Workshop of Mario Pupini. Bolognese School, late 16th century. Oil painting on poplar panel. Dimensions: approx. 85x83 cm. Christ presents the banner of the resurrection to Mary. Behind him are the future resurrected, including John the Baptist in the foreground. In the upper left, the three Marys discover the empty tomb, in the center the encounter of Christ with Mary, and on the right the choir of angels sings the Regina Coeli, while the melody of the song resonates above them with the first words: Regina caeli, laetare, alleluia. Quia quem meruisti portare, alleluia. (Queen of Heaven, rejoice, alleluia: Christ, whom you deserved to carry in your womb, alleluia). In the inscription, 'coeli' is written as 'celi' instead of the Latin, as the Franciscan James Ryman wrote in his odes at the end of the 15th century. The Regina Coeli is of unknown author from the 10th century. Since 1742, it has also been sung or recited, always during the Easter season, in place of the Angelus "at dawn, noon, and sunset." Inspected with a Wood's lamp, see the attached photos below, it shows some restoration work. BIOGRAPHY The activity of Biagio Pupini, also known as Biagio delle Lame, an exponent of Bolognese Mannerism, is documented from 1511 to 1575. He probably trained in Francesco Francia's workshop and later collaborated with Bartolomeo Ramenghi, known as Il Bagnacavallo, on the frescoes of the church of San Pietro in Vincoli, in Faenza, a church that was later destroyed. In 1519 he was commissioned to create cartoons for the stained glass windows of the Chapel of Peace in the Basilica of San Petronio, in Bologna, for which he painted an altarpiece with the Virgin and Child and Saints (1524), now in a private collection. His very sweet Madonnas are inspired by the art of Parmigianino. In the Oratory of Santa Cecilia, in Bologna, the painting Cecilia and Valerian Crowned by an Angel and Cecilia Disputing with the Prefect Almachio are attributed to a close collaboration between Bagnacavallo and Biagio Pupini. In the Collegio di Spagna in Bologna, Pupini created a Holy Family with Saint Elizabeth, Saint John the Baptist, and Egidio Albornoz in fresco, a composition inspired by Raphael. In 1525, together with Girolamo da Carpi, he decorated the sacristy of the church of San Michele in Bosco, with figures of the Evangelists and episodes from the Old Testament, in a style inspired by Polidoro da Caravaggio. In 1536 he collaborated on the decorations of the Villa d'Este in Belriguardo - called the Delizia di Belriguardo - together with other artists, including Benvenuto Tisi da Garofalo, Battista Dossi, Camillo Filippi, and Girolamo da Carpi. In Bologna he worked for the church of San Giuliano, for the Basilica of San Giacomo Maggiore (where the painting Saint Ursula with Her Companions, circa 1551, already attributed to Biagio Pupini, was later assigned to Giacomo Raibolini, son of Francesco known as Il Francia), and for the church of Santa Maria Labarum Coeli. In Giorgio Vasari's collection of drawings were included two drawings by Bagio Pupini: Last Supper and Holy Family with Angels and Saints, now kept at the Louvre, where there are also other drawings by Pupini, including Ruggiero Freeing Angelica and Angelica Brings the Magic Ring to her Mouth[1]. His painting Madonna with Child and Saint John is at the Galleria Palatina (Palazzo Pitti), Florence. Other of his drawings are at the Metropolitan Museum. In 1535 Biagio Pupini was elected councilor of the city of Bologna and in 1546 massaro of the Compagnia delle Quattro Arti. In 1575 he is registered with the Compagnia dei Bombasari e Pittori, after which date there is no more information about him. The activity of Biagio Pupini, also known as Biagio delle Lame, an exponent of Bolognese Mannerism, is documented from 1511 to 1575. He probably trained in Francesco Francia's workshop and later collaborated with Bartolomeo Ramenghi, known as Il Bagnacavallo, on the frescoes of the church of San Pietro in Vincoli, in Faenza, a church that was later destroyed. In 1519 he was commissioned to create cartoons for the stained glass windows of the Chapel of Peace in the Basilica of San Petronio, in Bologna, for which he painted an altarpiece with the Virgin and Child and Saints (1524), now in a private collection. His very sweet Madonnas are inspired by the art of Parmigianino. In the Oratory of Santa Cecilia, in Bologna, the painting Cecilia and Valerian Crowned by an Angel and Cecilia Disputing with the Prefect Almachio are attributed to a close collaboration between Bagnacavallo and Biagio Pupini. In the Collegio di Spagna in Bologna, Pupini created a Holy Family with Saint Elizabeth, Saint John the Baptist, and Egidio Albornoz in fresco, a composition inspired by Raphael. In 1525, together with Girolamo da Carpi, he decorated the sacristy of the church of San Michele in Bosco, with figures of the Evangelists and episodes from the Old Testament, in a style inspired by Polidoro da Caravaggio. In 1536 he collaborated on the decorations of the Villa d'Este in Belriguardo - called the Delizia di Belriguardo - together with other artists, including Benvenuto Tisi da Garofalo, Battista Dossi, Camillo Filippi, and Girolamo da Carpi. In Bologna he worked for the church of San Giuliano, for the Basilica of San Giacomo Maggiore (where the painting Saint Ursula with Her Companions, circa 1551, already attributed to Biagio Pupini, was later assigned to Giacomo Raibolini, son of Francesco known as Il Francia), and for the church of Santa Maria Labarum Coeli. In Giorgio Vasari's collection of drawings were included two drawings by Bagio Pupini: Last Supper and Holy Family with Angels and Saints, now kept at the Louvre, where there are also other drawings by Pupini, including Ruggiero Freeing Angelica and Angelica Brings the Magic Ring to her Mouth[1]. His painting Madonna with Child and Saint John is at the Galleria Palatina (Palazzo Pitti), Florence. Other of his drawings are at the Metropolitan Museum. In 1535 Biagio Pupini was elected councilor of the of city Bologna and in 1546 massaro of the Compagnia delle Quattro Arti. In 1575 he results inscribed to the Compagnia dei Bombasari e Pittori, date after which there are no more informations which regard him.