Bernardino Lanino
Meeting between the baby Jesus and the young San Giovanni
Oil on canvas, 44.5x34.5cm
Private collection
Inscription: "Bernardinus Laninus 154..."
on the rock, under Jesus' left leg.
L’opera, esposta al pubblico per la prima volta, è stata trasportata dalla tavola alla tela ad una data imprecisata e l’eliminazione del supporto ligneo, probabilmente deteriorato, ha consentito di mantenerla in buono stato di leggibilità. Illustra un tenero episodio tramandato dalla tradizione cristiana, ma non dai Vangeli, relativo ad una leggendaria sosta di Maria, Gesù e Giuseppe, avvenuta durante il viaggio di ritorno dopo la fuga in Egitto, che diede modo ai due cuginetti di incontrarsi: il Battista era cugino di Gesù, essendo figlio di Elisabetta - a sua volta cugina di Maria Vergine - e Zaccaria, anziani coniugi che ebbero il loro unico figlio per effetto miracoloso. Nel dipinto l’immagine del corpo teneramente ignudo del figlio di Dio fattosi uomo (riconoscibile nell’infante seduto a destra), corrisponde a una precisa esigenza devozionale giacché è un espediente pittorico diffuso nell’iconografia cristiana, indispensabile per svelare ai fedeli la duplice natura del bambino: quella divina, dichiarata dalla luminosità emanata dall’aureola dorata e dal suo corpo, e quella terrena, parimenti testimoniata dalla sua nudità innocente. Giovanni Battista è considerato invece il precursore di Cristo poiché una volta cresciuto si dedicò ad un’esistenza da eremita nel deserto, predicando la conversione e battezzando i suoi discepoli sulle rive del fiume Giordano, tanto che anche il Messia si recò presso di lui per ricevere il battesimo; la piccola croce sul terreno corrisponde ad uno dei principali attributi iconografici di San Giovannino, perché su di essa è avvolto generalmente il bianco cartiglio (qui assente), con scritto “Ecce agnus Dei, ecce qui tollis peccata mundi (Ecco l’agnello di Dio che toglie i peccati dal mondo)”. Non va trascurato poi che nei delicati volti di Gesù e del Battista potrebbero celarsi i ritratti di due bambini appartenenti alla famiglia dell’ignoto committente. Secondo la tradizione cristiana Giovanni nacque sei mesi prima di Cristo, ciononostante Bernardino Lanino ha effigiato i divini infanti come se fossero due gemelli; tale licenza pittorica fu usata credibilmente per richiamare alla mente l’eponimo terzo segno dello zodiaco: quello dei Gemini, anticipatore del Solstizio d’Estate e considerato alchemicamente simbolo di dualità, ambiguità della realtà, di unione degli opposti interiori ed esteriori.
In the rock, under the left leg of the Savior, we can read the signature "Bernardinus Laninus", written in beautiful gothic notarial characters, and the date with the last digit which is difficult to decipher (perhaps a "0"); the latter however allows placing the execution of theMeeting between the baby Jesus and the young San Giovanni nella piena maturità del maestro, il cui percorso artistico ed esistenziale è stato ricostruito da Romano (1986). Lanino raggiunse una posizione professionale di spicco nei territori attorno a Vercelli, dove si era maritato con una delle figlie del pittore Gerolamo Giovenone, sicché ricevette importanti incarichi anche da Novara, Milano, Legnano e Busto Arsizio. Commissioni impegnative che testimoniano la sua partecipazione attiva all’interno della migliore cultura figurativa piemontese e lombarda, da cui aveva derivato i caratteri precipui della sua arte, intensa, espressiva e classicheggiante, che proprio all’apice della maturità andò a fondersi col suo peculiare leonardismo: anche l’origine di questa composizione risale infatti a delle invenzioni di Leonardo da Vinci. Bernardino fu inoltre un eccellente disegnatore e spesso eseguì dei disegni preparatori da cui trasse ispirazione.
The meeting between baby Jesus and San Giovannino is no exception to his mode of operation, since the figure of the Savior corresponds to the one drawn on the other hand in the sheet depicting the Madonna and Child with St. Elizabeth and St. John the Baptist (Turin, Royal Library, inventory n. 14658/1 SM). In the painting in question, equally pervaded by a gentle humanism and a primary predisposition for childish portraiture, there is therefore a renewed classicism resulting from the works of Gaudenzio Ferrari, of whom Lanino was a pupil, softened by a nuanced softness of the modeling more in keeping with the peculiar late-Renaissance humanism responding to a new Christian spirit.
