Our painting by the Dutch artist depicts, with the precise and detailed style typical of Quaedvlieg, the blessing of the animals, a tradition that began in 1437 in the large square in front of the Church of St. Anthony Abbot on the Esquiline Hill. This blessing took place on January 17th, the feast day of the saint, who is the protector of animals. On this day, the square would be filled with horses, mules, sheep, cows, and other animals to receive the characteristic blessing. 

Quaedvlieg illustrates the event, deeply cherished by the Romans, with the Basilica of St. Mary Major in the background, its bell tower and two lateral domes closing the composition. On the right, we can see the façade of the church, before the two staircases were added in 1928, and the ancient hospital. The scene is crowded with numerous animals led by cowboys and herdsmen, while on the left, a noble carriage is visible, indicating that Roman nobility also participated in this event.

The Church of St. Anthony Abbot, currently located on Via Carlo Alberto in the Esquiline district, was built in 1308 next to a pre-existing hospital from 1259, intended to care for patients suffering from skin diseases, particularly the so-called "St. Anthony's Fire" (herpes zoster). In 1481 the church underwent its first renovation, during which the ancient church of "St. Andrew cata barbara" disappeared. The Romanesque portal seen today as the entrance to the church was once the main entrance of the ancient church, a work by the Vassalletto’s. 

In 1928, the entire complex was purchased by the Holy See, and the church, restored at the will of Pope Pius XI, was assigned to the Russian Catholics of the Byzantine rite, although it retained its dedication to St. Anthony Abbot, while the former hospital was transformed into the renowned center for Russian and Oriental studies known as the "Pontifical Russicum College”. The two-branch staircase leading to the church today was built after 1870, following major excavation work in the area that lowered the street level of Via Carlo Alberto.

In 1853, at the age of thirty, Carl Max Gerlach Quaedvlieg moved from his native Limburg to attend the Academy of Fine Arts in Antwerp and Düsseldorf. In 1852, following the death of his wife, Marie-Thérèse Eymael, the painter decided to relocate to Rome, where he would reside until his death. 

In Rome, he quickly integrated into the artistic community. Settling at number 42 in Via Margutta, Quaedvlieg devoted himself to studying the masters of the past, later applying the lessons learned from direct contact with the masterpieces preserved in the Eternal City onto his own canvases. The artist's preferred subjects ranged from scenes of daily life to landscapes of the Roman countryside and even more particular themes, such as the Carnival. 

Three years later he participated for the first time in the annual exhibition of the Society of Amateurs and Connoisseurs of Fine Arts in the historic halls of Piazza del Popolo with three works: an animal subject and two views of the Roman countryside. These themes would dominate his entire artistic career, which was marked by numerous recognitions — he was awarded the Pontifical Order of St. Gregory the Great, and his painting The Apostle St. Paul and the Prophetess Eudora was exhibited in the Pantheon — not only from collectors but also from the favor of prominent figures of his time. Among his most prominent patrons was Princess Maria, sister of William II of the Netherlands. 

While the Countryside was Quaedvlieg's favorite theme, it's also worth mentioning some of his rare oils, in this case in large formats, depicting scenes of the Roman Carnival along the Corso, notable for their crowded compositions and detailed portrayal of faces.