Antonio Maria Panico and Annibale Carracci

Abstract

Antonio Maria Panico, whose work for San Salvatore in Farnese is discussed by Erich Schleier in the preceding article, is of interest today primarily because he was associated for a time with Annibale Carracci's Roman school.¹ Annibale's school included more hands than can presently be named, but until now no attempt has been made to connéct Panico with any of them because certain works by the artist have been, in effect, unavailable for study. In 1967–68, however, Panico's Crucifixion in the National Gallery of Ireland (Figs. 7–9) emerged from beneath layers of grime and discolored varnish,² and the artist's Mass (Figs. 1–3) in relatively remote Farnese, though still in need of restoration, was for the first time properly photographed in 1969³ so that one no longer need depend entirely on memory in comparing it with other Carracci school works.