Vita Consacrata, Famiglia, Misericordia: una risposta nell'iconografia musicale di Caravaggio
The musical iconography in the The Rest on the Flight into Egypt by Caravaggio provides the key to understanding this enigmatic painting. The angel-musician that acts as a bifurcation between Joseph and Mary, married and consecrated, represents the merciful presence of God that is reflected in the S...
| Published in: | Gregorianum |
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| Main Author: | |
| Format: | Electronic Article |
| Language: | Italian |
| Check availability: | HBZ Gateway |
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Ed. Pontificia Univ. Gregoriana
2017
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| In: |
Gregorianum
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| Further subjects: | B
musica interrupta
B iconografia musicale B Emilio de’ Cavalieri B Giovanni Battista Fontana B Holy Family B Sacra Famiglia B Caravaggio B Noël Baulduin B Misericordia B musical iconography B Mercy B The Rest on the Flight into Egypt B Riposo durante la Fuga in Egitto |
| Online Access: |
Volltext (lizenzpflichtig) |
| Summary: | The musical iconography in the The Rest on the Flight into Egypt by Caravaggio provides the key to understanding this enigmatic painting. The angel-musician that acts as a bifurcation between Joseph and Mary, married and consecrated, represents the merciful presence of God that is reflected in the Son incarnate. Comparing the three scores subtended to this silent music, we can suppose that the painter produced a living portrait of the characters of the Oratory performed in S. Maria in Vallicella, composed by Emilio de’ Cavalieri and founded by St. Filippo Neri. The identity of the angel is probably revealed by a careful reading of ‘Discourse on the Music’ by Vincenzo Giustiniani, the patron and probable commissioner of the work. The violinist, Giovanni Battista Fontana, seems to wear the clothing of the angel and those of the musical director of the Oratory, postponing not the dating of the work, but his retouching until 1600. L’iconografia musicale nel Riposo durante la Fuga in Egitto di Caravaggio offre la chiave di lettura dell’enigmatico dipinto. L’angelo-musico che fa da crinale tra Giuseppe e Maria, sposi e consacrati, rappresenta la presenza misericordiosa di Dio che si rispecchia nel Figlio incarnato. Comparando i tre spartiti sottesi a questa silenziosa musica si evince che probabilmente il pittore ritrasse dal vivo i personaggi dell’Oratorio eseguito a S. Maria in Vallicella, composto da Emilio de’ Cavalieri e voluto da S. Filippo Neri. L’identità dell’angelo potrebbe essere svelata da un’attenta rilettura del Discorso sulla musica di Vincenzo Giustiniani, protettore e probabile committente dell’opera. Il violinista Giovanni Battista Fontana vestirebbe le vesti dell’angelo e quelle di direttore dell’Oratorio musicale, facendo slittare, se non la datazione, il ritocco dell’opera al 1600. |
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| Contains: | Enthalten in: Gregorianum
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