Communion of St. Bonaventure oil on canvas 310 x 197 cm The monumental altarpiece, while maintaining a compositional construction firmly anchored in the Bolognese classicist tradition, bears witness to a clear revival of the pictorial language of Reno. This revival can be seen in the use of warm tones, in the composure of the gestures and in the intense gazes veiled with melancholy of the saints flanking the Virgin, elements that reveal a heartfelt reference to the Felsine school.From a cultural point of view, the work can be interpreted as a return to the artist's formative origins, while on a biographical level it seems to reflect the epilogue of an existence marked by frequent journeys and an inner restlessness that led him, at a later stage, to short stays in Venice and finally to Vienna, where he died.The work can be dated between 1635 and 1643, i.e. during the period of the master's prolonged stay in Romagna. From a stylistic point of view, it shows significant affinities with other compositions painted in those years, such as the Madonna of the Carmelites and the altarpiece with the Madonna and Child, Saint Sebastian, Saint Roch and Saint Hyacinth, preserved in the Oratory of Saint Roch at Montegridolfo (Forlì), with which it shares the formal setting, the atmospheric rendering and the recollected spirituality of the figures.Reference bibliography: Briganti, Giuliano, Pilo, Giuseppe Maria, and Romanelli, Girolamo (eds.), Cagnacci, exhibition catalogue (Milan, Palazzo Reale - Rimini, Castel Sismondo), Milan, Electa, 1993, pp. 56-59 (n. 1); pp. 124-129 (n. 26); pp. 134-135 (n. 28); p. 134, fig. 45.