The colours are cooler than the catalogue illustration suggests. The canvas has a very old relining, with traces of old moisture on the reverse, and this has slightly pressed the paint surface. The paint surface itself is now very dirty and covered witha thick layer of yellowed varnish. There are a small number of minor old damages: a 1 cm head to the right of the saint's head, a similar one on the right margin, and a 3 cm scrape on the book in the foreground. No other restoration is visible to the naked eye but the thick varnish layer effectively impedes inspection under ultra-violet light. The canvas appears to be in excellent fresh condition, although some degree of old restoration should be allowed for beneath the varnish. This lot is offered with a later plain giltwood frame, in reasonable condition, some minor damages.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Though Trevisani painted half-length religious figures on numerous occasions, the present work stands out for its beauty and play of light. The source of light is not visible to the viewer as it originates from a candle placed behind the skull. It accentuates the intensity of the scene and is used to pick out the outlines of Saint Francis' physiognomy, particularly his eyes, ears and nose. This use of night-time lighting is unusual for the artist as it looks back to Caravaggesque influences rather than to the Rococo sensibilites prevalent in eighteenth-century Rome.

We are grateful to Karin Wolfe for endorsing the attribution after inspection of the painting in the original.