Italian school. 18th century "Our Lady of Holy Hope". Oil on copper. 35 x 25 cm. Size with frame 103 x 71 cm. Accompanied by an imposing cornucopia period frame, in carved wood, gilded and inlaid with mirrors. Exquisite and refined portrait of Our Lady of Holy Hope. The historical information about the origin of this image dates back to 1750, when a pious Christian had a painting of Mary with Child painted, which he donated to Fr. Tommaso del Costato di Gesù (later Monsignor Struzzieri, Bishop of Todi and first Bishop of the Passionist congregation), who always carried it with him in his SS. Missions. This image had from the beginning the title of "Mater Sanctae Spei". The entire composition, including its carved and gilded cornucopia frame, recalls the works of the Flemish baroque in which the Virgin Mary always appears surrounded by a garland of flowers. Here, in parallel, the garland is represented by the carving of the frame with acanthus leaves and flowers and a small canopy in the manner of Bernini. We contemplate the simple, serene and detailed perfection of the internal painting, framed by this "garland frame" as a tribute, veneration and prayer to this Madonna. The image has been perfected with miniscule brushstrokes. Based on the engraving by Hyeronimus Wierix, Flemish engraver of the 16th century, "Mater Sanctae Spei", the painting represents the Blessed Virgin Mary with the Child Jesus in her arms. She holds Him with her right arm and with her left arm she points to Him as the source of divine graces (iconography called Hodegetria: "she who shows the way", the Hodegetria Virgin Mary points to the Child as the way of salvation. And that Child, holding a cross with his left hand, with his right hand raised, is in the attitude of a king giving permission to approach Him. With a smile Mary and Jesus tell you that they are there to help you to have hope in them.The original image of "Our Lady of Holy Hope" is a canvas painted by Agustin Marqui in 1750, on the occasion of a Passionist mission preached by Father Tomas Stuzzieri, which he offered to St. Paul of the Cross suggesting that "every clergyman should have it in his cell". This image had devotees that included St. Vincent Maria Strambi and the second superior general of the Passionists (from 1755 to 1790), Father John Baptist of St. Vincent Ferrer. In fact, it cured Father John Baptist, who was dying, of an incurable illness, and it was he himself who decreed that the image be greeted three times a day. Devotion to the Blessed Virgin, under this invocation, developed in the Passionist Congregation from its origins. Its main promoter was the great missionary Fr. Thomas Struzzieri, who was later made bishop. In the holy missions he always carried an image of the invocation with him. Later, that image was reproduced in series and began to be placed in the rooms of the Passionist clergy so that they could direct their gaze to her, invoking her in their spiritual needs. The Virgin Mary, Mother of Holy Hope, thus became a singular model and a firm support for our own hope. The hope that Our Lady presents and to which she calls is the Cross that the Child Jesus holds in his hand, as a sign of his love without measure, manifested to us even unto death and a death on a cross.