Galleria Borghese logo
Search results for
No results :(

Hints for your search:

  • Search engine results update instantly as soon as you change your search key.
  • If you have entered more than one word, try to simplify the search by writing only one, later you can add other words to filter the results.
  • Omit words with less than 3 characters, as well as common words like "the", "of", "from", as they will not be included in the search.
  • You don't need to enter accents or capitalization.
  • The search for words, even if partially written, will also include the different variants existing in the database.
  • If your search yields no results, try typing just the first few characters of a word to see if it exists in the database.

Madonna and Child with The Infant Saint John the Baptist

Scope of Schedoni Bartolomeo

(Modena 1578 - Parma 1615)

The painting appears for the first time in the 1790 inventory as the work of Bartolomeo Schedoni, an Emilian artist whose career was closely tied to the ducal courts of Modena and Parma where the artist moved in 1607.

In his approach to handling the material quality of the paint, the work is very similar to a number of small devotional paintings made by the artist in Emilia, although critics are not unanimous regarding the autography.

Object details

1607-1610 circa
oil on panel
cm 29 x 23

Nineteenth-century frame


Rome, Borghese Collection, 1790 (Inv. 1790, room X, no. 45); Inventario Fidecommissario, 1833, p. 20; purchased by the Italian State, 1902

Conservation and Diagnostic
  • 1903-1905 Luigi Bartolucci (disinfestazione dei tarli).


This panel painting is first documented in the Borghese Collection in 1790, listed in the inventory for that year as a work by Bartolomeo Schedoni, an attribution accepted by both Giovanni Piancastelli (1891) and Adolfo Venturi (1893). This name was questioned for the first time by Vincenzo Moschini (1927), followed in 1928 by Roberto Longhi who instead favoured the idea of a master from Emilia who worked in a style close to that of Michelangelo Anselmi, Ercole Setti and Giambattista Tinti.

In 1955, agreeing with an opinion expressed orally by Luigi Grassi, who believed that the painting was made by Schedoni working in a style close to that of Parmigianino, Paola della Pergola published this Holy Family as a work by Schedoni, an attribution repeated by Kristina Herrmann Fiore (2006) although there is no mention of the work in the two monographs on the artist (Cecchinelli, Dallasta 1999; Negro, Roio 2000).

The painting is certainly close to Schedoni’s milieu, in that it is similar in composition and style to numerous small-format devotional paintings made by the artist in Modena and Parma, like the Holy Family in a private collection (Negro, Roio 2000), of which the panel painting has been considered a copy (Pallucchini 1945).

Antonio Iommelli

  • M. Vasi, Itinéraire, Paris 1792, p. 396; 
  • G. Piancastelli, Catalogo dei quadri della Galleria Borghese, in Archivio Galleria Borghese, 1891, p. 100; 
  • A. Venturi, Il Museo e la Galleria Borghese, Roma 1893, p. 159; 
  • V. Moschini, Bartolomeo Schedoni, in “L’Arte”, XL, 1927, p. 148; 
  • R. Longhi, Precisioni nelle Gallerie Italiane, I, La R. Galleria Borghese, Roma 1928, p. 207; 
  • R. Pallucchini, I dipinti della collezione Estense, Roma 1945, p. 65, n. 890
  • P. della Pergola, La Galleria Borghese. I Dipinti, I, Roma 1955, p. 68, n. 120; 
  • C. Cecchinelli, F. Dallasta, Bartolomeo Schedoni pittore emiliano. Modena 1578 Parma 1615, Parma 1999; (assente)
  • E. Negro, N. Roio, Bartolomeo Schedoni 1578-1615, Modena 2000, pp. 109-110; (assente)
  • K. Herrmann Fiore, Galleria Borghese Roma scopre un tesoro. Dalla pinacoteca ai depositi un museo che non ha più segreti, San Giuliano Milanese 2006, p. 104.