After models by Gian Lorenzo Bernini (1598–1680) and his workshop Italian, Rome, late 17th/ early 18th century

by repute, Barberini Collection, Rome

J. Montagu, 'Two Small Bronzes from the Studio of Bernini', The Burlington Magazine, vol. 109, no. 776, 1967, pp. 566-571, p. 570; 
P. Santa Maria Mannino, 'Progettazione e decorazione plastica: Bernini - disegni e bozzetti', V. Martinelli (ed.), Le statue berniniane del Colonnato di San Pietro, Rome, 1987, pp. 23-27, figs. 34 and 35

Overall the condition of the bronzes is good, with some wear and dirt to the surfaces consistent with age. There are a few small lacunae due to casting flaws, including beside the lamb's neck, to Agnes's proper left elbow at the back, to the drapery around Catherine's proper left side at the back, and to Catherine's proper left hand. There is a circular hole to the back of Agnes's neck. A few original casting plugs are visible, including to Catherine's proper left shoulder blade, to the back of her neck, below her chin on the proper left side, to the drapery on her proper left side at the back, and to the terrasse in front of Catherine's left foot. The top of Agnes's palm appears to have been lost. There are a few minor stable casting fissures, notably to the front of each terrasse. The terrasses are also slightly warped, perhaps due to these fissures. There are several nicks, including to Catherine's chin, to her proper right index finger, and the proper left side of Agnes's jaw. There are a few minor spots of greening, including to the terrasses, and some minor wax residue in areas. The wood bases are separate and later. They are in good condition with some dirt and wear, including minor stable splitting, several nicks, and particular wear at the top.
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These beautiful figures from the Palazzo Sacchetti are among a handful of small bronzes that have been associated with the master sculptor of the Roman Baroque, Gianlorenzo Bernini. The two saints, Agnes and Catherine, appear to have been cast after models designed for the figurative scheme of the colonnade framing Saint Peter's Square, where monumental versions in stone survive today. It is thought that the Colonnade figures were modelled by Bernini's assistants after the master's designs, and the statues of both Catherine and Agnes have been attributed to Lazzaro Morelli, one of Bernini's gifted pupils.

The present Saint Agnes forms part of a small group of bronze casts of this model, of which the prime version, at the Palazzo Doria Pamphili in Rome, was attributed to the studio of Bernini by Jennifer Montagu in 1967 (op. cit.). A further cast, dated to the third quarter of the 17th century, is at the Metropolitan Museum (inv. no. 1978.202). In her discussion of the Sacchetti bronzes, Montagu suggested that they could be later in date than the Doria bronze, yet stressed the interest provided by the Saint Catherine, which varies from its Colonnade counterpart in the position of the arms and the wheel. This indicates that the bronze may have been dependent from a variant model for the final statue made in Bernini's studio. Paola Santa Maria Mannino (op. cit.) tentatively gave the Sacchetti bronzes to the workshop of Bernini, confirming their quality, rarity, and art-historical importance.

RELATED LITERATURE
J. Montagu, Roman Baroque Sculpture. The Industry of Art, New Haven and London, 1989, pp. 146-147