Bibliografia:
MF Iron, Bernardino Lanino and a childhood idyll, "of Valle Sicida", XXVI, 2016, pp. 18-19, figs. 1-2.
emilio black
Presented for the first time to a wider public, this artwork was originally executed on a wooden panel. At some point in its history, it was transferred from the panel to a canvas, though the exact timing of this transition remains uncertain. The decision to reposition the painting from wood to canvas was likely made to preserve it, as the original wooden support might have suffered severe damage over time. This strategic conservation measure has allowed the painting to be maintained in good condition.
The painting portrays the touching encounter between the Boy Christ and St. John the Baptist, a heart-warming episode from Christian tradition, even though it is not explicitly mentioned in the gospels. The encounter took place during a stop made by the holy family on their journey back from Egypt. St. John the Baptist was the cousin of Christ, being the son of Elisabeth, who, in turn, was a cousin of Mary, the mother of Jesus. Seated in the right corner of the painting, Christ is depicted in a tender, human form. This particular iconography arises from a specific devotional intention, revealing the dual nature of Christ to believers. On one hand, the nimbus surrounding his head and the radiant light emanating from his body signify his divine origin. On the other hand, the gentle depiction of his naked form emphasizes his human nature. Saint John is revered as the precursor of Christ, dedicating his entire life to preaching the word of God and preparing for the arrival of the Saviour. He baptizes his disciples in the river Jordan, and even Christ himself received his baptism from Saint John. The small cross positioned on the ground in the painting represents one of the main iconographical attributes of Saint John. Typically, the saint is depicted carrying this symbol, accompanied by a cartouche with the message "Ecce agnus Dei, ecce qui tollis peccata mundi" which translates to "Behold the Lamb of God, who takes away the sins of the world." It is indeed worth noting that the figures of Christ and Saint John in the painting could possibly represent the two children of the enigmatic commissioner.
According to Christian sources, Saint John was born six months before Christ. However, in this painting, Lanino portrays the two figures as if they were twins, taking a creative liberty with the Christian tradition. This depiction is likely intended to symbolize the third sign of the zodiac, Gemini, which is associated with twins. In alchemical tradition, Gemini is linked to the summer solstice and represents duality, ambiguity, and the unity of opposites. On the rock, just beneath the left leg of Christ, the signature of the painter "Bernardinus Laninus" can be observed. The signature is written in a gothic Chancery hand, with the last number of the date (possibly a zero) being somewhat difficult to decipher. While not entirely precise, the date helps to place this painting within the period of artistic maturity of Lanino, as suggested by Giovanni Romano’s analysis of the painter's style during that time (1986).
Lanino's artistic career flourished, and he achieved a significant professional standing in the city of Vercelli and its surrounding region. This success was partly attributed to his marriage with one of the daughters of the esteemed painter Gerolamo Giovenone. Through this familial connection, Lanino gained access to a well-established network that proved instrumental in securing important commissions in various cities, including Novara, Milan, Legnano, and Busto Arsizio. These contracts serve as a testament to his active participation in the vibrant visual culture of Piemonte and Lombardy. During his time in these regions, he absorbed the main elements of his intense and classically influenced personal style, which would become a defining characteristic of his art. The Encounter of the Boy Christ with St. John the Baptist clearly demonstrates the influence of Leonardo da Vinci's artistic model, with Lanino incorporating visual innovations at the peak of his artistic maturity. Moreover, Lanino's exceptional drawing skills are evident through the wide selection of preparatory drawings he used in his artworks, including this painting. Notably, the figure of Christ in this painting closely resembles the same figure found in a drawing depicting the Virgin and Child with Saint Elisabeth and Saint John as a boy (held in Turin, Royal Library, inventory n. 14658/1 S. M.).
In conclusion, the Encounter of the Boy Christ with St. John the Baptist showcases Lanino's inclination for portraying children, possibly influenced by the work of his teacher, Gaudenzio Ferrari. Lanino infuses a specific tenderness into his depictions in line with the devotional requirements of his time, further highlighting his artistic prowess and sensitivity in capturing religious themes.
Bibliography:
MF Iron, Bernardino Lanino and a childhood idyll, "of Valle Sicida", XXVI, 2016, pp. 18-19, figs. 1-2.
emilio black