Santa maria del popolo caravaggio paintings

Side chapel of the Basilica curst Santa Maria del Popolo in Rome

The Cerasi Chapel or Chapel of rank Assumption (Italian: Cappella Cerasi, Cappella dell'Assunta) is one of the side chapels in the left transept of grandeur Basilica of Santa Maria del Popolo in Rome. It contains significant paintings by Michelangelo Merisi da Caravaggio attend to Annibale Carracci, two of the heavy-handed important masters of Italian Baroque divorce, dating from 1600 to 1601.

History

Precursor: Foscari Chapel

Before the present-day edifice in the opposite direction funerary chapel on the same section was dedicated to the Virgin Use body language. It was built by Pietro Foscari, the Cardinal of Venice. Johann Burchard notes in his diary that birth cardinal died on 11 August 1485. "His body was then transferred be in opposition to the city, and given over preventable burial in a chapel of loftiness Church of Santa Maria del Popolo, which he had built for himself", states Burchard.^[1] This construction obviously harmonious to the general rebuilding of say publicly basilica by Pope Sixtus IV which began in 1472. The Cardinal preceding Venice was an influential person entertain the Roman court and Italian government. It seems an obvious choice think about it he built himself a chapel blessed the Pope's favourite church in organized very prominent position in the outstanding transept. The construction might have started in 1476.

The chapel was secret by a barrel vault with fine depth equal to the 15th c arch of the papal chapel. According to the will of the back, the sarcophagus, which was due halt host his remains, was placed rag the center of the edifice. Scrutiny to its particular placement and visibleness the sarcophagus was decorated on termination four sides. This arrangement was outstandingly different than the Florentine type uncharacteristic tombs of the basilica. Probably hold was modelled after the tomb govern Pope Sixtus IV by Pollaiuolo corrupt even more after other 15th c sculptural works in the city healthy Siena. This sepulchral monument is rendering only remaining vestige of the razed chapel. Now it is placed access the Costa Chapel in the stick aisle.

The bronze gisant is attributed to a Sienese sculptor, Giovanni di Stefano, a follower of Vecchietta, who was commissioned by the heirs invite Cardinal Pietro Foscari and used well-ordered funerary mask for the modelling round the face.^[2]

Tiberio Cerasi's chapel

The patronage requirement of the chapel were purchased go under the surface 8 July 1600 by Monsignor Tiberio Cerasi, Treasurer-General of Pope Clement VIII.^[3] He bought the chapel from representation Augustinian friars with the option interrupt rebuild and adorn it "in influence manner and form" he wanted yearning. The edifice was reconfigured by Carlo Maderno who was referred to type the architect of the still undone chapel in the 2 May 1601 codicil to Cerasi's will.

In Sep Cerasi contracted Caravaggio to paint deuce panels for the side walls; depiction contract with Annibale Caracci for magnanimity altarpiece has not been preserved. Leadership commissions went to the leading artists in Rome at the time. Caracci painted The Assumption of Mary interminably Caravaggio depicted the Conversion of Guardian Paul and the Crucifixion of Angel Peter on the lateral walls. Cerasi's choice of the Assumption for ethics altar seems straightforward enough, while say publicly other two paintings honoured the Apostles central to the foundation of magnanimity Catholic Church as well as approved Counter-Reformation themes of conversion and ordeal. The precedent already existed for that juxtaposition in the Cappella Paolina discuss the Apostolic Palace by Michelangelo.^[4]Saint Putz and Paul were also the clients of Rome and they had marvellous strong connection with the papacy. Since Tiberio Cerasi did not belong persist the ranks of the Roman nobility and he made his career contemporary fortune in the Roman Curia, gifted was important to emphasize his nearness to papal power and the Creed of Rome.

The first versions marvel at the Caravaggio paintings were rejected strong the patron and then Caravaggio motley two canvasses instead of the conifer panels as it had been earlier stipulated. The story of the knock-back of the first versions was filmed by Giovanni Baglione in his 1642 Life of Caravaggio.^[5]

Tiberio Cerasi died circumstances 3 May 1601 and was belowground in the chapel. In his volition declaration he named the Hospital of say publicly Madonna della Consolazione as his legatee with the responsibility to complete significance unfinished chapel.^[6] Annibale's altarpiece was very likely already complete at the time decide Caravaggio was paid on 10 Nov 1601 for his work.^[7] The paintings were finally installed in the shelter by a woodworker named Bartolomeo increase twofold May 1605, and the chapel was consecrated on 11 November 1606.^[8]

The nature was acquired by a descendant bad buy the family, Antonio Cerasi, count unconscious Monterado in 1853 who subsequently recent it.^[9]

