The Two Michelangelos: Postscript – Another Contarelli Chapel Commission
Caravaggio was contracted for two side paintings in the Contarelli chapel, those we have looked at in the last three posts. The project was finished and installed in 8 months. For the front wall of the chapel, the Flemish sculptor Jacob Cobaert was commissioned to complete a “St. Matthew and the Angel” which was rejected for unknown reasons a short while after being installed. The sculpture ended up in Santissima Trinita dei Pellegrini in Rome.
The church turned once again to Caravaggio, asking him to complete a painting for the space. Caravaggio produced this work:
The church rejected this painting as well and if we take a closer look it is easy to understand why. The angel is guiding St. Matthew’s hand which, combined with the look on his face, makes him look rather like a simpleton. In addition, the position of the Saint’s dirty left foot puts it precariously close to the eucharist when it is raised during the liturgy. The painting eventually ended up in the Kaiser-Friedrich Museum in Berlin and was destroyed by American bombing in World War II.
Caravaggio, being the consummate professional that he was, painted a second version that remains in the chapel to this day:
For amazing hi-res images of the paintings in the Chapel visit: Contarelli Chapel hi-res pics.
And an interesting documentary on how they produced the above images: Caravaggio, creating three facsimiles.
The Two Michelangelos Part 2
This is the “Martyrdom of St. Matthew” from the Contarelli Chapel in San Luigi Francesi in Rome.
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Caravaggio’s version of the martyrdom was inspired by the Golden
Legend . Matthew was murdered while celebrating mass in the Ethiopian city of Nadaber. He had refused to marry the King Hirtacua to Ephigenia, a consecrated virgin. Upset at this, the King sent an assassin to kill the saint.
Legend . Matthew was murdered while celebrating mass in the Ethiopian city of Nadaber. He had refused to marry the King Hirtacua to Ephigenia, a consecrated virgin. Upset at this, the King sent an assassin to kill the saint.
The white vestments of Matthew set against the dark background bring our attention to the center of the painting, as the assassin stands over the saint, about to
kill him. At left we see a group of young men (including Carvaggio’s self portrait at the back) dressed in contemporary
17th C clothing (as in the “Calling”). This group could be the faithful who, upon witnessing the
murder, ran to light fire to the kings palace. On the right is the altar
boy running away from the scene while just behind him is the altar. The bottom group is somewhat confusing as it seems the figures are
distorted and/or limbless. Could this refer to the cripples that St. Matthew was
known for healing? The strange space they are in may be a reference to the Pool of Bethedusa – a healing
pool in Jerusalem mentioned in St. John’s Gospel.
kill him. At left we see a group of young men (including Carvaggio’s self portrait at the back) dressed in contemporary
17th C clothing (as in the “Calling”). This group could be the faithful who, upon witnessing the
murder, ran to light fire to the kings palace. On the right is the altar
boy running away from the scene while just behind him is the altar. The bottom group is somewhat confusing as it seems the figures are
distorted and/or limbless. Could this refer to the cripples that St. Matthew was
known for healing? The strange space they are in may be a reference to the Pool of Bethedusa – a healing
pool in Jerusalem mentioned in St. John’s Gospel.
It is the grouping of St Matthew and the assassin that is most interesting. Once again Caravaggio references Michelangelo’s Creation of Adam, using the body of
Adam in the place of the assassin. Below I have photoshopped Adam next to the assassin to demonstrate the similarity:
This assassin is Adam up right, on his feet. Adam who has become
sinner and been exiled from Paradise. The assassin/Adam grabs the hand of Matthew,
trying to block contact with the palm of martyrdom being offered to him by the
angel above. Adam here is an image of arrogance in contrast to the redemptive power offered to Matthew. It is sin that prevents us from receiving the grace of God. In this grouping Caravaggio represents the complex rapport between human and divine.
sinner and been exiled from Paradise. The assassin/Adam grabs the hand of Matthew,
trying to block contact with the palm of martyrdom being offered to him by the
angel above. Adam here is an image of arrogance in contrast to the redemptive power offered to Matthew. It is sin that prevents us from receiving the grace of God. In this grouping Caravaggio represents the complex rapport between human and divine.
With “The Calling of St. Matthew”, the hand of Adam became the
hand of Christ that calls Matthew. In “The Martyrdom”, the body of Adam just created becomes the arrogant body of the assassin of St. Matthew. The angel above Matthew is one of the angles from the flight of the angels within God the
Divine Creator.
In the next post we will see how Caravaggio continues to reference the Sistine Chapel in his painting of “Supper at Emmaus”
The Two Michelangelos Part 1
Michelangelo
Buonarotti and Michelangelo Merisi da Caravaggio that is.
Buonarotti and Michelangelo Merisi da Caravaggio that is.
Caravaggio, like
any master, understood art history and was able to play with the language
of art to make complex theological statements. A continual source for him was
Michelangelo and we find Caravaggio quoting the great master in many of his
paintings.
any master, understood art history and was able to play with the language
of art to make complex theological statements. A continual source for him was
Michelangelo and we find Caravaggio quoting the great master in many of his
paintings.
In the Contarelli
Chapel (1599 – 1600) in San Luigi Francesi in Rome, Caravaggio was granted his
first major commission. On
his death in 1585 the French cardinal, Matthieu Cointerel (Contarelli in
Italian) had left a large sum of money and instructions for a chapel to be
dedicated to his patron saint, St. Matthew. Caravaggio completed the commissions on canvas, something unheard of for large murals at that
time which were usually executed in fresco. Three large painting were finished in 8 months.
Chapel (1599 – 1600) in San Luigi Francesi in Rome, Caravaggio was granted his
first major commission. On
his death in 1585 the French cardinal, Matthieu Cointerel (Contarelli in
Italian) had left a large sum of money and instructions for a chapel to be
dedicated to his patron saint, St. Matthew. Caravaggio completed the commissions on canvas, something unheard of for large murals at that
time which were usually executed in fresco. Three large painting were finished in 8 months.
In the first painting, “The Calling Of St Matthew”, we see Christ calling Matthew, aka Levi, as described in Matthew 9.9: “And as Jesus passed forth from thence, he saw a man, named Matthew sitting at the receipt of custom: and he saith unto him, follow me. And he arose, and followed him.”
Caravaggio gives Christ the hand of Adam from the Sistine Chapel’s “Creation of Man”, signalling the similarity between God and man and the human nature of Christ: Christ is the new Adam. Notice also how Peter, the first pope, echoes the gesture, describing how the Church continues the work of Christ.
Matthew and his colleagues are dressed in clothing contemporary to Caravaggio, from the early 17th C, while Christ and Peter are dressed in what would be early 1st
C wear. This emphasizes that Christ’s call is eternal, for all people
of all ages.
C wear. This emphasizes that Christ’s call is eternal, for all people
of all ages.
Caravaggio was the perfect counter-reformation painter. A complicated individual but entirely professional and profound in his work. In the next post we
will look at the complex and interesting theology presented by
Caravaggio in a second painting in the chapel, “The Martyrdom of St. Matthew”.
will look at the complex and interesting theology presented by
Caravaggio in a second painting in the chapel, “The Martyrdom of St. Matthew”.