"Mercury And The Head Of The Medusa, Lombard School, Around 1680."Mercury and the head of the Medusa, according to Annibal Carracci. Lombard school of the second half of the XVIIth century. Sold with a certificate of authenticity Oil on wood (poplar 36cm x 62cm, oval format) and its period frame in gilded wood (48cm x 73cm). This oil on wood represents Mercury and the head of Medusa. This representation of the narrative of the Metamorphoses of Ovid is taken from the work of Annibal Carrache. He deals with this subject in a fresco made at the Palazzo Farnese between 1595-1596. Annibale Carracci, born in Bologna (Emilia-Romagna) 1560 and died in Rome in 1609, was born in Bologna (Emilia-Romagna). This painter is well-known for his fresco work such as the decor of the Camerino and the gallery of the palace Farnese. Most art historians believe that this gallery really poses the first milestone in modern painting. Annibale Carracci was called to Rome by Cardinal Édouard Farnese to decorate his famous palace overlooking the Tiber. The iconography of the gallery can be surprising. In general, in this place of honor par excellence of the Roman houses, one decorates a gallery representing the great moments of the family, or heroic legends attributed to the sponsor. Here, however, the unusual theme for a cardinal is the universal dominion of love. This iconography could be linked to the marriage between the Duke of Parma and Margaret Aldobrandini in 1600, and should be considered as an epithalam (Poem or song composed at the occasion of a wedding to celebrate the newlyweds). However, there are many other interpretations. The panel of poplar wood (widely used in Italy) was thinned in an old era (appearance of the network of xylophagous insect gallery) and reinforced by two sleepers. This treatment is intended to prevent the panel from flexing. A later inscription (in black and handwritten ink) indicates that the panel had to be preserved in the region of the Loire-Atlantique: "Painted by Annibal Carracci of bologna 1560-1609 was engraved by CC.Cesius see in the library of Nantes, the 13th of the Lombard School No. 212 "The fresco was in fact engraved by Carlo Cesi, sometimes called Carlo Cesio (1622-1682) and published in 1657. This engraving is carried out in the good sense of unlike that of J. Belli, made in 1641. It certainly served as a model for the anonymous painter who realized our painting. It is interesting to note that only the drawing is respected here by the author of the painting. If one compares the colors of our panel to the fresco, one can notice that the color is different. If we pay attention, in our version, the soldiers who are going to be petrified are not yet. They are always made of flesh and blood. The author of this painting probably did not know the layout of the different colors. This particularity makes our version tasty and singular.