Annibale Carracci and Caravaggio at the Basilica of Santa Maria del Popolo

Another busy day.

We had a walk around the Piazza del Popolo and went into the Basilica to see the Caravaggio paintings.

Unfortunately, I didn't realise how many other treasures were there (thanks to wikipedia) so I didn't look around too much. 

Will have to return one day.

Enjoy the photos.

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The gate entry to the Piazza del Popolo

Piazza del Popolo means “Peoples’ Square”.

It is the “northern gate in the Aurelian Walls” (wiki).

I loved the grand and imposing facade.

The name of the square (in the distance) comes from the Church inside it, Santa Maria del Popolo.

I snapped a photo of this lady, ahead of me.

I thought it was a beautiful moment.

Her swaying & flapping dress reminded me of the Louvre’s “Winged Victory of Samothrace” in her momentary solitude.

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The Piazza del Popolo

An exquisite square.

It reminded me of St. Peter’s Square.

An Egyptian obelisk of Ramesses II at the centre of the Piazza.

Twin Churches in the background. Didn’t go in them. Next time.

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The façade of the basilica

A rather unadorned facade. Rubbish photo, I know ... 

Neighbouring the Museum of Leonardo da Vinci. 

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The nave

The Byzantine icon of The Madonna del Popolo.

Apparently painted by St. Luke himself.

Moved there by Pope Gregory IX from the Lateran.

While doing some research, I came across an interesting journal article by Shannon E. Kuziow in “Pope Sixtus IV at Santa Maria del Popolo: Marian Devotion and the Papal Agenda”. Unfortunately, it isn’t freely available. But the abstract says:

Throughout much of his career in the Catholic Church, Pope Sixtus IV was actively involved in promoting the cult of the Virgin Mary. He directly sponsored the construction or renovation of several Marian sites in Rome, including the Church of Santa Maria del Popolo, which houses a miraculous icon of the Madonna. Inside the church, Sixtus performed weekly devotions and regularly held ceremonies bolstering and celebrating the major political events of his pontificate. Through an analysis of the papal rituals that unfolded before the icon, this article demonstrates that Sixtus’s dedication to the Madonna served as a vehicle of expression for advancing the interconnected theological, devotional, and political aspects of his papal agenda. It further argues that the pope’s support of the Marian cult played a crucial role in his perceived ability to harness divine aid in the larger temporal issues plaguing the universal Church.

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The Crucifixion of Saint Peter by Caravaggio

This is the martyrdom of Saint Peter. He apparently requested to be crucified upside down - unworthy of dying in the manner of Christ.

Caravaggio captures the physical laboriousness of the execution. It all seems rather mundane. We only see Saint Peter and he doesn’t seem to be the visage of quiet resignation and acceptance. In fact, it’s unnerving and horrifying. It’s a dear old man getting tortured. It’s a sick painting. I also feel sorry for the executioners. It looks like a gruelling task. One can see the power of his chiaroscuro in storytelling.

I also wonder if the partially-illuminated man is a self-portrait? I especially love the shadow of the rope over the executioner’s back.

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The Conversion of Saint Paul by Caravaggio

An iconic painting.

I have seen this painting so many times in books, and it has always fascinated and horrified me.

Before being “Saint Peter”, he was the Roman/Jewish Saul of Tarsus. A persecutor of Christian for breaching the law of Moses. On the way to Damascus, he was (apparently) struck down by Holy light and heard the voice of Christ.

It’s a very intimate and psychological painting.

Saul is at the extremity of vulnerability — blinded by God, Christ speaking to him, with a powerful horse’s hindquarters raised and its hoof positioned to deliver a deadly kick to his exposed chest.

Caravaggio’s play on light is so effective. It looks like a single light bulb above the painting. Illuminating from the heavens and onto the singularity of Saul’s abdomen. 

This painting is gripping today - I can’t imagine its effect with parishioners in Rome. 

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The Assumption of the Virgin Mary by Annibale Carracci

Rubbish photo quality.

This is a great contrast to Caravaggio. More idealised, less chiarscuro, more balanced/dynamic painting with the viewer's eyes directed to Mary.

The Cerasi Chapel.

