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The collage starts from a video installation on a lesser Baroque artist, Cesare Franchi aka "il Pollino." The woman on the left (but on the right on the original screen) has been modified to make her look a little more like. . . a woman, since small breast, double chin, and half baldness kept her a bit too far from our ideals. Small breast and double chin, however, together with large hips, did belong to the canons of female beauty in some Renaissance circles -- it is important to stress "some," eh? Think of Rubens.
At the same time, the picture pays tribute to a desecrating tradition that in Italian poetry and art started from the Middle Ages, then was developed by Ludovico Ariosto and Giambattista Marino, continued by Giuseppe Gioachino Belli in the 19th century, then obviously by many authors in the 20th and 21st centuries. The subject, in the digital collage though not in the original miniature, is the wedding night of Tobias and Sarah, from the Book of Tobit in the Bible; more precisely, Catholic Bibles, since the book, as relatively recent, was rejected first by the Jewish Rabbis and later by the Protestant Churches. This notwithstanding, it was quoted by John Milton in Paradise Lost 4.166-71. Because of its devout attitude, the Book of Tobit was often used as a source for Catholic art in the 16th and 17th centuries. Here, with a 'Blakean' twist, it is supposed that Sarah, all in all, preferred the devil Asmodeus to her all too good husband Tobias.
But, with a sad final note: Cesare "Pollino" Franchi was sentenced to death in Perugia, then in the Papal States, because of a murder he had committed. It was 1595, the same year in which Torquato Tasso died.