The present torchères compare well with Maragliano’s Madonna del Rosario, in the parish church of San Desiderio, Genoa, illustrated by Pagano (op. cit. p. 258, fig. 357). The drapery falls in thick, uneven folds while the postures of the figures are neither uniform nor balanced. The faces are carved in a delicate manner, with soft features, but with boldly striated hair and curls: their placid expressions contrast with their more animated movement. The composition is similar to Maragliano’s Annunciation, in the oratorio del Cristo Risorto, Savona: in this, the Angel Gabriel is similarly supported by gesturing putti, who balance on a cloud formation, as the equivalent of the rocky terrain in the present sculpture (see Pagano, op. cit. p. 268, fig. 375).
F. Pagano (ed.), La Scultura a Genova e in Liguria. Dal seicento al primo novecento, Genoa, 1987, vol. ii, pp. 258, 265-270
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