The work can be read in two different ways: The first reading, the holy one, the upper half and the second one, the earthen in the lower half. It is a natural landscape made of an outline of mountain and a far horizon which houses the two mighty figures, the saints Peter and Paul, laid in the foreground. The saints position reminds the earthen origin of the mankind which, following Christ’s words can get the divine blessing. They are in a natural landscape embraced by a weak light, a chiaroscuro which represents the precarious human nature split between good and evil. The first one, on the left of the painting, looks the observer showing him the way to the heaven with his hand holding a key. His face like his hand, embraced by the Holy Mary’s light put in evidence his holy being. Saint Paul, looking at the sky is amazed and touched by the Divine Call. He holds a sword representing his past, and a book representing his new life, Paul appears as the most honest example of mankind, able to choose good and rejecting evil. In the upper half of the work we can see the Assumption of the Holy Mary blessed by a light which suggest us a divine and heavenly nature. That divine light prevails the weak dark one, it’s the symbol of the victory of God over the darkness and guides who wishes to achieve the eternal life. This holy light allows the observer to see the angels ‘chorus in the circle. From this picture we can deduce the natural tendency of the human beings to acknowledge the eternal’s mystery. Brief history: We can locate the painting between the Classical age and Baroque age. In the beginning it was assigned to the Maratta’s school but nowadays it’s assigned to Mariano Rossi. We don’t know who ordered the painting but we know that it was realized for the Cathedral of Nicastro aimed to keep alive the bond between the city and the Holy Mary and, at the same time, between the city and the two Saints Peter and Paul that are the patrons of the city. At the bottom of the painting there is a fragmental inscription which suggest that at the end of the 18th century, Monsignor Carlo Pellegrini built and adorned the Chapel which nowadays houses the painting.
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