discovered on the fourth centenary of the death of a new Caravaggio. The Martyrdom of San Lorenzo" found in Rome offers opportunities to examine the relationship of the painter with the Jesuits.
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Four hundred years ago, July 18, 1610, died on the beach at Porto Ercole Michelangelo Merisi da Caravaggio, after spending one of the most famous artistic and passionate lives, including the success achieved, the friendship of influential patrons and the latest desperate escapes in southern Italy because of a conviction for murder. The uniqueness of his life has become almost a legend, and even the early twentieth century the field of study for Mariano Patrizi, the most gifted student of Cesare Lombroso, so as to dedicate a series of studies focusing on the combination of genius and madness. There would be many ways to remember and celebrate today Caravaggio. This year each work of art is been analyzed and discussed through exhibitions, articles and opportunities of various kinds. Originals, copies, alleged autographs, the whole universe has become a news media artist, works and were put into play for further consideration and debate. The catalog of certain works became the theme of the exhibition (at the Quirinal Stables) most visited in Rome in recent times. To avoid getting into these querelles Caravaggio, it was decided to draw inspiration from a painting remained unpublished until now, the Martyrdom of St. Lawrence, the property of the Society of Jesus is certainly a painting style "flawless", but not now want to fall into the easy trap of a "Caravaggio all costs. "They will further diagnostic study and a detailed documentary, stylistic and critical to provide the answers. To pay homage to Caravaggio does not care much now establish a certain assignment, but multiple ranks follow those related to painting, with surprising ease , huddle around some unexplored aspects of his life in Rome.
that the painting of great beauty is unequivocal. That is, if nothing else, one of Caravaggio's earliest hours, it is quite evident. Remarkable is the light that lash from the dark background and the surface model with sudden flashes of volumes. The originality of the pose of the saint is surprising: apparently almost irreverent, St. Lawrence is lying face down on the grill with your arms forward, as if seeking salvation. Instead, this very young face, suffering and despair that humanity shows in the deep theological meaning of martyrdom. The human dimension, expressed by the gaze and head movement, all stretched forward, is effectively communicated to the viewer, or rather to the faithful. This same feeling is felt by observing the works of Caravaggio in the Cerasi Chapel Santa Maria del Popolo. For example, declined in the first version of the Conversion of St. Paul (now Odescalchi collection), the holy instinctively covered his eyes with his hands. The emotional impact of the body lying along with the martyr, however, commemorates the martyrdom of Saint Matthew Contarelli in the chapel, Church of St. Louis of France. The special arm and right hand of St. Lawrence also has the same effect as those of Holofernes Judith and Holofernes in the Palazzo Barberini. As a counterpoint, composition, always within the framework of St. Lawrence, there are three characters with stark realism and physiognomic gestures enhance the pathos of the scene spread. The twisting of the back dell'aguzzino left, which is emptying the basket with the coals for the grill, you can even approach that of the executioner in the beheading of John the Baptist in the cathedral in Valletta, Malta. Neither biography nor Caravaggio sources, however appoint this person, even if the painter deals with other issues, still bloody, in line with the religious choices of the time.
The Martyrdom of St. Lawrence is, in fact, a clear reference to the dictates of clear iconographic array Jesuit, not a cause, however, the specific theme of the holy deacon Lawrence hagiography, although in the Jesuit church in Venice is an important precedent: Titian's famous painting of the mid-sixteenth century with a unique solution luminosity. The iconography is related, however, the scope of the theological theme of martyrdom in general, heavily circulated by the Society of Jesus has, in fact, have long considered it possible that Caravaggio came to Rome in 1592, has got to know the cycle martyrs, futuristic at the time, painted by Pomarancio in the church of Santo Stefano Rotondo College of Germanic-Hungarian Empire (1583 approx). The sharp realism explicitly wanted by the Jesuits, is intended to facilitate the novices, for the lands of mission, understanding the moment of martyrdom, transforming fear into acceptance of your country, through the grace, just like the young St. Lawrence. The involvement is essential. The tale of the medieval Golden Legend, a source base for any artist, it is read, following the dictates of Trent, with greater attention to make a rigorous statement of fact. Here the artist's expressive ability in showing the outstretched hands of the saint perhaps manifested so exaggeratedly realistic for the sacred place where the painting was intended. As a chapel of the Jesuits, in fact, would host it? Even this fact there is no news for now, leaving room for some cases.
