A versatile painter and skilled draftsman, Luigi Garzi was celebrated by eighteenth-century historiography for his long and industrious artistic activity under the banner of grace, formal elegance, creative originality and fine chromatic elaboration. He trained at a very young age in Rome at "Salomon Boccali painter of towns" and completed his education in the workshop of Andrea Sacchi, where he gave proof of possessing a marked artistic talent which in a short time allowed him to achieve a certain professional autonomy. Garzi lived and worked for almost all his life in Rome: in 1670 he became an academic of San Luca (of which he was Prince in 1682) and later, in 1680 and in 1702, Regent of the Congregation of the Virtuosi al Pantheon. His pictorial production - fully indebted to the Sacchian lesson and oriented towards both Emilian and Marattan classicism with evident Poussinian influences - is documented in the pontifical capital since the seventies of the seventeenth century with the realization of the first public works (San Marcello al Corso , Santa Caterina a Magnanapoli, Santa Croce in Gerusalemme, Santi Ambrogio and Carlo al Corso) and private (Palazzo Borghese); companies that contributed to consolidate its reputation as a pager of altarpieces and fresco decorator, opening the way to new tasks not only limited to the Roman context, including the prestigious Neapolitan commissions of the second half of the nineties of the seventeenth century ( Santa Caterina a Formiello, Gallery of the Prince of Cellamare, Palazzo Reale and San Carlo all'Arena). This beautiful painting tells an episode of the Gospels, depicting the Holy Family during the "rest from the flight into Egypt" watched by two angels. The three figures are portrayed in an attitude of extreme tenderness, with Saint Joseph indicating to Mary and Jesus the donkey, to exhort them to resume their journey after their brief rest, having abandoned Bethlehem fleeing from Herod. This painting had a huge consensus for the subject depicted, for the particular narrative sweetness and for the tender relationship between the Holy Family and the accompanying Angels. The work can be placed in the production of Luigi Garzi, one of the most interesting personalities of seventeenth-century Roman painting, endowed with a strong stylistic and cultural autonomy; formed on the Cortone examples, he was able to combine these juvenile influences with the new classicist tendencies imposed in Rome by Andrea Sacchi and Carlo Maratta, both his masters, without however denying the most vivid and vital aspects of the Baroque culture. In this painting, the Holy Family is framed in front of an architecture and a tree that act as a backdrop, with a wide landscape opening on the right side, which ends with a glimpse of a city, most probably a landscape of Lazio. Many similarities with similar subjects painted by Garzi can be found in some landscape and structural elements. Compare our canvas with others on the antique market and in international auctions.