The figurative representation of this magnificent canvas is a story narrated in the Gospel according to Luke, chapter 7, verses 11-17, one of the many miracles performed by Jesus. It describes the Savior's entry, accompanied by his disciples who witnessed significant moments of his public life, into the city of Nain, at the moment when a widow is accompanying her only son to burial in a funeral procession. The Messiah, struck by the mother's profound sadness, approaches the bier and, manifesting his divine power, commands the boy to rise. In 1990, an exhibition on the painter Domenico Fiasella was held in Genoa at Palazzo Reale, where two of his works (275x178.5 cm) from the Ringling Museum of Art in Sarasota (Florida) were exhibited: Christ Healing the Blind Man and the pendant Christ Resurrecting the Son of the Widow of Nain. The two paintings, formerly attributed to Ludovico Carracci, were returned to the painter Fiasella thanks to studies on the Giustiniani Collection, where their creation on commission from Marquis Vincenzo Giustiniani is documented https://emuseum.ringling.org/search/fiasella. At the same time, the unpublished "model" of one of the two pendants, oil on canvas 75 x 57 cm, was presented and exhibited for the first time, which we now have the pleasure of offering you. Comparing it with the final version, one can notice a more "crowded" composition of characters, the apostle Peter on the left and other figures behind Jesus, as well as different architectures in the background. Executed at the end of Sarzana's Roman sojourn, the skilful use of colour and light is striking; a light that "illuminates" the widow's gaze, an ecstatic and incredulous gaze fixed on the Savior. Painter and art dealer Domenico Fiasella, known as Sarzana because he was born in Sarzana in 1589, was one of the main exponents of the Ligurian Baroque; between Genoa and Sarzana he produced a large number of works on sacred and profane subjects that stand out for their high quality; a fusion of different traditions between naturalism in the careful representation of the human figure, faces and gestures, to make the scenes more vivid and real (under the influence of Gentileschi) and the chiaroscuro technique to emphasize the contrast between light and shadows to create a strong visual impact (under the influence of Caravaggio). The composition, created around 1615, is simple but powerful, a unique visual language, an important work for its historical value that can enrich an art collection. Dimensions: canvas 75 x 57 cm - frame 93 x 81 cm