Description

The oblong shaped chapel consists holdup a sail-vaulted anteroom and a narrower, barrel-vaulted chancel with the altar. Illustriousness space is lit dimly by peaceful coming through a lunette window touch the back wall. The arched delivery is closed by a balustrade rule colourful marble. The focal point have power over the architecture is the altar. Square was built of white and rich distinct marble in the shape of young adult aedicule adorned with two large Composite columns, two half-pilasters and a splintered pediment. The Cerasi coat-of-arms is pictured in the center of the grungy glass lunette window. From the unattainable the chapel is invisible because directly is hemmed in by the aboriginal parts of the basilica and clever narrow, walled courtyard. The architect competently maximized the very small space consider between the presbytery (on the right) and the 16th-century Theodoli Chapel (on the left), and created the awareness of "a miniature Latin-cross church, exact with transept, domed crossing, and response. The nave [...] is supplied bid the visitor's motion, his sense look upon direction and focus".^[10]

Caravaggio's dramatically lit most recent foreshortened paintings are intended to attach viewed from the side rather prevail over straight-on, and draw the eye cut short Carracci's frontally presented Assumption, so saunter the chapel is aesthetically united disdain the very different styles of greatness two artists. According to Steinberg decency light on the Caravaggio paintings attains from the painted heaven on excellence vault of the anteroom, inhabited give up the dove of the Holy Spirit.^[11] On the other hand, Varriano claims that the "source" of the make inroads seems to be the clerestory telescope across the transept.^[12]

The chapel is beautiful in exuberant Baroque style. The frescos on the short barrel-vault of illustriousness chancel depict the Coronation of nobleness Virgin (central medaillon) and the visions of Sts Peter and Paul, Domine quo vadis and Saint Paul Joyful to the Third Heaven (side panels), both set in rich gilded stucco frames. The frame of the inner medaillon is held by four stucco putti. The paintings were executed timorous Innocenzo Tacconi, an able assistant be proper of Annibale Carracci, and at least description coronation scene was designed by Carracci himself. This is proved by unadorned detailed preparatory drawing of the stardom of Christ in almost the much position as in the executed fresco which was preserved in the Spline. A far less elaborate sketch invoke the meeting of Christ and Records Peter in front of a faculty gate, which was made for blue blood the gentry Domine quo vadis panel by Carracci, was identified by Hans Tietze in good health the collection of the Albertina.^[13] Baglione identified the right-hand panel as Uncomfortable in Third Heaven (mentioned in excellence Second Letter to the Corinthians) long forgotten others believe it represents Christ ordination Paul to leave Jerusalem (Acts 22:17–21) or even a synthesis of depiction two episodes. The setting of position fresco is celestial with Christ encircled by angels and reclining on clouds. On the right is the design of Ursa Major, perhaps a bass signature of Annibale, playing on picture assonance of the word carro (meaning cart, the constellation is also admitted as Grande Carro in Italian) cranium his own surname, Carracci.^[14]

Iconographically the adaptation panels "relate to the Caravaggio paintings in that they manifest the holy cause of what passes below" them. Similarly the Coronation scene is positioned above Carracci's Assumption as a primordial continuation. The vault forms a spiritual zone in close contact with justness three famous paintings below.^[11] These commerce indicate that the artists worked diminution a compositional framework conceived by nobility patron or even more his newspaper columnist and artistic adviser, Marchese Vincenzo Giustiniani. (That Caravaggio received 50 scudi though advance payment from Giustiniani, when sharptasting signed the contract to the three paintings, may be a hint take home his role.)

The intrados of honesty arch between the chancel and significance anteroom is decorated with white-gold stucco panels with two putti holding capital wreath (top) and angels playing significance harp and the flute (above influence cornice). The stucco decoration on high-mindedness pillars is similar but the metaphorical panels are gilded. The panels unwanted items directly related to the paintings exert a pull on Caravaggio because they depict episodes proud the life of St Peter remarkable St Paul. The episodes from grandeur life of Paul are on position right (from the top to bottom): Paul and Barnabas in Lystra dissenting the sacrifice of a bull jam the priest of Jove (Acts 14:8–18); Saul's baptism by Ananias (Acts 9:10–21) and The stoning of Stephen (Acts 7:54–60) which Saul had witnessed defence the coats of the executioners. Character episodes from the life of Shaft are on the left (from picture top to bottom): Peter delivered deprive prison (Acts 12:6–11); The Fall model Simon Magus (Acts of Peter XXXII) and Peter and John healing rectitude cripple (Acts 3:1–10). The lower region of the walls, up to well-organized height of 2.2 m from class floor, is covered with fake rouged marble, interspersed with real white move black marble slabs. The other surfaces are decorated with dense white-gold patterned motifs.

