Saint Daniel of Padua dragged by a horse before the Roman governor of Padua 1735 - 1755

Curator: Welcome. Before us is Francesco Bertos’s bronze relief, “Saint Daniel of Padua dragged by a horse before the Roman governor of Padua,” created between 1735 and 1755. Editor: What a dramatically charged scene! The compressed space amplifies the sense of chaos. The bodies, intertwined and straining, immediately evoke feelings of suffering and injustice. Curator: Indeed, Bertos employs a classical Baroque style, marked by dynamic composition, emotional intensity, and theatrical gestures. Notice the highly polished surfaces creating intricate play of light and shadow? That heightens the drama significantly. Editor: Beyond the surface drama, consider the symbols. The horse dragging the saint is a clear emblem of brute force subjugating faith. And that Roman governor, enthroned, holding his standard—he’s the personification of worldly power. Curator: Absolutely. Structurally, the relief is organized into distinct zones. We have the active foreground, then the background. These divisions create an interesting depth, wouldn't you agree? Editor: Definitely. And the use of architectural details, like those implied columns in the backdrop, serve to frame the central action, pushing all attention onto the injustice being carried out. The martyrdom. That banner signals dominion, an empire. Curator: And there are figures actively intervening. Consider the figures beside Saint Daniel who, by all accounts, have collapsed into each others arms because of this event. Also, did you notice the almost frivolous garland hung above? It does contrast effectively. Editor: You’re right, it’s quite dissonant, drawing even more attention to the dark themes being explored here: the triumph of imperial decree over individual conscience, as visualized through powerful religious narrative. The work acts as both historical document and potent symbol of resilience. Curator: The relief’s intricate surface and interplay of form truly captivates the eye and challenges the emotions simultaneously. I would call this both an outstanding display of Baroque mastery, and quite emotive indeed. Editor: It’s hard to look away, even given such an oppressive theme. It has given me quite a lot to think about today.