The Temptation of St. Anthony.
A classic subject of Christian iconology, for work that is truly an enigma. Painted in tempera on wood, sketched with no apparent plan of preparation. The hand is of great quality, especially as the figure of the saint, with a much freer, olegrafico, anecdotes and popular in the figures of demons and the Savior. Apparently for compositional style ra pportabile between the last decade of the sixteenth century. the first three decades of the seventeenth century.
Much more complex is the source of the work experience in Eastern Europe, as the accompanying note, but reported a general reference to the origin of the Iberian Peninsula (sic).
An issue that is not some loose language used by a comment and not understandable, or at least able to afford adiverse interpretations. Clearly derived from Latin, but with variants of the vernacular that were not included.
"istoriacomoaquale aronlodemonions .... that seem written in greek
then written a readable as Antonio (with syllabic variant) and a signature is not encrypted (San. .. binsobis ...). The reference is clearly to Sant'Antonio Abate, but recall the words semprebbe St. Anthony of Padua.
The speed of execution and the lack of preparation suggests a realization of the project, perhaps a monastic area, or an artist visiting or traveling.
The table has been supports rifornzarzata, probailmente a century later, with side cross.
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