Who painted A Reliquary of Saint Sigismondo?

A Reliquary of Saint Sigismondo was painted by Giovanni Battista Foggini in 1719.

Where can I see A Reliquary of Saint Sigismondo?

A Reliquary of Saint Sigismondo is held by National Gallery of Art.

What movement is A Reliquary of Saint Sigismondo?

A Reliquary of Saint Sigismondo is associated with Baroque.

Can I buy a print of A Reliquary of Saint Sigismondo?

Museum-quality prints of A Reliquary of Saint Sigismondo are available made-to-order from Artifact World Gallery.

Artwork

A Reliquary of Saint Sigismondo

Giovanni Battista Foggini , 1719

A Reliquary of Saint Sigismondo is a chalk drawing by the Baroque artist Giovanni Battista Foggini. It dates from 1719 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:by later hand, lower right in graphite: 413

About this work

Overview

Giovanni Battista Foggini’s 1719 drawing, executed in pen and brown ink on black chalk laid paper, presents a richly ornamental composition that functions as a visual reliquary for Saint Sigismondo. The work is a single‑sheet drawing rather than a painted panel, employing fine line work to delineate an elaborate, framed scene.

Subject & Meaning

At the centre stands a lion poised on a pedestal, clutching a small, box‑like object that suggests a relic or treasure. Above the animal, a cloud formation bearing a crowned, arm‑bearing figure hovers, evoking a heavenly presence that sanctifies the earthly symbol of strength.

Technique & Style

Foggini combines pen work with brown ink washes over a preparatory black chalk underdrawing, allowing the artist to model forms through tonal contrast. The surrounding frame is densely populated with scrolls, acanthus leaves and gilded‑door motifs, reflecting the ornate visual language of the late Baroque.

History & Provenance

Created in 1719, the drawing was likely intended for devotional or commemorative use within a church context, possibly as a design for an actual reliquary. Its survival on paper indicates it may have served as a preparatory study or a portable representation of the saint’s cult.

Context

The piece aligns with early‑18th‑century Italian Baroque art, where elaborate ornamentation and dramatic symbolism were employed to convey religious reverence. Foggini, active in Florence, frequently integrated architectural frames and allegorical figures in his works, situating this drawing within his broader oeuvre.

Legacy

While not a large‑scale public commission, the drawing exemplifies the period’s integration of fine drawing techniques with devotional iconography, offering insight into the preparatory processes behind Baroque reliquaries and the visual strategies used to venerate saints.