The painting of large architectural scenes with figures became popular in 17^th-century Italy, mainly thanks to the mastery in that field of Bergamo-born painter Viviano Codazzi (1604-1670). These two scenes have traditionally been considered the work of one of his followers, Vicente Giner, a Spaniard living in Rome. However, both canvases show notable differences from his documented works and must be attributed to a different hand, although directly inspired by the style of Codazzi. Both works, especially Landscape of Ruins with Game of Bowls, can be considered as direct derivations of the many capricci architettonici by Codazzi and his school, specifically those resulting from his work with Michelangelo Cerquozzi (1602-1660).

The main reason for questioning the attribution to Gener, two very similar works by whom are held in the Banco de España Collection, is the openly asymmetric layout, where the classic rhythm of attitudes and movement is animated by a certain conventional play that draws far more on contemporary genre painting than on the Poussin tradition, close to the severe, monumental symmetry of Giner’s works. In one of the canvases a group of gentlemen are playing bowls; in the other, pageboys can be seen playing cards while a group of ladies stroll along in conversation and a horse rider seems to be returning from hunting. This is grounds for associating the pieces with one of the many bamboccianti painters, lovers of anecdote and mannerism, who flourished in Rome in the 17^th century. The technique, which is less careful than Giner’s, and the courtly garments in the French Style suggest that these are paintings by a minor artist, perhaps from Northern Europe, who was also interested in perspectives and genre painting.

Commentary updated by Carlos Martín.

Alfonso Pérez Sánchez