Both the present example and the more commonly depicted version of the story, see for example the canvas in the National Gallery of Ireland, are both treated with Giordano’s signature warm coloring and free, loose brushwork. As with the National Gallery canvas, this work can be dated to Giordano's early maturity, circa 1655-1660. By this point in his career, Giordano had moved away from emulating the heavily Neapolitan technique of his teacher Jusepe de Ribera, and begun to incorporate the lush coloring and rapid paint application made popular by Titian and, later, Peter Paul Rubens.
We are grateful to Giuseppe Scavizzi for endorsing the attribution to Giordano, based on photographs.
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