A Renaissance engraving by Giacomo Francia depicting the patron saints of Bologna holding a model of the city and an image of the Madonna.

This engraving by Giacomo Francia depicts a gathering of figures associated with the protection of Bologna. The composition centres on a female figure, likely representing the city itself, who holds a framed image of the Madonna and Child. To her left, a bishop saint holds a model of the city, complete with its distinctive towers, signifying his role as a guardian of the urban space. To her right, a youthful male saint stands with a banner, his posture and attire reflecting the aesthetic conventions of the early sixteenth-century Italian school.

Francia, the son of the painter Francesco Francia, worked within the Bolognese tradition. His approach to the medium of engraving shows a clear debt to the graphic clarity of his father and the broader influence of the Emilian school. The figures are arranged in a balanced, frieze-like manner, typical of devotional works from this period. The drapery of the garments is rendered with precise, parallel hatching, which creates volume and defines the forms against the relatively sparse background. Above the group, a small dove representing the Holy Spirit appears amidst clouds, providing a spiritual anchor for the scene below.

The work functions as a visual petition for divine favour. By including the specific architectural markers of Bologna, Francia connects the celestial figures directly to the physical reality of the city. The technical execution demonstrates the careful control of the burin, with fine lines used to model the faces and hands, while broader strokes define the heavier folds of the ecclesiastical robes. This print offers a clear view into the religious iconography and civic pride that defined the artistic output of Bologna during the Renaissance. It remains a representative example of how printmaking served to disseminate devotional imagery to a wider audience beyond the confines of the church or private chapel.