In the chapel of the martyrs or of St Andrew to Jesus, Augustine Ciampelli, came in 1603 and painted on the wall in left, a Martyrdom of St. Lawrence. The simple fresco depicting the saint with the classic pose of the arms pointing upwards, but the iconography echoes much the painting examined here, especially in unusual detail dell'aguzzino that empties the basket. The patronage was Salustia Cerrini, the wife of Ottavio Crescenzi, the noble Roman family closely linked to the events of commissioned Caravaggio to the chapel Contarelli. This powerful family is frequently mentioned by scholars regarding the contacts with the principals of Caravaggio, even if you do not have direct works as a reference, or, for an initial examination of archival documents Serlupi-Crescenzi, found some evidence. Perhaps Crescenzi - as executors of Contarelli - at the same time they deal with the Caravaggio paintings with scenes of St. Matthew, may have thought of him for their chapel to Jesus then, however, shelved the picture obtained, the next Ciampelli , who keeps his memory in the fresco. These, in fact, is called directly by the Jesuits in the traditional way to finish the decorations remained vacant for the Jesus and San Vitale.
If these suggestions may seem simple so far, remains the link with the documentary Caravaggio Crescenzi, which in turn to Jesus for the chapel suggests the possible commission of Caravaggio to Jesus - as a final piece of this uncharted course - there is now a new reflection on the famous trial of 1603, caused by the painter Giovanni Baglione against Caravaggio, Orazio Gentileschi and others who have defamed envy, circulating to Rome of satirical verses. Caravaggio, but already getting major religious customers, would want for himself the one received by Baglione: the altarpiece of the right transept of the church of Jesus time dedicated to the Resurrection of Jesus (the present Chapel of St. Francis Xavier). From the living words of Caravaggio, transcribed in the minutes of the trial (September 13, 1603), it turns out that he understands both the church and Baglione's painting: "I've seen at other times with a chance to go to Jesu, but I do not remember if I was with other painters. " Because of these repeated visits to the church is not found, perhaps may have been motivated also by the ties to the Crescenzi family. Also in the minutes of the process, Caravaggio provides additional information as to the painting style of Baglione: "That painting I do not like me because it's awkward (...) and nobody liked." Later however says that a true artist can be called a "valent'huomo (...) paint because he knows good and well to imitate natural things." Here, in this spontaneous synthesis of concepts is the most honest explanation of the art of Caravaggio is right to accept the subject as well as overly realistic and similar to the nature, how will he also portrays the dirty feet of people in the foreground (Madonna in Stands of Loreto Chapel, Church of St. Augustine in Rome), provided, however, is painted well and not so bad as to be considered by all "clumsy." (Lydia Salviucci Insolera - L'Osservatore Romano)
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identified at number 22 in the alley of Divine Love in Campo Marzio, the Roman house of Michelangelo Merisi. The tenant who broke the ceiling.
arrived in Rome around 1592 and after several years of dire poverty, Caravaggio was received, as is known, by Cardinal Del Monte in the Senate from 1595 to 1601 approximately. After the success and fame as a result of the masterpieces in the chapel Contarelli (in St. Louis of France) and in the Cerasi Chapel (in Santa Maria del Popolo), and more precisely in circumstances that are beyond, moved - about 1602-1603 - probably at Mattei brothers. In 1603 he rented on behalf right up to 1605 a house in the alley of San Biagio, as it was called at the time the current lane of Divine Love which now connects Piazza Borghese and Via dei Prefects, in Campo Marzio.
pinpoint this house retains its importance not only as a mere biographical data, but after two years because the painter was accused by the owner, Prudence Brown, had broken a "suffitto" and this news is simply constructed, in recent decades, a theory that Caravaggio was breaking the ceilings of the houses as a kind of "pictorial practice" which is yet to be proven.
