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Pl. III, fig. XL. 8 Roberto Longhi (F. Zeri, La Galleria Spada, Florence, 1954, p. 89, no. 289, fig. 108) attributes the Sta. Maria in Aquiro paintings to an unknown foliower of Honthorst, the same painter who executed the Taking ofChrist in the Galleria Spada, Rome. The author can see little connection between the Spada painting and tllose in Sta. Maria in Aquiro and has placed the Spada picture in the group attributed to Crijn Hendricksz. Volmarijn [J. R. Judson, "Possible Additions to Crijn Hendricksz Volmarijn," OudHolland (Mededelingen R.
6) In both works the principal figure is solid, three-dimensional and naturalistic. This altarpiece of 1618 represents a step further along in the development of form based upon nature as the model. The bone structure of the figures in both paintings is carefully portrayed with the help ofillumination, but there is one difference. Whereas in the Crowning with Thorns the light falls with all of its 1 Though one can see the beginnings of this in the angel carrying the torch in The Lamentation, Honthorst is still rather distant from the young Jesus in the Montecompatri painting, the angel to the left in the Uffizi Nativity and the doctor's assistant in the 1622 Dresden Dentist; to name but a few.
Paul was ordered by Cardinal Scipione Borghese, who had restored Santa Maria della Vittoria and wished to present the priests with a new altarpiece. 2 We have no written documents giving a 1 When one compares the Palazzo Patrizi painting with a Lamentation in the Borghese Gallery, Rome, painted upon slate and accepted as Turchi, one sees a certain affinity between the two works. The refined character of Christ's face, His elegant hair and beard, the knotty musdes of the body over which the light plays, are executed in a similar manner in both paintings.