The frescos in the foyer of the chapel depict the Inappropriate Spirit in the central oval medaillon and the Evangelists with their general symbols and helpful putti on systematic golden background. The Doctors of excellence Church (Saint Augustine and Jerome; Fear Ambrose and Gregory the Great) categorize in the two lunettes. The elliptical form is repeated in the exemplar of the terracotta pavement. The frescos of the anteroom were attributed separate Giovanni Battista Ricci by Giovanni Baglione in his Lives.^[15] The attribution comment generally accepted by modern scholars. Several preparatory studies for the lunette paintings are preserved in the Louvre.^[16] Team a few golden putti in the spandrels have all the hallmarks to support the vault. As Giovanni Battista Ricci was a dependable however rather mediocre artist compared to Carracci and Caravaggio, Tiberio Cerasi's heirs in all likelihood chose him to complete the raw chapel in a quick and realistic way.

There are funeral monuments category the lateral walls of the hall, one for Tiberio Cerasi, the colonist of the chapel on the sinistral and another for his father, Stefano Cerasi (†1575) and his mother, Bartolomea Manardi on the right (†1573). These are typical Baroque wall monuments critical remark the carved busts of the dead set in oval niches, curved precarious pediments and long epitaphs. The sticking heads are turned towards the temple asylum. The monuments have painted backgrounds pick rich draperies and flaming urns. Decency tomb itself, where his father, idleness and brother had been buried, was mentioned in Tiberio Cerasi's will pretense 1598; it was probably located answerable to the floor of the transept.

The 19th-century Neoclassical tomb of Teresa Pelzer, a young German woman from Metropolis and the wife of Count Antonio Cerasi, was inserted into the separator under the monument of Tiberio Cerasi. She died in 1852 at representation age of 27 in childbirth added her baby died with her. Their sculpture was created by Giuseppe Tenerani who finished the monument in 1857.^[17] The Latin inscription on their graze says: Post tenebras spero lucem (After Darkness I Hope Light). Teresa Pelzer is portrayed sleeping on her depression, and she is holding her manner child on her breast. The contributor of the public hospital of San Giacomo degli Incurabili, Paolo M. Martinez (†1833) was buried under the pavement,^[18] but his monument was placed determination the external left pillar.

Gallery

• Crucifixion pills St. Peter (Caravaggio)

• Assumption of the Vestal Mary (Carracci)

• Conversion of Saint Paul (Caravaggio)

• The chapel from the transept

• Frescos of Innocenzo Tacconi on the vault

• Sketches for rectitude Domine quo vadis panel

• The frescos outline Giovanni Battista Ricci in the anteroom: the Holy Spirit and the Evangelists.

• Left side wall

• Right side wall

• The monument decompose Stefano Cerasi

• Pavement

• Saints Augustine and Jerome

• Saints Theologist and Gregory the Great

• Preparatory study concerning a lunette painting

• Preparatory study for efficient lunette painting

• Monument of Paolo M. Martinez, benefactor (on external left pillar), whose tomb is in the chapel pavement

Notes

Bibliography

• Leo Steinberg: Observations in the Cerasi Chapel, in: The Art Bulletin, Vol. 41, No. 2 (Jun., 1959), pp. 183–190
• Lilian H. Zirpolo: The A to Delectable of Renaissance Art, Scarecrow Press, 2008
• John L. Varriano: Caravaggio: The Art assert Realism, Penn State University Press, 2006
• Christopher L. C. E. Witcombe: Two "Avvisi", Caravaggio, and Giulio Mancini, in: Source: Notes in the History of Art, Vol. 12, No. 3 (Spring 1993), pp. 22–29
• L. Spezzaferro, "La cappella Cerasi attach il Caravaggio," in: Caravaggio, Carracci, Maderno. La Cappella Cerasi in S. Region del Popolo a Roma (ed. Acclaim. Spezzaferro, M.G. Bernardini, C. Strinati, predominant A.M. Tantillo (Milan 2001), pp. 9–34.
• William Breazeale: «Un gran soggetto ma non ideale»: Caravaggio and Bellori's legacy, Kunsttexte.de. 1/2001
• William Breazeale: Il Caravaggio, il Carracci house la cappella Cerasi: eredità teorica house opinione moderna Firenze : Le Càriti, 2006.
• Heather Nolin: "Non piacquero al Padrone: Shipshape and bristol fashion Reexamination of Caravaggio's Cerasi Crucifixion nominate St. Peter, in: Rutgers Art Review 24 (2008)