Flemish school, following 17th century models; 19th century. "Scene from the Old Testament". Oil on copper. Measurements: 86 x 103 cm; 111 x 127 cm (frame). Constructed with a classical perspective, the author of this image presents a space conceived in depth, alternating an interior with an exterior zone which he masterfully arranges in the left area of the scene as a vain, whose diagonals allow structuring the space. In the interior of the work, two figures are the protagonists, an elegantly dressed lady who holds her index finger to her lips, indicating to her companion to be silent, and a man. Her male opposite number crouches slightly, offering what appears to be an apple or a pomegranate and holding a falcon in his other hand, symbolising a form of hunting that was only reserved for the upper classes. This posture of the male figure and the attitude of the young woman could indicate sin, which is being contemplated by several grotesque-looking figures located in the aforementioned bay. Returning to the interior, we can see how the lady rests her hand on a table on which we can see an open book, an astrolabe and a sphere, elements that represent intelligence and wisdom. In the last plane, a circular structure defines the centre, standing above the heads of the protagonists and dynamising the space. It is interesting to note the size of this work because of its support, as copper was normally used for small-format pieces, whereas this painting is of considerable size. In this 19th-century work, the artist sought an aesthetic and subject matter inspired by 17th-century painting, especially the Flemish school. During the 16th century, the Dutch realist style had a strong influence abroad, especially in Italy, but in the 17th century the situation was reversed. The Italian Renaissance spread throughout Europe, and Antwerp became the centre of the Flemish school, supplanting Bruges and acting as a centre for the penetration of Italian influences. Mannerist influences thus arrived in the Low Countries, superimposed on the 16th-century style. Many painters continued the style of the Flemish primitives, but others were so open to Renaissance influences that they stopped painting on panel. In fact, in the present work we can appreciate this 17th-century trend, since, while retaining the detail and verism of the Flemish school, the artist opted for monumental figures and a classical spatial conception, typical of the Italian school.