Tea at Trianon: Caravaggio in Rome

John Wilson Croker on Marie-Antoinette

"We have followed the history of Marie Antoinette with the greatest diligence and scrupulosity. We have lived in those times. We have talked with some of her friends and some of her enemies; we have read, certainly not all, but hundreds of the libels written against her; and we have, in short, examined her life with– if we may be allowed to say so of ourselves– something of the accuracy of contemporaries, the diligence of inquirers, and the impartiality of historians, all combined; and we feel it our duty to declare, in as a solemn a manner as literature admits of, our well-matured opinion that every reproach against the morals of the queen was a gross calumny– that she was, as we have said, one of the purest of human beings."

~from History of the Guillotine by John Wilson Croker, 1844

Edmund Burke on Marie-Antoinette

"It is now sixteen or seventeen years since I saw the queen of France, then dauphiness, at Versailles; and surely there never lighted on this orb, which she hardly seemed to touch, a more delightful vision. I saw her just above the horizon, decorating and cheering the elevated sphere she had just begun to move in, glittering like a morning star full of life and splendor and joy. Oh, what a revolution....Little did I dream that I should have lived to see such disasters fall upon her, in a nation of gallant men, in a nation of men of honor and of cavaliers! I thought ten thousand swords must have leaped from their scabbards, to avenge even a look which threatened her with insult. But the age of chivalry is gone; that of sophisters, economists, and calculators has succeeded...."

~Edmund Burke, October 1790

Wednesday, November 29, 2023

Caravaggio in Rome

Recently on Facebook some of the works of Caravaggio disturbed the sensitivities of several devout ladies. Such controversy would not have been new to Caravaggio; he was frequently in trouble. From The Catholic Thing:

The Borghese’s Caravaggio collection is remarkable. One painting, known as The Sick Bacchus, is thought to be an early self-portrait. It pairs with Boy with a Basket of Fruit – both painted when the artist was in his early- to mid-twenties. The collection then jumps ahead to 1605-06, a period in the last years of his young life when he was at the peak of his powers and fame. Madonna and Child with St. Anne (or Madonna Dei Palafrenieri, after the group that commissioned the work) is more colloquially known as Madonna and the Snake.

Our Lady, her mother, and the child Jesus look down at Eden’s snake. In other artists’ depictions, it is crushed solely by Mary, as in Genesis 3:15 (in Jerome’s Vulgate): “I will put enmity between thee and the woman, and thy seed, and her seed, and she shall bruise thy head, and thou shalt be ensnared by her heel.” Caravaggio being Caravaggio, depicts the Virgin and Jesus crushing the snake, the boy’s foot upon hers.

The papal grooms (the Palafrenieri) rejected the painting, and Cardinal Borghese scooped it up. The Borghese also has Caravaggio’s Saint Jerome Writing. “This was probably the first of the painter’s works to come into the possession of Scipione Borghese,” the Gallery tells us, because the cardinal had helped Caravaggio with “legal problems,” which were many. (Read more.)