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<object xmlns:xs="//www.w3.org/2001/XMLSchema"><field label="PrimaryMedia" name="primaryMedia"><value>/internal/media/dispatcher/13758/full</value></field><field label="Registration Number" name="invno"><value>FAS/D/235</value></field><field label="Title" name="title"><value>St Catherine of Alexandria disputing with the Fifty Philosophers</value></field><field label="Classification(s)" name="classifications"><value>Art / Drawings</value></field><field label="Period" name="period"><value>Late 16th - Early 17th century</value></field><field label="Date" name="displayDate"><value>c. 1580-1630</value></field><field label="Begin Date" name="beginDate"><value>1580</value></field><field label="End Date" name="endDate"><value>1630</value></field><field label="Primary Maker" name="primaryMaker"><value>Giovanni Balducci</value></field><field label="Artist / Maker / Culture" name="people"><value>Giovanni Balducci</value></field><field label="Width" name="width"><value>15.7000000000</value></field><field label="Description" name="description"><value>The scene depicted shows St Catherine of Alexandria, in the centre, a highly intelligent and devout Christian woman, disputing with fifty pagan philosophers, featured behind her, at the request of Emperor Maxentius, who is the second figure on the left, seated on a throne. The emperor hoped to convince her to renounce her faith, but Catherine's eloquent arguments and conversion of the philosophers instead led to her own martyrdom. </value></field><field label="Height" name="height"><value>17.3000000000</value></field><field label="Curatorial Remarks" name="curatorialRemarks"><value>Balducci's drawing was formerly attached to the verso of Mattia Preti's 'St Firminius' (FAS/D/234), a larger sheet which may have acted as a support for this drawing. The drawings were separated in 2023 during conservation treatment.
Stylistically, the drawing is mannerist and several similarities can be observed with drawings by the Zuccari, Naldini and Balducci. The light, spirited pen-and-wash technique over an energetic graphite underdrawing aligns more closely with Balducci’s compositional drawings than with those of his teacher, Naldini, whose works in the same medium display a heavier touch, more angular lines, and a more pronounced influence from his own artistic predecessors, Pontormo and Vasari.</value></field><field label="Provenance" name="provenance"><value>Acquired for the museum in 1933 from an unknown private collection in Malta. </value></field><field label="Dimensions" name="dimensions"><value>Support: 17.3 x 15.7 cm</value></field><field label="Museum" name="department"><value>MUŻA</value></field><field label="Location" name="locations"><value>Reserve Collection</value></field><field label="Alternate ID Numbers" name="altNums"><value>15723-4</value><value>HMZA 00023</value><value>52677</value></field><field label="Public Access" name="onview"><value>0</value></field><field label="Object Type" name="textEntriesObjecttype"><value>Drawing</value></field><field label="Published References" name="pubreferences"><value>M.A.R. (1933-34), p.xviii/M18, no.70
Giovanni Bonello, 'A Drawing by Filippo Paladini discovered?', in Treasures Of Malta, Christmas 2003, No 28, Vol X, No 1, pp. 13-17 - attributed to Filippo Paladini</value></field><field label="Node" name="node"><value>Heritage Malta</value></field><field label="Source ID" name="sourceId"><value>1194</value></field><field label="Material" name="textEntriesMaterial"><value>Pen and brown ink with wash over graphite on laid paper</value></field><field label="Technique" name="textEntriesTechnique"><value>Drawing</value></field><field label="Extent" name="textEntriesExtend"><value>1 sheet</value></field><field label="Place of Manufacture" name="textEntriesPlacemade"><value>Italy</value></field></object>