The dream of Joseph

Etching, about 1635-1637, signed in the plate at the end of the dedication.

Example in the second state of two, with the address of Giovan Gioacomo de Rossi.
Magnificent proof, on on contemporary laid paper, with wide margins, in excellent condition.

The etching is the second dream of Joseph, narrated, like the first, in the Gospel of Matthew (2:13).

The explanation of the subject is provided by the same head in the dedication to his patron Cassano del Pozzo: an angel again appeared in a dream to Joseph to tell him the Massacre of the Innocents ordered by Herod, and invite him to flee to Egypt. In the scene, however, are combined other themes: Jesus is represented as a child, next to the Virgin, embracing the Cross, supported by Magdalene and angels, while all around are depicted the Innocents. On the cross, God the Father and the figure of a dove, the symbol of the holy spirit, so to complete the Holy Trinity. In this way, through the expedient of the dream, I remember all the important phases of the Gospel: the Annunciation, the Massacre of the Innocents, the Escape and the Crucifixion. The interpretation of the Flight into Egypt as the beginning of the cross was not unusual in Christian writings of the period, in which the children killed by Herod was regarded as the first martyrs in the name of Christ.
A similar combination of themes is found in two versions of the Flight into Egypt by Nicolas Poussin, painted respectively in 1629 and in 1634.
This work Lucchesino, belongs to a group of inventions of maturity including Venus and Adonis but also an allegory dedicated to the arrival of Cardinal Franciotti in Lucca, certainly dating back to the 1637's the only work of the Head Cassano dedicated to the Well, particular that has been put in connection with the detention of the artist Tor di Nona in 1637, before following Franciotti in Lucca.

They keep several preparatory drawings for this work that he met great popularity, as evidenced by the numerous copies that were drawn.

Pietro Testa was called Lucchesino for he was born in Lucca. There are but a few news about his apprenticeship in his hometown; for sure, he went to Rome in 1629 to study in the school of Domenichino first and then, towards the end of the year, he moved to the studio of his real master, Pietro da Cortona. His introvert temper caused him a lot of troubles; Cortona, in fact, was obliged to send him away due to his hostile and disdainful behaviour.

Testa went then to the house of his first patron, the famous collector Cassiano del Pozzo, and for him he realized his drawings from antiques. Maybe it was in this house that he met Nicolas Poussin who deeply influenced his art both in the neo-Venetian phase and the intellectual classicist one, from 1635.

His engravings though, about 40 pieces, have been considered, starting from Sandrart and Bladinucci, the most important graphic works of the Italian XVII century.