Christ Child Holding Wreaths

With the Baroque, for the first time there is a distinction between art and religious art. The distinction arose from the Counter-Reformation’s claim of an incompatibility between aesthetic and religious experience, and emphasis upon efficacious but practically styleless imagery. In the 17th century, with the devices of the new naturalism brought to bear, but offset by quotation of venerable devotional images and by seemingly impersonal execution, devotional potency could be enhanced supposedly without aesthetic distraction. This fiction would flourish in the most refined circles during the period, and of course last to the present day in certain contexts. Dolci was, with Sassoferrato in Rome, the greatest exponent of this pietistic style. His technique was staggering, his references to Correggio conspicuous, and his personal devoutness apparently unassailable. Tremendously popular, his works also gave rise to innumerable replicas and copies. The Christ Child with Garlands of Flowers is Dolci’s most famous devotional image. A large scale version on canvas and dated 1663 (Thyssen Collection) is assumed to be primary version. There are many others of various formats and dated as late as 1680. Especially close to the Thyssen version, the present picture has often been called a sketch for it, but some deem it a workshop copy (and all have mistakenly described its support as copper). In fact, of extraordinary finish and quality, the picture is a completely autograph replica. Just revealed by a cleaning of the panel’s reverse, the Jesuit’s emblem IHS and the inscription VENI CORONABERIS—“come in order to be crowned”—explain an object created for the most devout contemplation.