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The mosaic monument of Princess Maria Eleonora Borghese

Caravaggio at the Church of Saint Louis of the French

As part of our trip, we visited the Church of Saint Louis of the French. It is the national church of France in Rome.

Commissioned by Cardinal Giulio de Medici (Pope Clement VII) for the French community in Rome. 

Very special because it holds Caravaggio masterpieces in situ on the life of Saint Matthew.

More information here: Walking Tours of Rome - San Luigi dei Francesi: ​Cappella Contarelli

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The façade and the nave

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The Contarelli Chapel

Named after a French cardinal who died in the 16th century and left instructions for its decoration with scenes from the life of the saint.

The Chapel containing the paintings by Caravaggio.

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The Calling of Saint Matthew by Caravaggio

Caravaggio’s chiaroscuro floods the painting with dramatic divine light.

The light & finger point accusatively toward Saint Matthew.

The drama heightened by everyone’s confusion.

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The Martyrdom of Saint Matthew by Caravaggio

A violent death for Saint Matthew.

According to tradition, martyred while celebrating Mass by a soldier.

That soldier is the focus of attention and the contrast between

vulnerability and strength captures the very moment.

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The Inspiration of Saint Matthew by Caravaggio

An angel guiding Saint Matthew as he writes the Gospel.

This is a second version of the same painting. The first has since been lost:

Caravaggio actually painted two versions of the altarpiece. His first painting was rejected and he was obliged to paint a second version, the work we see today. According to Bellori's account of Caravaggio's life in his book Vite de' Pittori, Scultori et Architetti Moderni (1672), 'the priests took it down saying that the figure with its legs crossed and its feet rudely exposed to the public, had neither decorum nor the appearance of a saint'. The rejected painting was snapped up by Vincenzo Giustiniani, a rich banker and art collector. It ended up in a gallery in Berlin, where, sadly, it perished during the second world war. 

First version.

“The Last Caravaggio” exhibition at London’s National Gallery

I recently went to the National Gallery’s Caravaggio exhibition. It is about his final and dark masterpiece.

It was attributed to him in the 1970s by Roberto Longhi and brought to light.

We were all taken to a dark & intimate room to see the painting. I really enjoyed it.

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The Martyrdom of Saint Ursula, 1610

The star of the show. 

Ursula is a beautiful and isolated female figure in the painting surrounded by soldiers. 

St Ursula is the medieval Christian legend of the princess martyred with her clutch of 11,000 virgins. On her return from pilgrimage in Rome, she met the Hun king who fell in love with Ursula’s beauty. On rejecting marriage, he killed her, and massacred her followers.

Caravaggio paints this gruesome story of through dramatic hand gestures and emotions. The furrowed & unkept soldier, with a gaping mouth, fired the guilty arrow. Beautiful crimson robes connects them both, like fire. The bystanders seem to notice — but only too late. Hands flailing hopelessly to stop it ... and then finally ... Ursula’s own hands framing the fatal wound while her own beautiful face downard in calm resignation. What is amazing is that the King’s killer seems to have some regret. It seems he didn’t “mean” to hurt her? Or perhaps it is her own reaction which has ignited his shock? Ursula seems glow and shine. Caravaggio’s chiaroscuro is sublime.

Caravaggio even paints himself. He extremely pale, open-mouthed, and looking of Ursula’s shoulder. Very similar to his self-portrait in “The Taking of Christ”. He is part of the drama.

Displayed at the National Gallery alongside the painting is a letter about how Caravaggio — on the run for murder — finished this particular canvas in haste in Naples in May 1610. He delivered the painting still wet to Marcantonio Doria who had commissioned it.

Caravaggio died on July 18 1610, a mere weeks after finishing “Ursula”.

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Salome Receives the Head of John the Baptist

This is part of the NG’s own Caravaggio collection.

Salome is a famous legend (see Sebastiano del Piombo)

The decapitated head of John the Baptist is shown to Salome. Offered on a gilded plate. The outstretched hands of the soldier (with sword in other hand) as if to distance himself? His face is a bit uncomfortable ... is it regret, or merely distaste? St. John looks like he is still sleeping. The clever lighting (against a dark ground) creates a uniform skin colour to mask death. But it is also quite claustrophobic.

