The Two Michelangelos: Postscript - Another Contarelli Chapel Commission

Caravaggio was contracted for two side paintings in the Contarelli chapel, those we have looked at in the last three posts. The project was finished and installed in 8 months. For the front wall of the chapel, the Flemish sculptor Jacob Cobaert was commissioned to complete a "St. Matthew and the Angel" which was rejected for unknown reasons a short while after being installed. The sculpture ended up in Santissima Trinita dei Pellegrini in Rome.

The church turned once again to Caravaggio, asking him to complete a painting for the space. Caravaggio produced this work:

The church rejected this painting as well and if we take a closer look it is easy to understand why. The angel is guiding St. Matthew's hand which, combined with the look on his face, makes him look rather like a simpleton. In addition, the position of the Saint's dirty left foot puts it precariously close to the  eucharist when it is raised during the liturgy. The painting eventually ended up in the Kaiser-Friedrich Museum  in Berlin and was destroyed by American bombing in World War II. 

Caravaggio, being the consummate professional that he was, painted a second version that remains in the chapel to this day:

For amazing hi-res images of the paintings in the Chapel visit: Contarelli Chapel hi-res pics.

And an interesting documentary on how they produced the above images: Caravaggio, creating three facsimiles.

The Two Michelangelos Part 2

This is the "Martyrdom of St. Matthew" from the Contarelli Chapel in San Luigi Francesi in Rome.

Caravaggio's version of the martyrdom was inspired by the Golden Legend .  Matthew was murdered while celebrating mass in the Ethiopian city of Nadaber. He had refused to marry the King Hirtacua to Ephigenia, a consecrated virgin. Upset at this, the King sent an assassin to kill the saint.

The white vestments of Matthew set against the dark background bring our attention to the center of the painting, as the assassin stands over the saint, about to kill him. At left we see a group of young men (including Carvaggio's self portrait at the back)  dressed in contemporary 17th C clothing (as in the "Calling"). This group could be the faithful who, upon witnessing the murder, ran to light fire to the kings palace. On the right is the altar boy running away from the scene while just behind him is the altar. The bottom group is somewhat confusing as it seems the figures are distorted and/or limbless. Could this refer to the cripples that St. Matthew was known for healing? The strange space they are in may be a reference to the Pool of Bethedusa – a healing pool in Jerusalem mentioned in St. John’s Gospel. 

It is the grouping of St Matthew and the assassin that is most interesting. Once again Caravaggio references Michelangelo's Creation of Adam, using the body of Adam in the place of the assassin. Below I have photoshopped Adam next to the assassin to demonstrate the similarity:

This assassin is Adam up right, on his feet. Adam who has become sinner and been exiled from Paradise. The assassin/Adam grabs the hand of Matthew, trying to block contact with the palm of martyrdom being offered to him by the angel above. Adam here is an image of arrogance in contrast to the redemptive power offered to Matthew. It is sin that prevents us from receiving the grace of God. In this grouping Caravaggio represents the complex rapport between human and divine.

With  "The Calling of St. Matthew", the hand of Adam became the hand of Christ that calls Matthew. In "The Martyrdom", the body of Adam just created becomes the arrogant body of the assassin of St. Matthew. The angel above Matthew is one of the angles from the flight of the angels within God the Divine Creator.

In the next post we will see how Caravaggio continues to reference the Sistine Chapel in his painting of  "Supper at Emmaus"