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Provenance

Hagström, Stockholm, by 1937.[1] (sale, Christie, Manson & Woods, London, 11 December 1959, no. 108, as by Guercino); James O. Belden, Paris and Washington; gift 1972 to NGA.

Exhibition History
1996
Obras Maestras de la National Gallery of Art de Washington, Museo Nacional de Antropología, Mexico City, 1996-1997, unnumbered catalogue, 62-63, color repro.
Bibliography
1975
Borea, Evelina. Pittori bolognesi del seicento nelle gallerie di Firenze. Exh. cat. Galleria degli Uffizi, Florence, 1975: 66.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 54, repro.
1975
Mancigotti, Mario. Simone Cantarini, il Pesarese. Pesaro, 1975: 136.
1979
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: 1:110-111, 2:pl. 76.
1980
Ferretti Colombo, Anna. "Simone Cantarini: Dalla marca baroccesca alla bassa padana." Bollettino d'Arte 67 (1980): 28.
1980
Ragghianti, C. L. Review of Shapley 1979. Critica d'Arte n.s. 45/172-174 (1980): 217-220.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 74, repro.
1986
Mazza, Angelo. In The Age of Correggio and the Carracci. Exh. cat. Pinacoteca Nazionale, Bologna; National Gallery of Art, Washington, D.C.; The Metropolitan Museum of Art, New York. Washington, D.C., 1986: 398.
1992
Colombi Ferretti, Anna. "Simone Cantarini." In La scuola di Guido Reni. Edited by Emilio Negro and Massimo Pirondini. Modena, 1992: 119, 126, color pl. 121.
1996
De Grazia, Diane, and Eric Garberson, with Edgar Peters Bowron, Peter M. Lukehart, and Mitchell Merling. Italian Paintings of the Seventeenth and Eighteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1996: 41-42, repro. 43.
Technical Summary

The support consists of two pieces of fabric joined by a vertical seam about 22 cm from the left edge. The red-brown ground is extremely thin. The composition was laid out with broad strokes of black and white paint that are more evident in infrared photographs than to the naked eye. The stroke of white visible in the saint's right sleeve is one of these initial strokes and was covered over by the now abraded red of the sleeve. Other such strokes are visible in the saint's shoulders and elsewhere. The image was finished with fluid paint rich with medium and blended on the surface, often without brushmarks. The pigments are coarse and granular.

The tacking margins have been removed, but cusping is present along all sides. The paint is badly abraded throughout and the surface texture has been altered through excessive heat and pressure in a past lining. Inpainting is concentrated along the seam, at the edges, and around the heads and shoulders of the figures. The varnish is considerably discolored. The painting, which was lined at an unknown date, has not been treated since acquisition.