GOING FOR BAROQUE Into the Bin - The Metropolitan Museum of Art

25
Domenichino
The Martyrdom
of
Saint Cecilia, 1612-14
(fragment
of full-scale
cartoon for fresco in the
Polet Chapel, San Luigi
dei Francesi, Rome; two
other
fragments
are in the
Mus?e du Louvre, Paris)
Charcoal, heightened
with white chalk,
on
faded gray blue paper;
traces of squaring grids
in
charcoal;
outlines
pricked
for transfer, 67%
x 59%
(172.2 x 151.3 cm)
Wrightsman Fund, 1998
(1998.211)
in.
I
sensibility
for color and
light (note especially
the
^^ figures dappled in light at the bottom). It was
this kind of
^^^^
carefully formulated, learned
^^^^^^ style that Bellori prized.
It is difficult
^^^^^^^
today to fully appre
ciate the
^^^^^^^^
heights this style could
scale.
^^^^^^^^^ Fortunately, a few years ago
the
^^^^^^^^^^ Metropolitan was able to
^^^^^^^^^^A acquire a large fragment of the
cartoon
^^^^^^^^^^A
(fig. 25), pounced for
^^^^^^^^^^^R transfer, for one of the great
^^^^^^^^^^^B masterpieces of classical
^^^^^^^^^^^H painting in the tradition
^^^^^^^^^^^^1 Raphael, Domenichino's
^^^^^^^^^^^^1 Martyrdom of Saint Cecilia,
^^^^^^^^^^^^m
of a fresco
^^^^^^^^^^^^?
of the French
national church in
^^^^^^^^^^^B
Rome,
^^^^^^^^^^^H
San Luigi dei Francesi.
^^^^^^^^^^^V Today, in their rush to view
^^^^^^^^^^V Caravaggio's celebrated can
vases of The
^^^^^^^^^K
Calling of Saint
Matthew and The
^^^^^^^^^m
Martyrdom of
Saint Matthew in the same
^^^^^^^^m
church,
tourists cannot be bothered to
^^^^^^^
give
time to Domenichino's
^^^^^W
cycle. How the
^^^^^ great have fallen! Bellori considered Saint
Cecilia a
^^^
paradigm of classical painting and
declared
(with
little exaggeration)
that "however
famous it may be, its reputation
is surpassed when seen."
The
following passage from Charlotte Eaton's
to
guidebook
Rome, published
in i860, some
gives
idea of how an earlier
generation responded
to the
scene shown in the Metropolitan's
cartoon: "... hand
on
pressed
her bosom, her dying eyes
raised to heaven, the saint is breathing
her last; while female forms, of exquisite beauty
and
innocence,
are kneeling around,
or over bending
her...
lovely children... by contrast
heighten, yet relieve, the deep pathos
of the scene."
Domenichino was once observed
by Annibale preparing
for a picture by assuming
the
pose and attitude of the figure
he wished to depict,
and a process of profound empathy
informs all of his compositions.
Bellori summed up Domenichino's achievement by noting
that "while other artists may exult in their facility, grace, color and other
praiseworthy aspects
of to painting,
him belonged
the greater glory
of describing dispositions
and giving
color to
life." It goes without
saying
that this was done
by embracing
the visual
language
of Raphael
and the formal gestures of classical
an
rhetoric?by finding
accord between an inherited
classical past and a lived-in present.
A somewhat less austere
approach
to painting
than that of Bellori was taken two by
of the
leading poets of the day, Giovan Battista Marino and Gaspare
Murtola. Both admired
paint
ing and saw in it something inherently
similar to their poetry, with its use conspicuous
of
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