Italian school; XVII century."The presentation of the Child in the temple."Oil on canvas. Reengineered.Presents restorations and repaints.Measures: 129 x 104 cm.In the scene Mary, dressed in a red tunic, a white veil and a blue mantle, appears self-absorbed holding, while she rests her gaze on Simeon, Jesus lying on her lap and held in her arms, looking at his mother attentively, establishing a direct connection with her and ignoring the viewer. In this oil on canvas the author narrates the presentation of Jesus in the Temple of Jerusalem, an iconographic theme very repeated throughout the history of art, within the cycle of the life of Jesus. Luke the Evangelist (Luke 2:22-40) narrates the episode, in which Mary and Joseph brought the Child to the temple and, according to custom, offered two turtledoves as a sacrifice. According to the Jewish law of the time, every first-born child was to be consecrated to the Lord, in remembrance of the slaughter of the innocents. In the temple was Simeon, an old man who was reputed to be a righteous man. When he saw the Child, he was convinced that he was acting under the impulse of the Spirit, and he took him in his arms and blessed him, saying the "Nunc dimitis" or Canticle of Simeon. This wise old man was a devout Jew to whom the Holy Spirit had promised that he would not die until he had seen the Savior. The scene is completed by the prophetess Anna, who lived in the temple. She, witnessing this event, began to speak of the Child to all who awaited the redemption of Jerusalem.Formally, this work is dominated by the influence of the Roman-Bolognese classicism of the Carracci and their followers, one of the two great currents of the Italian Baroque, together with Caravaggio's naturalism. Thus, the figure shows monumental dimensions, a clear idealization of the face and serene and balanced gestures. It is thus an idealized representation based on classical canons. Also the rhetoric of the gestures, theatrical and eloquent, clearly baroque, is typical of the Italian classicism of the XVII century. It should also be noted the importance of the chromatic aspect, very thoughtful, focused on basic ranges around red, ocher and blue, although it is worth mentioning that the work reflects a certain tenebrist influence, contrasting the illuminated areas with other completely dark ones. At the compositional level, it should be noted how all the characters that compose, are placed practically on the same plane, separated from the viewer by a certain space, equidistant with respect to the background.