The Apostles around the Empty Tomb of the Virgin, Francesco Albani, Mural painting transferred to canvas, 193 x 272.5 cm, 1604-5, Barcelona, Museu Nacional d´Art de Catalunya, deposit of the Reial Acadèmia Catalana de Belles Arts de Sant Jordi

MADRID.- In the early years of the 17th century Annibale Carracci (Bologna, 1560 - Rome, 1609) accepted the commission from Juan Enríquez de Herrera to paint frescoes in his family chapel in San Giacomo degli Spagnoli in Rome. Carracci devised the entire scheme and painted some of the frescoes prior to 1605 when he became seriously ill, which obliged him to cease working on the project and entrust the execution of the paintings to Francesco Albani.

Despite the fact that this was the most important commission which Carracci received in the final phase of his career, these frescoes - which depict scenes from the life of Saint Didacus of Alcalá, an Andalusian Franciscan who died in 1463 - are almost unknown to the general public in their entirety, partly due to the fact that they were separated from each other.

Piazza Navona, Gaspar Van Wittel, Oil on canvas, 96.5 x 216 cm, 1699, Madrid, Colección Carmen Thyssen-Bornemisza on deposit at the Museo Nacional Thyssen-Bornemisza. ©Carmen Thyssen Collection

Following the removal of the frescoes from the chapel walls due to the deterioration of the church, of the 19 surviving fragments only 16 reached Spain (7 are in the Museo Nacional del Prado and 9 entered the Royal Catalan Fine Arts Academy of Saint George from where they were sent on long-term deposit to the MNAC), while the remaining 3 were deposited in the church of Santa Maria in Monserrato in Rome where it has not been possible to locate them. The altar painting was also sent to that church, where it remains today.

The group in the Museo Nacional del Prado comprises seven frescoes. The first are the four trapeze-shaped canvases that decorated the chapel ceiling and which depict episodes from the life of the titular saint: Saint Didacus receiving Alms, The miraculous Meal, Saint Didacus saves the Boy who fell asleep in the Oven and Saint Didacus receives the Franciscan Habit. The Prado also houses three of the ovals from the pendentives: Saint Lawrence, Saint Francis and Saint James the Greater. These works are now being exhibited for the first time since their recent restoration.

Saint Didacus of Alcalá interceding on behalf of Diego Enríquez de Herrera, Annibale Carracci and workshop, Oil on panel, 252 x 161 cm, c. 1606, Rome, Iglesia Nacional Española de Santiago y Montserrat

The Apotheosis of Saint Francis, Annibale Carracci, Mural painting transferred to canvas, 151 x 104 cm, 1604-5, Madrid, Museo Nacional del Prado. © Museo Nacional del Prado

The Apotheosis of Saint Lawrence, Annibale Carracci, Mural painting transferred to canvas, 152.2 x 103.3 cm, 1604-5, Madrid, Museo Nacional del Prado. © Museo Nacional del Prado

The Apotheosis of the Apostle James, Annibale Carracci, Mural painting transferred to canvas, 151.3 x 103.5 cm, 1604-5, Madrid, Museo Nacional del Prado. © Museo Nacional del Prado

Saint Didacus receiving Alms, Annibale Carracci y Francesco Albani, Fresco painting on wall covering, 126 x 222 cm, 1604-5, Madrid, Museo Nacional del Prad0. © Museo Nacional del Prado

Saint Didacus receiving receiving the franciscan habit, Annibale Carracci y Francesco Albani, Fresco painting on wall covering, 132 x 211.1 cm, 1604-5, Madrid, Museo Nacional del Prad0. © Museo Nacional del Prado

San Diego saves the sleeping boy in the oven, Annibale Carracci, Fresco painting on wall covering, 132 x 208 cm, 1604 - 1607, Madrid, Museo Nacional del Prad0. © Museo Nacional del Prado

The miraculous repair, Annibale Carracci, Fresco painting on wall covering, 126 x 230.5 cm, 1604 - 1607, Madrid, Museo Nacional del Prad0. © Museo Nacional del Prado

Saint Didacus of Alcalá and the Miracle of the Roses, Francisco de Zurbarán, Oil on canvas, 93 x 99 cm, c. 1658, Madrid, Museo Nacional del Prado