Entry 20

“Saint Francis of Assisi in Ecstasy”

By: Caravaggio

1595

Size: 36 x 50 inches

Location: Hartford, Connecticut

Caravaggio’s depiction of St. Francis receiving the stigmata is very peculiar in the way it is portrayed. Both the angle and the saint have a very serious look on their face and it seems to be a very private almost intimate encounter. A stigmata is a bodily mark or sore that is linked with the crucifixion of Jesus. This new understanding helps us interpret the reason for the angels touch at the side of the saint. According to John 19: 34 “Instead, one of the soldiers pierced Jesus' side with a spear, bringing a sudden flow of blood and water.” This is symbolic of the stigmata St. Francis is receiving in this painting on his side. Along with the angel and St. Francis there is a sarcophagus in the back left which is St. Francis brother Leo. He was with St. Francis during the stigmatization.

Resources

http://www.absoluteastronomy.com/topics/Saint_Francis_of_Assisi_in_Ecstasy_(Caravaggio)

Entry 19

“Saint Mathew and the Angel”

By: Caravaggio

1602

Oil Canvas

Size

Bottom: 87 x 72 inches

Top: 116 x 77 inches

Location

Bottom: Formerly in Berlin

Top: Rome, Church of San Luigi dei Francesi

If you notice both of Caravaggio’s paintings of Saint Matthews’s inspiration to write are drastically different in their presentations. The painting on the Bottom is his first attempt which was rejected for lacking respect and religious context by it commissioners. If you notice the painting on the bottom portrays Matthew as an average everyday person. His attire and his posture offer that he is of working class and gives no hint of nobility or respect. This picture was rejected and made its way to Berlin and was in Kaiser Friedrich Museum, but was destroyed in 1945 during World War II. The picture on the top is Caravaggio’s second attempt at the painting and this piece of art work is a much different representation of the encounter. Matthew sees the angel over his shoulder and is in a surprised state. He is receiving verbal guidance from the angel opposed to physical. He is also given a halo around his head which gives more respect to the saint. This image was accepted by the commissioners because it granted more respect to the saint.

Resources

Caravaggio The Complete Works

by Alessandro Guasti and Franchesca Neri

Entry 13

“The Rest on the Flight into Egypt”

By: Caravaggio

1599

Oil Canvas

52.6 x 65.6 inches

Rome, Galleria Doria Pamphili

First, when looking at this painting you must look at the center of the artwork and notice that the angel is the center of the piece. We find a Madonna and Child to the right sleeping and an older Joseph on the left. This painting was peculiar for this time because it shows the angel playing an instrument. The angel is playing a song derived from the Bible book song of songs. The lyrics are a love story between bride and groom, Mary and Joseph. Along with the angel there is other symbolism going on. In the background there is a black lamb that symbolizes Jesus Christ coming into a dirty world. Along with the lamb is a dying tree, which is what the lamb hung on to die for our sins. In addition, Mary is wearing a red garment that takes your eye and she also has red hair. This could possibly be symbolic of Jesus’ blood covering her, but it is juxtaposed with her holding him. The music acts as a melody that carries the reader’s eye throughout the piece as the angel stands in the middle of the painting as a center piece you have to keep focus on it.

Resources

Caravaggio The Complete Works

by Alessandro Guasti and Franchesca Neri

Entry 9

Angel with a Sponge (1667-1672)

Gian Lorenzo Bernini

Marble

Sant’ Angelos Bridge

approximately 6'

This sculpture is one of the most notable pieces on the bridge which leads fromm the Vatican to Castle Sant’ Angelos, which is located on Sant’ Angelos bridge, Bernini’s exhibit in Rome. Sant’ Angelos Bridge was built over the Tiber River during the reign of Hadrian in 135 A.D. The bridge consists of seven stone arches and five main spans of about 60 feet. In the 17^thcentury Bernini placed ten of his angel sculptures on the bridge. There is an interesting inscription on the angel with a sponge that says “They gave me vinegar to drink”. This Angel is holding a sponge which is symbolic of an instrument that resembles the passion of Christ. The holy sponge was used to wipe vinegar over the wounds of people during there crucifixion because it would stanch the blood which would intern allow the criminal to continue persecution for longer. This angel is symbolic of the agony and pain Jesus Christ went through to cover our sins with his blood.

Resources

http://www.britannica.com/EBchecked/topic/523159/SantAngelo-Bridge

http://www.catholictreasures.com/articles/oninstrm.html

Entry 4

Holy Water Font (1722-1725)

Giuseppe Lironi and Francesco Moderati

St. Peters Basilica

Marble

Approximately 5ft high x 6ft wide

Once you enter the basilica you are greeted by two children angels that are holding a flower which is the holy font. This sculpture was created over a period of time from 1722 to 1725 and stands two meters tall. The font was created by Giuseppe Lironi and Francesco Moderati. The children angels are adult size which allows the font to be magnificent in a sculpture not just a font. Taking a closer look at the sculpture we see two angels that seem to be resting on the walls of the church and are creating an invitation to receive the water. The contrast that the yellow flower gives to the purity of the white angels is exceptional because it really narrows in on the central them which is holiness in the water. I saw this sculpture and thought it was intriguing because it just stood out to me as being pure and inviting.

Resources

http://saintpetersbasilica.org/Docs/SPB-VirtualTour3.htm#enter

http://chestofbooks.com/travel/italy/rome/John-Stoddard-Lectures/Rome-Part-17.html

Entry 1

The Annunciation (1528)

Benvenuto Tisi, aka Il Garofalo

Capitoline Museum, Rome

oil on canvas

approximately 6'x4'

Benvenuto Tisi, also known as Il Garofalo, was born in Ferrara, Italy, in 1481. He studied under a variety of different teachers, including Boccaccino and Romano. These teachers added elements of strong Venetian coloring and a classical, stylized emphasis to his style of painting. This particular painting exemplifies both of these stylistic elements; the coloring is vivid, and the figures depicted have classical features. Mary is dressed in simple clothing, while Gabriel wears rich colors and gold embellishment, including golden footwear. A faint halo surrounds Mary's head, as in many other works of art. God the Father looks on from the top left corner of the painting, while the baby Jesus, carrying a cross, looks as if He is beginning His descent to Earth. A dove, representing the Holy Spirit, is captured mid-flight. On the lower right side of the painting, a cat and a hearth imply that Mary lives a simply, homely life, while the angel Gabriel offers her white lilies, symbolizing her purity. Two columns split the painting; these could serve as both separation between Mary's earthly life and the heavenly beings, and also it could symbolize the church and how important this scene is to the church.

Resources

http://www.artexpertswebsite.com/pages/artists/garofalo.php

http://mwurtz.blogspot.com/2010/02/capitoline-museum.html

http://www.teleflora.com/about-flowers/lily.asp