Architectural Italian Capriccio Landscape with Figures, 17th Century; Circle of Viviano Codazzi (C.1604-1670)

This exquisite large-scale work represents a type of painting that was popular in Rome during the last half of the seventeenth century. This highly atmospheric painting features the account of Christ and the centurion, amongst classical ruins and other local denizens. The combination of the classical ruins and small figures portray the expansiveness of the architecture and scene - and the work is demonstrative of the artist’s ability to transcend the talent of perspective.

Healing the Centurion's servant is one of the miracles said to have been performed by Jesus. According to these accounts, a Roman Centurion asks Jesus for his help because his servant is ill. Jesus offers to go to the centurion's house to perform a healing, but the centurion hesitates and suggests that Jesus' word of authority would be sufficient. Impressed, Jesus comments approvingly at the strong religious faith displayed by the soldier and grants the request, which results in the servant being healed the same day.

Viviano Codazzi (c.1604-1670), also known as Viviano Codagora or Codagora, was among the most important exponents of seventeenth-century architecture and capricci painting, and one of the genres greatest innovators. A native of Bergamo, around 1620 he left his native city and worked in Rome. From 1634 he was working in Naples and established himself in producing easel paintings, frequently in collaboration with Domenico Gargiulo (Codazzi painted the architectural perspectives and landscapes with ruins, and Gargiulo executed the figures). He also asserted himself as a capable quadraturista painting large-scale perspectives. Around 1648 Codazzi settled in Rome where his paintings became increasingly monumental and ‘classical’ and they began to be enriched with greater pictorial and atmospheric effects. Influenced by the tradition of renaissance perspective and the latest style of painting, he collaborated with painters from the circle of mainly Dutch and Flemish painters active in Rome. Viviano Codazzi initiated a new kind of view, in which the ancient ruins were represented with geometric precision and with dramatic effects of light and shade. Viviano had a strong influence on Canaletto and Bernardo Bellotto. His sons Niccolò (1642-1693) and Antonio were also painters.

The present painting is a characteristic example of the production of Domenico Roberti – he is likely its author (Codazzi had several close followers, including Domenico Roberti). Roberti´s characteristic handling and treatment of composition is one reflected in the depiction of the architecture with the streaky treatment of the blocks of masonry. Furthermore, the frontal view of the Pantheon-like building is a common motif in Roberti’s work. The figures are by another hand, as was common in architectural pictures.

Domenico Roberti is thought to have been born around 1642, and died in 1707. He was accepted as Accademico di Merito at the Accademia di San Luca in 1688. He was also a member of the Congregazione dei Virtuosi al Pantheon from before 1700 until 1706 where he was quite active, being maestri dei novizi from 1701-1703 and in 1704 elected Regent (reggente). In 1705 he became primo aggiunto, a post he held until 1706. He is not mentioned again and presumably he fell ill or died at that point. Two paintings in the Galleria Spada are documented in payments of 1703.

Held in a fine good quality antique frame.

We are grateful to Professor David Marshall for confirming the attribution on the basis of photographs.

Measurements: Height 142cm, Width 106cm framed (Height 56”, Width 41.75” framed)

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