Attributed to JACOPO DI ANTONIO NEGRETTI, "Palma il Giovane" (Venice, 1548-1628). "The Flagellation of Christ", pp. 17th century. Grisaille on canvas adhered to panel. On the reverse there is an inscription: "grisaille par Palma". It has slight repainting. The piece will be available after a period of up to 60 days. Size: 40 x 27.5 cm; 52 x 42 cm (frame). The present work is modelled on an engraving made in 1594 by Aegidus Sadeler (1579-1629) from a drawing by Palma the Younger, an engraving now in the Museum of Capodimonte. The direct attribution to the Venetian artist is not only due to the inscription on the back of the painting, but is also reinforced by the various versions of this theme from the life of Christ that the artist produced. Its composition follows the same guidelines as his oil on canvas "The Scourging of Christ" or "Christ tied to the column", which was released in 2010. Not to forget the oil on copper in which he reworked the same scene. These patterns, executed in different media and using different techniques, reveal the importance that the Italian mannerist gave to this biblical passage. The suffering that Jesus undergoes during the moment of the scourging is reflected in his face and body, which appears to be on the verge of collapsing to the ground. While a group of spectators attend the moment taking action in the scene, such as the executioner who is about to inflict another blow on Jesus, recognising also an old man of the Council with a long beard and covered by a tunic, being one of the instigators of Christ s condemnation; as well as Pilate, represented just behind the old man. The style and workmanship of the painting is very close to Jacopo Negretti s mastery in recreating the light and shade that add volume to the painting. Furthermore, it follows exactly the structure and distribution of the figures in the scene depicted in Aegidus Sadeler s engraving. Jacopo Negretti, also known as Palma "the Younger" to distinguish him from his great-uncle Palma "the Elder", trained as a painter at the court of Urbino and in Rome, where he spent nine years. During this period he studied Michelangelo and assimilated the imperatives of the Counter-Reformation, discovering and following the pictorial principles of Zuccaro, Salviati and Santi di Tito. Through the various influences of his contemporaries and predecessors he acquired technical skill and a prominent position in the Venetian school, but he did not form any disciples. His eclecticism led him from religious to historical and mythological subjects, from painting to engraving. One of his greatest works is undoubtedly the decoration of the Ospedaletto dei Crociferi.