The figure of Ascanio Luciani was defined for the first time by DR Marshall in the monographic volume on Niccolò and Viviano Codazzi ("Viviano and Niccolò Codazzi at the Baroque Architectural Fantasy", Jandi Sapi Editori, Rome 1993), then being newly and exhaustively catalogued in G. Sestieri, Architectural capriccio in Italy in the 17th and 18th centuries (Etgraphae Editori, Foligno 2015). In the entry for the work presented here, Sestieri discusses the antagonistic position of Luciano compared to the activity of the Codazzi brothers and Domenico Gargiulo, especially from the second half of the 17th century, after the departure of Viviano Codazzi from Naples in 1647/48 following the plague epidemic. The capriccio in question is centred on a building and a loggia, framed diagonally on the right, leaving space on the opposite side for a hilly background. In the foreground, there is the emerging figure of a young man, holding a rod in his right hand and holding a mantle with his left, who moves away from a group of people near a palace, where a man blesses two humble bystanders who reverence him. This representation surely refers to a biblical episode not yet recognised here.