Beskrivning: Se beskrivning i den engelska versionen.

Catalogue raisonné: Description in Italian Paintings: Three Centuries of Collecting, Nationalmuseum, Stockholm, 2015, cat.no. 111: 

FORMER INV. NOS.: 68 (B. 1830s); KM 1058.

TECHNICAL NOTES: The support is a piece of twill-weave linen
fabric. It has been lined with glue and mounted on a non-original
stretcher. The ground is beige. There are scratches in the paint layer
and many old retouches. The varnish is yellowed. Documented
restorations: 1947: Cleaning and varnish. 1977: Stretched. Cleaning.
Varnish.

PROVENANCE: Byström 1852.

BIBLIOGRAPHY: Borsetti 1670, p. 48; Brisighella 1704–27 (ed.
1991), pp. 115–116; Baruffaldi 1720 (ed. 1846), vol. II, p. 84; Scalabrini
[c. 1755], p. 32; Barotti 1770, p. 65; Scalabrini 1773, p. 57; Cittadella
1783, III, p. 91; Frizzi 1787, p. 97; Petrucci 1844–46 [1848], II, p. 84;
NM Cat. 1867, p. 12 (as Scarsella); Sander 1872–76, IV, p. 111, no. 7 (as
Scarsella); Göthe 1893, pp. 294–295; Sirén 1928, p. 31; Novelli 1955,
pp. 29, 69, fig. 52; NM Cat. 1958, p. 181 (as Scarsella, manner of);
Novelli 1964, p. 42, cat. no. 180; Mezzetti and Mattaliano 1981, II,
p. 49; NM Cat. 1990, p. 327 (as Scarsella, manner of); Novelli 1991,
pp. 115–116, no. 1; Giumanini 1999, pp. 85, 184, (doc. 1), 197 (doc. 5);
Ghelfi 2005, pp. 263, 267.

The present work was originally the altarpiece in
the small church of Santa Croce in Ferrara. The
church was granted to the inquisitors in 1614 and
subsequently called the Oratorio della Crocetta
dell’Inquisizione. The last time the painting was
recorded as located in the church was in 1787. In
1798, during the time of the Napoleonic requisitions,
it was listed as a work of precious artistry
singled out for special protection. It was subsequently
“lost” until it resurfaced as part of the
Byström Collection. The painting shows the Byzantine
emperor Heraclius carrying the great relic,
which had fallen into the hands of the Persians,
back to Jerusalem in the year 629. Considering its
subject, Maria Angela Novelli views the painting
as perhaps the best example of the spirit of the
Counter-Reformation in Scarsellino’s oeuvre.¹
dp
1 Novelli 2008, pp. 181, 315, cat. no. 158. [End]

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Ippolito Scarsella | Kejsar Heraclius bär korset till Jerusalem | Nationalmuseum

Ippolito Scarsella | Emperor Heraclius Carrying the Cross to Jerusalem | Nationalmuseum

Titel (sv): Kejsar Heraclius bär korset till Jerusalem
Titel (en): Emperor Heraclius Carrying the Cross to Jerusalem
Titel (en): The Emperor Heraclius Carrying the Cross to Jerusalem

Title (sv): Kejsar Heraclius bär korset till Jerusalem
Title (en): Emperor Heraclius Carrying the Cross to Jerusalem
Title (en): The Emperor Heraclius Carrying the Cross to Jerusalem