Madonna with Saints Francis and Anthony by Francesco Francia

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Madonna with Saints Francis and Anthony, Francesco Francia, ca. 1500

Francesco Francia (born Francesco di Marco di Giacomo Raibolini, 1447–1517) was an Italian painter, goldsmith, and medallist from Bologna, where he also served as director of the city mint. He may have trained under Marco Zoppo and appears in records as a painter from 1486 onward. His earliest known signed painting, the Felicini Madonna of 1494, demonstrates his early partnership and stylistic affinity with Lorenzo Costa, as well as the influence of Ercole de’ Roberti. After 1505, Francia’s work shows the gentle clarity and devotional calm associated with Perugino and the young Raphael. He maintained a large and active workshop, training artists such as Marcantonio Raimondi and Ludovico Marmitta. Though Vasari once claimed that Raphael’s Saint Cecilia so overwhelmed Francia that it caused his death from despair, this anecdote is now dismissed, given documented friendship and mutual respect between the two artists. Francia died in Bologna, and his sons Giacomo and Giulio continued his artistic legacy.

In this composition, the Virgin Mary sits enthroned at the center, holding the Christ Child, forming the spiritual and visual focal point of the scene. To her left kneels Saint Francis of Assisi, his arms crossed over his chest in a gesture of humility and devotion. The wounds of the stigmata are visible on his hands, and he holds a small crucifix, emphasizing his profound identification with the suffering of Christ. On the right kneels Saint Anthony of Padua, who lifts his gaze toward the Virgin and touches his heart with his right hand. In his other hand, he holds a single, slender stem topped with three lily blossoms, symbolizing purity, contemplation, and the flowering of divine grace.

The direction of the figures’ gazes creates a subtle and expressive spiritual dialogue: Francis looks tenderly toward the Christ Child, the Child returns his gaze, Anthony looks to the Virgin in reverence, and the Virgin herself meets the eyes of the viewer, extending the devotional moment outward. The kneeling saints and the enthroned Madonna establish a balanced triangular composition, characteristic of Francia’s mature serenity and gentle surface harmony.

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This original image is in the public domain, however, the file now offered is a manually restored version of this artwork, in a higher resolution. Manually restoration was necessary in order to improve quality, without covering the original image. Imperfections due to historical aging of the source may still be present.