oil on canvas cm 135,5 x 9

The painting originally belonged to the Collegio Nolfi (1) where Tomani Amiani saw it. It would be later confiscated by the city of Fano.



Vincenzo Nolfi (1554-1665) was the adopted son of Guido Nolfi who was a learned man, of noble birth and who had held several government posts in various cities of the Papal States. Guido was a great patron, his name is linked to the homonymous chapel of the Cathedral (2) of Fano and Nolfi College. This was founded by Vincenzo of precise testamentary will of Guido Nolfi. Vincent became a poet and man of letters, the prince of the 'Academy of decomposed (3)' in Fano between 1659 and 1665.


It is a sonnet (1) that Vincenzo Nolfi dedicated to Guerrieri in 1628 on the occasion of the portrait. It creates almost a competition between the phrasing and the brush, between the painting's ability to speak without voice and the ability of poetry to give voice to painting.

The books (2) that surround it are the sources of classical culture. His models are, Plato, Cicero, Valerio Massimo…

Vincenzo Nolfi is thought to have directed the execution of the painting and not Guerrieri. His aim was to celebrate himself.

With a quill pen (3) in his right hand and an open book Vincenzo Nolfi is composing the third act of Romilda tragedy, that was published in Venice in 1643. Here he had already published the Bellerophon drama in 1642, staged by Giacomo Torelli.

Static portrait, seemingly aloof, cold (4) and with closed lips.

The character is portrayed while he’s standing in his studio, strictly dressed in black.

In delicate lace collar and wrists (5), Guerrieri, as usual, pays attention to the reality of the details of life. They are characterized by a deep alternation of light and shade.

Giovanni Francesco Guerrrieri, was born in Fossombrone in 1589. In Rome he came in touch with the paintings of Caravaggio and Orazio Gentileschi. They subsequently inspired him with the use of light and with their strong realism. Also in Rome he detected the ornamental taste of the Florentines who were working in that period also in the capital city.