During the Renaissance, Europe underwent a mutation never seen before, the -badly named- dark medieval world was left behind to give way to a revolution that would affect all facets of life, from religion to politics, going through art and culture; It was a moment of openness to the world and to discovery, to thought and to science, and all of this is reflected in the painting that we analyze below, a canvas by the artist Fernando del Rincón en titled The Miracle of Saints Cosmas and Damian.
In reality, there are not many biographical data that are preserved about the author Fernando del Rincón (1491 – 1525) and, what is more, for many years, his figure was confused with another different artist, Antonio del Rincón, of which to this day it has not even been possible to find out if they were linked by some family relationship or, simply, it has been a matter of confusion. Fernando worked mainly in the area of Castilla and his His work was well known, so much so that he became one of those sponsored by Fernando el Católico, which gave him a number of commissions.
Regarding the work we are analyzing here, the truth is that it has not been possible to establish a detailed provenance of it since the first time that there is evidence of the It is already in the 20th century, specifically years before the Spanish Civil War when theThe Prado Museum acquires the piece that was in the Monastery of San Francisco el Fuerte to safeguard it from the conflict.
The work represents a miracle performed by Saints Cosmas and Damian who practiced as physicians. As detailed in the Golden Legend of Jacopo della Vorágine, the sacristan of the dedicated church Saints Cosmas and Damian, suffered severe pain due to gangrene that was eating one of his legs. One night while the sacristan slept, the saints appeared to alleviate his suffering and decided that the most correct thing to do was to go to the cemetery where a Muslim had just been buried and amputate one of his legs to transplant it to the priest, who without any pain woke up completely he althy.
In the work the influence of Italian painting is appreciated,as well as the detail in the fabrics of the Flemish school, by then already famous throughout Europe. Some authors raise the possibility that the panel -due to its measurements- belonged to a larger altarpiece.