basis of the types, the brushwork and the analogies the picture can surely be placed in Torri's oeuvre. It organically fits into the line of the master's Holy Family and Madonna compositions (Madonna, Rome, Galleria Pallavicini, Holy Family, Bologna, private collection

46 The Virgin Annunciate, Bologna, private collection [fig. 84]),

47 about which the eminent scholar, Anna Colombi Ferretti writes the following: "La bellezza naturale di filtro cantariniano diviene a forza di mediazioni intellettuali l'immagine di una devozione di lusso."

48 Besides the "natural beauty", the facial type of the Virgin, the intimacy between the mother and child and even the unusual format, the oblong rounded at the edges, betray the influence of Cantarini. The format must have been inspired by some of his drawings depicting the Holy Family (Venice, Galleria dell'Accademia, Gabinetto dei Disegni e Stampe)

49 while the rendition of the Virgin and Child shows a debt to his paintings exploring the same theme, e.g. to the tondo in the Pushkin Museum, Moscow.

50 The figure of St Joseph leaning on his rod can be found nearly verbatim in Cantarini's autograph version of the picture in Russia (Italy, private collection) (fig. 85).

51 However, the figure with more conservative features but adopting the same posture appears already in the earliest composition attributed to Torri, namely The Adoration of the Magi also related to the other picture. The Bolognese scholar places this group of paintings among Torri's late works and apart from the already-mentioned sources, in "the sweet eloquence of the gesture" and in the soft modelling she recognizes the impact of Carlo Cignani and Lodovico Lana also active at the Modenese Court. Similarly to the other picture in question, this composition also has its correspondence in Torri's graphic oeuvre. St Joseph with the same diabolic features appears in one of his drawings (Windsor, Royal Collection) (fig. 86).

52 The two paintings newly attributed to Flaminio Torri, The Rebekah at the Well on show at the enlarged permanent exhibition and the Holy Family now in a condition suitable for display, are gap-filling, notable works in the Baroque collection of the Museum of Fine Arts. With all probability they will arouse the interest of Baroque specialists, as they newly rivet the attention to a significant, highly characteristic yet so far under-esteemed master of the Bolognese School. ZSUZSANNA DOBOS Translated by the author 46 Colombi Ferretti, op. cit. (Paragone note 4) figs. 21. and 23. 47 The source of the illustration: Colombi Ferretti, op. cit. (Paragone note 4) fig. 22. 48 Colombi Ferretti, op. cit. (Paragone note 4) 16-17. 49 Red chalk, 202 x 248 mm., inv. 128. 5(1 Reproduced: Emiliani, op. cit. (note 27) 156, fig. 1.44. 51 The source of illustration: Negro - Roio, op. cit. (note 23) 32 Red chalk, 186 x 198 mm., inv. 3475. See Kurz, op. cit. (note 16) 141, fig. 108.