On the basis of a report of Bousquet, 1953, Marini 1981, in Anthology of Fine Arts, pointed out suggested that the reasons for believing that the house was located in the road, assuming the input current number 22 as "probable door of the house occupied by Caravaggio in 1605" in 1993, Artibus et Historiae, Marini was thought that the painter resided "at house No. 41, Lane San Biagio 'but confusing, in my view, the sequence number of the" mood "(which refers to the" fires ", ie the families of the entire parish, which in 1605 was 116) with that of the houses (which were all on the same date 90). At the same
1993 Riccardo Bassani and Fiora Bellini released the text (currently in restoration) of the contract by which Caravaggio, September 16, 1603, prendeva in affitto quella casa. In esso è registrata una descrizione abbastanza precisa dell'edificio: infatti Prudenzia Bruni, proprietaria (meglio che "affittacamere") e abitante in una casa "attaccata/contigua", concedeva in affitto a Caravaggio salam cum duabus cameris ut diceret al piano cum suffittis et eorum stantis superioribus, ac cum cantina suptus dictam domum, cortile, et horto in ea existentes nec non cum usu et facultate abuendi aquam a puteo in ipso presente dictae domus existens (sic).
Si trattava dunque di una costruzione "cielo-terra" a due piani, con vani al pianterreno e al primo piano: "al piano" (terra) esistevano una sala (o "stanzone", come si esprime Marini) e due camere cum suffittis (ed è important to note that we are talking here of "ceiling" to describe the underside of the roof of the ground floor rooms), then they went up on the first floor, where there eorum stantis superioribus evidently overlapped at the surface of the room and two bedrooms site " plan "earth then there is a courtyard in the center of which was a pute, also provided a Horta, both of which Caravaggio was to contract the right to use and finally there was a porch that looked out on that internal court, since the contract was signed in dome revealed to him (sic), that is, under a patio or porch.
These being the data, the facts and documentation, it is not known if may have been a misleading but resigned skepticism by scholars to have so far been limited further research into the precise identification of the house in which Caravaggio lived for two years. The problem was in fact to identify a particular building or group of buildings, in the dead of Divine Love, which could still preserve traces of a courtyard, a well, a porch and a garden. Today the house - just two floors - located at number 19 appears in his system, corresponding with the description in the act of 1603, as all the elements described herein are substantially present in the building, as the pictures depict.
There are in fact on the ground floor in the vestibule, just after the gate entrance on the right, a door leads into what was supposed to be the "room" (or "big room") and the two chambers cum suffittis and left, the stairs leading to the "upstairs". Crossing the hall, in the large rectangular courtyard inside the plant there is clearly a well, whose cylindrical barrel underground must have been filled and covered, while the "true" the well must have been demolished and in its place, the center of the circumference of the old "true", was implanted with a lamp to illuminate the courtyard. Yet, the fact that there was originally in the yard seems a well testified by the surviving ICTU oculi design travertine on the circumference center (corresponding to the ancient "True") and the four diagonal branch off from it to the four corners of the main courtyard, where they still exist, and are perfectly preserved and functional, the four drains necessary to direct the rainwater into the underground tank and then into the well same: the gentle slopes of the pavement of the courtyard shaped flints, tilting toward the four trap doors and the center circle at a level slightly raised, evidence of the ancient system of the well. At the back of the courtyard there, as opposed to a wall, a space that is currently flourishing plants, shrubs and small trees of moderate height but that does not disprove the likely early target in that part of the garden courtyard.
Finally turning to the yard look back at the access from the hall leads into the courtyard, emerges in all its sharpness the old porch on two levels (ground floor and first floor) that corresponds exactly to that revealed to him in the dome the lease was signed: the porch, the depth of about five feet, running along the inner side of the house (in a line parallel to the facade on the front of the alley), and it probably - but this will tell the architects - once you went down the left side of the courtyard itself, perhaps in proximity to the house where the owner lived Prudenzia Bruni. The portico, planted on four sturdy columns and square pillars, holding then a second set of columns also square, but lighter, which form the portico of the rooms on the first floor, bounded by railings that overlook the courtyard.
It seems hard to deny that this very building, a plan is exactly the house occupied by Caravaggio in those two years from 1603 to 1605: in each case to further investigation, the nature of architectural, historical and archival register, is responsible for the facts and checks needed to elucidate any remaining doubt.
And yet, as you can understand, perhaps the precise finding of the house inhabited by Caravaggio is not limited to being a mere chronicle and biographical detail, since it also involves issues related to his painting technique and his poetry (especially the use of light sources), and that, you will still have to discuss. (Peter Caiazza - L'Osservatore Romano)
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