Salome seems to be blushing. But why? Remorse? A hint of irritation in her lips perhaps?

The old lady, hands crossed in prayer, is the complete opposite of Salome. Age, expression, line of sight ...

Saint Francis of Assisi exhibition at the National Gallery

Visited the St Francis exhibition which I really enjoyed. The exhibition explores how St Francis has been perceived in art history. (Pope Francis took his name).

St Francis was born in Assisi in Italy. The son of a rich textile merchant, the young Francesco probably had a decent comfortable childhood. As a young man though, he wanted to take part in the Crusade as a knight. Participation of which, at the time, was considered one of the highest honours in Christianity. Thus, he tried to reach the court of Gualtieri III, Count of Brienne in Lecce, to move with the other knights to Jerusalem. However, as he arrived at Spoleto, he fell ill, and received nocturnal revelations at the church of San Sabino. He nevertheless joined the army, and fought, and was then taken prisoner for a year. Upon release, he started to pray to God. Later, he performed his miracles like taming the wolf and receiving the Stigmata. St Francis even visited Egypt to negotiate tensions between Muslims and Christians, and thus granted an audience with the Sultan Al Kamil.

He claimed that Christ spoke to him via a wooden crucifix to rebuild the Christian faith. Canonized in 1228 (only 2 years after death!), founder of the order of Franciscans, mentor of St Clare; today he embodies the ascetic lifestyle and poverty for God and kindness to the creation. What is true and what is myth and legend, we’ll never know.

Born a millennia after Christ, this near cult-like following arose at a convenient historical juncture. As the nascent Franciscan movement grew, the arts had began to occupy a greater prominence in conveying the myth and legend of St Francis, not least the Franciscan ethic of poverty. Moreover, at the time, the Catholic Church was directed against a more potent challenge to their authority, namely the heresies of the Cathars. When Pope Honorius III approved the Franciscans and Dominicans – as something of a challenge – it was merely to better deal with the Cathars and to constraint the mendicant preaching in line with Canon.

As for the exhibition, my only surprise (and perhaps criticism) is its conspicuously religious tone and ambience. It sometimes felt like I was inside a Cathedral as opposed to an art gallery at times. 

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Saint Francis in Meditation by Francisco de Zurbarán

As the gallery says, a near perfect illustration of St Francis. 

Kneeling, darkened still ambience, torn and worn habit, eyes heavenward, deep reverential contemplation, mouth ever-so-slightly ajar (as though to whisper), memento mori.

It’s a very powerful depiction and I think it makes that it’s placed at the entrance of the exhibition.

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The Altarpieces of St. Francis of Assisi by Sassetta

Visual biographies of the life of St Francis. They’re very beautiful and sweet. These are considered to be Sassetta’s masterpiece.

Quite beautiful and poignant, and a pretty impressive round-up of the Saint’s life. The paints are:

1. The young Francesco. As per his biographer, he gives his fine clothes to a poorer knight.
2. St Francis abandons everything – including his clothes – and leaves his sublunary father for the eternal one. The embodiment of poverty and sacrifice for God. The actual father is angry at this Francis (understandably!).
3. St Francis – older now in his friar’s habit – meets Pope Honorius III who grants him permission to establish his order.
4. Francis before the Sultan in Egypt during the 5th crusade offering to pass through fire. 
5. The wolf of Gubbio. Legend here is that Francis tamed a ferocious wolf that was terrorising a community. Birds hovering above also.

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Saint Francis and the posthumous miracles

Byzantine altarpieces are ornately decorated with meticulous care and detail. They date back to the mid-13th century. Beautiful in their own way. In them, St Francis draped in poverty, stigmata and books in one hand. The miracles are (1) healing a girl with a twisted neck, (2) disabled man with leprosy, (3) an exorcism (bottom right-hand side, showing demons exiting her mouth).

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St Francis of Assisi with Angels by Sandro Botticelli

Painted gold background. Botticelli gives us more refined features, a slightly skinny St Francis, bony feet with angels musicians encircling a contemplative Francis.

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After the Council of Trent (which gave renewed emphasis to the arts mostly in opposition to the Protestant reformation), St Francis’s portrayal grew. 

