Lot Essay
The subject of this canvas is taken from Gerusalemme Liberata, Torquato Tasso’s epic poem from 1581 that follows the vicissitudes of the warring Christians and Saracens. Erminia, the daughter of the Saracen King, is shown encountering a shepherd and his family, while she searches for the injured Tancred. In order to avoid detection she has disguised herself in armor, and the shepherd thus mistakes her for one of the knights fighting in the Crusade.
This painting was first attributed to Francesco Cozza and dated to circa 1670 by Erich Schleier in 1974 (see Christie’s, London, 9 July 1999, lot 69), a view which has subsequently been confirmed by Francesco Gatta (dates to circa 1670-75; written communication, 9 December 2024) and Francesco Petrucci (dates to circa 1670-75; written communication, 10 December 2024) on the basis of digital images. The latter notes its proximity to the artist’s Finding of Moses (Istitui di Santa Maria in Aquiro, Rome), Esther and Ahasuerus (Private collection, Palo Alto, California), and Triumph of David (Private collection).
The luminous skies, carefully modulated light, and balanced spatial arrangement of Erminia reveal the influence of Nicolas Poussin, particularly his frieze-like compositions from the 1630s. Cozza's integration of landscape and narrative was further shaped by his exposure to Pier Francesco Mola, with whom he collaborated on fresco at Palazzo Pamphilj in Valmontone. While Mola's lyrical naturalism influenced Cozza's approach, Cozza’s compositions retain a stricter classical restraint.
This painting was first attributed to Francesco Cozza and dated to circa 1670 by Erich Schleier in 1974 (see Christie’s, London, 9 July 1999, lot 69), a view which has subsequently been confirmed by Francesco Gatta (dates to circa 1670-75; written communication, 9 December 2024) and Francesco Petrucci (dates to circa 1670-75; written communication, 10 December 2024) on the basis of digital images. The latter notes its proximity to the artist’s Finding of Moses (Istitui di Santa Maria in Aquiro, Rome), Esther and Ahasuerus (Private collection, Palo Alto, California), and Triumph of David (Private collection).
The luminous skies, carefully modulated light, and balanced spatial arrangement of Erminia reveal the influence of Nicolas Poussin, particularly his frieze-like compositions from the 1630s. Cozza's integration of landscape and narrative was further shaped by his exposure to Pier Francesco Mola, with whom he collaborated on fresco at Palazzo Pamphilj in Valmontone. While Mola's lyrical naturalism influenced Cozza's approach, Cozza’s compositions retain a stricter classical restraint.