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Lot Essay
Francesco Bertos has long been an established artistic figure of the 18th century, not least because of his highly recognisable style. Often composed of multiple figures in seemingly weightless poses, his complex groups are also often arranged to provide dramatic silhouettes. However, our understanding of Bertos' oeuvre and his significance in 18th century Venice have recently been promoted by the appearance of a monograph devoted to him by Charles Avery. Avery fleshes out the details of Bertos' life and stresses the importance of his patrons, including the aristocratic Venetian Antonio Manin and Field Marshal Johann Matthias von der Schulenburg. More importantly, the book brings together all Bertos' known compositions in marble and bronze.
Among these, it becomes clear that there is a small but significant number of devotional works of art including the present two bronzes. Representing Ignatius Loyola and Francis Xavier - two of the founding fathers of the Jesuit Order - they stand out even among the devotional works as the only known portraits of this type. Described by Avery as 'unparalleled', each figure stands in a graceful contrapposto and has been cast and finished to create a surface with great vivacity. Loyola points to a book being held by a cherub at his side which is inscribed with the latin for 'To the Glory of God, Founder of the Society of Jesus'. Francis Xavier - flanked by a cherub holding a crucifix - holds his hand to his breast and looks heavenward. As Avery points out, their impressive scale suggests that they may have originally adorned a large reredos in a Jesuit church where their gestures and dramatic silhouettes could inspire the faithful. It may be that other bronze saints by Bertos remain undetected in the churches of the Veneto but, to date, the present two figures are the only pair to have surfaced.
Among these, it becomes clear that there is a small but significant number of devotional works of art including the present two bronzes. Representing Ignatius Loyola and Francis Xavier - two of the founding fathers of the Jesuit Order - they stand out even among the devotional works as the only known portraits of this type. Described by Avery as 'unparalleled', each figure stands in a graceful contrapposto and has been cast and finished to create a surface with great vivacity. Loyola points to a book being held by a cherub at his side which is inscribed with the latin for 'To the Glory of God, Founder of the Society of Jesus'. Francis Xavier - flanked by a cherub holding a crucifix - holds his hand to his breast and looks heavenward. As Avery points out, their impressive scale suggests that they may have originally adorned a large reredos in a Jesuit church where their gestures and dramatic silhouettes could inspire the faithful. It may be that other bronze saints by Bertos remain undetected in the churches of the Veneto but, to date, the present two figures are the only pair to have surfaced.