St Francis of Assisi in Ecstasy by Caravaggio

Caravaggio painted Francis post stigmata and recumbent. He seems overcome with the pain of the ordeal. There is a tenderness to this painting. Brother Leo, in the background, subtlety looking upset. 

It’s interesting.

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St Francis Embracing Christ on the Cross by Bartolomé Esteban Murillo

A lot of allusions and imagery in this painting of classical elegance. Francis close enough to be touching Christ. One foot on the globe. The Christ resting a hand on his shoulder for support. As above, there is that feeling of affection and compassion, perhaps even continuing Christ’s work for him.

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St Francis Receiving the Stigmata by Frans Pourbus the Younger

A dramatic arresting painting capturing the moment of the stigmata. This was painted for Convent of the Annunciation in Paris. It seems to me to glorify and exalt the terrestrial suffering and pain in favour of the the heavenly bliss and ecstasy. Perhaps self-abnegation has egoism in it?

St Francis’s face in calm acceptance and arms surrendered. The wounds visible including on the chest, replicating Christ’s wounds. Though, it occurs to me no blood from the crown of thorns? At any rate, his sandals are also brushed aside, as per Moses. Another memento mori with Brother Leo shielding his eyes.

This is a painting of devotion. Quite stirring. 

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St Francis’ Vision of the Musical Angel by Francisco Ribalta

Ailing skinny St Francis receives musical angels. Poverty and hardship all around (Brother Leo reading from a single candle) and the burst of energy (blowing hair and clouds), light and music from the left. Lamb being the symbol of meekness, Moses and shepherd-ness. 

Painted in Spain, this must have had an inspiring dazzling effect on the viewers. I think it’s pretty good; but not amazing as the Zurbarán.

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St Francis receiving the stigmata by El Greco

Quite an original Spanish depiction painted in approx 1590. Azure skies and clouds enveloping Francis with a heavenward devotional gaze.

It’s interesting, but I can’t say I like it that much.

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Brother Francis and Brother Son by Giovani Costa

The painter Costa was, apparently, “imbued with the Franciscan spirit”. Francis supposed to be greeting the Brother sun.

This painting is charming for 5 mins and then I find it annoying. Its a bit too Disney-like.

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The Wolf of Gubio by Luc-Olivier Merson

Charming painting which is supposed to depict one of Francis’s supposed miracles; the taming of a wolf. The taming of any wolf surely does not necessarily entail divine providence? Anyway, the wolf has a halo and is passively eating some meat from the butcher. The wolf, it seems, entered a bargain as opposed to being fully tamed!

I love the mother and daughter interaction, and the general village romantic charm.

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The Habit of St Francis

This habit is from the 13th century, and belongs to the Franciscans in the Basilica of Santa Croce in Florence.

According to the National Gallery, it is reputed to be the very habit that St Francis himself wore. This seems unlikely.

Whilst it’s interesting to see this object (which is admittedly rare), it did feel incongruous in the gallery. I felt it should sit or belong in a church as an object of religious significance. I can’t see any obvious artistic value. Whilst it does sit in a golden frame, I can’t be the only one to find it a bit distasteful.

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Sacco (sack) by Alberto Burri

This modern canvass sits discordantly among the more classic art.

Burri is supposed to have fought in the world war, and taken prisoner of war. Although he didn’t expressly identify this piece with Francis; parallels were drawn with the habit of Francis.

It seems he did offer it as an exhibition at a Franciscan friary in Assisi; Sacro Convento. But of course, it may have had nothing to do with Francis. To me, it seems a bit tangential, and didn’t fit in with the rest of the exhibition. A sack could just be a sack; the problem with this kind of modern art.

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Franciscan and the Indian by Jose Clemente Orozco

1926 painting by Mexican artist. Invokes Francis’s initial horror at a sick disabled man with leprosy; but then embraces the emaciated man in a show of compassion. There is something very moving in the embrace; beneficent and tender in the wrapped arms in the larger-than-life figure. One feels a sense of dejection and compassion.

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Francis, Brother of the Universe (1980)

St Francis meets the Marvel universe in Tokyo with his superhuman characteristics. 

A funny endnote to the exhibition.