The painting is an allegory of the crowning of the young Grand Duke Ferdinando II. His father died in 1621 while the prince was still a child, and he became Grand Duke on coming of age in 1629. His mother Maria Maddalena of Austria and his grandmother, Cristina of Lorraine acted as regents during this lengthy period.
Paintings in Galleria Palatina (Palazzo Pitti) Florence
D’Ancona moved to Paris in 1868, the year the composer of such famous operas like the Barber of Seville and Cinderella died. This posthumous portrait of Rossini, who spent several decades in the French capital where he was known for his sharp wit, appears to have been executed from a photograph, as its oval format may indicate. In the wave of renewed Italian nationalism, the painting may have been intended as a symbolic gesture to bring the Italian composer back to his native country.
This is an early work of the artist. Featuring the Virgin adoring the Child with the help of an angel who hands him some of the instruments of the Passion, it is formally rather weak in its awkward spatial and figural relationships.