Caravaggio_ A Life Sacred and Profane - Andrew Graham-Dixon [262]
13. See Franca Trinchieri Camiz, ‘La “musica” nei quadri di Caravaggio’, Caravaggio. Nuove riflessioni, Quaderni di Palazzo Venezia, vol. 6 (Rome, 1991).
14. See Keith Christiansen, A Caravaggio Rediscovered: The Lute Player (New York, 1990).
15. See Franca Trinchieri Camiz, ‘La “musica” nei quadri di Caravaggio’.
16. See Claude V. Palisca, ‘Musical Asides in the Diplomatic Correspondence of Emilio de’ Cavalieri’, Musical Quarterly, vol. 49, no. 3 (July 1963), p. 346.
17. See Keith Christiansen, A Caravaggio Rediscovered: The Lute Player, p. 26.
18. See the entry on Emilio de’ Cavalieri in The Grove Dictionary of Music (Oxford, 2003).
19. See Zbgniew Wazbinski, Il Cardinale Francesco Maria del Monte, pp. 137–8.
20. See Creighton Gilbert, Caravaggio and His Two Cardinals, p. 116.
21. See Keith Christiansen, A Caravaggio Rediscovered: The Lute Player, p. 46.
22. See Helen Langdon, The Lives of Caravaggio, p. 63.
23. See Keith Christiansen, A Caravaggio Rediscovered: The Lute Player, p. 32.
24. See Franca Trinchieri Camiz, ‘Music and Painting in Cardinal del Monte’s Household’, p. 220.
25. As Franca Trinchieri Camiz remarks, in ‘Music and Painting in Cardinal del Monte’s Household’: ‘the voice was well suited for solo performance because of its greater capacity for proper phrasing, which allowed the expression of the strong emotions in fashion during this period’(p. 221).
26. Ibid., p. 218; for a counter-example, see the very different, open-mouthed singers, accompanied by lutes and polyphonically hymning the infant Christ, in Piero della Francesca’s Nativity in the National Gallery, London.
27. See Colin Slim, ‘Musical Inscriptions in Paintings by Caravaggio and His Followers’, in Music and Context, A. Shapiro (ed.) (Cambridge, Mass., 1995).
28. See Keith Christiansen, A Caravaggio Rediscovered: The Lute Player, p. 90. The translation given is that of Louis E. Lord.
29. The late seventeenth-century writer Pietro Paolo Bosca actually referred to it as a ‘tantalus’. See P. P. Bosca, De origine et statu Bibliothecae Ambrosianae (Milan, 1672), p. 126. Cited by John T. Spike, Caravaggio (New York, 2001), in his CD-ROM catalogue entry on the Basket of Fruit.
30. Cited by John T. Spike, Caravaggio, in his CD-ROM catalogue entry on the Basket of Fruit.
31. My thanks to Maurizio Calvesi for this observation.
32. It is a fair assumption that the two pictures have the same history. So to trace one is, in effect, to trace both. The Rest on the Flight to Egypt is linked to Olimpia Aldobrandini by an inventory of her collection compiled in 1611, which mentions ‘A large painting of the Madonna’s Flight into Egypt in a frame’, albeit without naming the artist. The hypothesis that this is a reference to Caravaggio’s painting is strengthened by circumstantial evidence. An inventory of 1622, listing pictures in the Villa Aldobrandini in Frascati, mentions ‘A large painting on canvas of a Madonna embracing the child and a Saint Joseph … copy of Caravaggio’. The presence of this copy in one of the other residences of Olimpia Aldobrandini’s family suggests that the original was indeed in her possession. The inventory reference is cited in John T. Spike’s CD-ROM catalogue entry on The Rest on the Flight to Egypt.
33. See Helen Langdon, The Lives of Caravaggio, p. 28.
34. See Bernard Aikema, ‘Titian’s Mary Magdalen in the Palazzo Pitti: An Ambiguous Painting and Its Critics’, Journal of the Warburg and Courtauld Institutes, vol. 57 (1994), p. 58.
35. See Colin Slim, ‘Musical Inscriptions in Paintings by Caravaggio and His Followers’.
36. See John T. Spike in his CD-ROM catalogue entry on the St Francis of Assisi in Ecstasy.
37. See Helen Langdon, The Lives of Caravaggio, p. 63.
38. St Bonaventure’s Legenda maior was one of the most readily available literary sources for painters working in the post-Tridentine period. It was the official biography of the saint, written in 1262. Bonaventure derived much of his information from the very