Caravaggio_ A Life Sacred and Profane - Andrew Graham-Dixon [263]
39. Cited in Pamela M. Jones, ‘The Place of Poverty in Seicento Rome: Bare Feet, Humility and the Pilgrimage of Life in Caravaggio’s Madonna of Loreto (c. 1605–6) in the Church of S. Agostino’, in Altarpieces and Their Viewers in the Churches of Rome from Caravaggio to Guido Reni (Aldershot, 2008), p. 107.
40. The Life of Teresa of Jesus: The Autobiography of St Teresa of Avila, E. Allison Peers (trs.) (New York, 2004), Chapter 29.
41. Quoted in Radleigh Addington, The Idea of the Oratory (London, 1966), p. 3.
42. This is a confident assertion based on comparisons with known portraits of Caravaggio, but not a documented fact.
43. For the correspondence between Paravicino and Gualdo, see G. Cozzi, ‘Intorno al Cardinale Ottavio Paravicino, a Monsignor Paolo Gualdo e a Michelangelo da Caravaggio’, Rivista storica italiana, vol. 73 (1961), pp. 36–68. I am indebted to Opher Mansour, who allowed me to see his translations of, and commentaries on, these letters, in his unpublished doctoral thesis submitted to the Courtauld Institute: ‘Art, Offensive Images: Censure and Censorship in Rome under Clement VIII 1592–1605’ (London, 2003).
44. It is often said that there is a hidden self-portrait reflected in the carafe – see, for example, Langdon, Caravaggio: A Life, p. 151. I have inspected the painting under high magnification and there is no such self-portrait in it.
45. See Helen Langdon, The Lives of Caravaggio, p. 43.
46. See n. 41 above.
47. See Giorgio Vasari, Lives of the Painters, Sculptors and Architects, vol. 1, p. 629.
48. See Helen Langdon, The Lives of Caravaggio, p. 93.
49. He did so, perhaps, because there was an established connection between that particular artistic style and alchemy. See my comments on Francesco de’ Medici’s studiolo, on p. 159 above.
50. Again, see n. 41 above. The resemblance to Ottavio Leoni’s portrait of Caravaggio is, in my opinion, incontrovertible in the Jupiter, Neptune and Pluto. The identification with Francis is a little less certain but I am still confident that the saint is a self-portrait.
51. See Walter Friedlaender, Caravaggio Studies, p. 260.
52. Sandro Corradini discovered the case. With Maurizio Marini, he subsequently published the transcripts in full, together with a useful interpretative essay. See Sandro Corradini and Maurizio Marini, ‘The Earliest Account of Caravaggio in Rome’, Burlington Magazine, vol. 40, no. 1,138 (Jan. 1998), pp. 25–8.
53. The building still stands in Rome today. It is still a barber’s shop!
54. See Helen Langdon, The Lives of Caravaggio, p. 92.
55. See Fiora Bellini, ‘Tre documenti inediti per Michelangelo da Caravaggio’, Prospettiva, no. 65 (Jan. 1992), pp. 70–71.
56. See Walter Friedlaender, Caravaggio Studies, pp. 263–5.
57. See Francesco Susinno, Le vite de’ pittori messinesi e di altri che fiorirono in Messina, V. Martinelli (ed.) (Florence, 1960), p. 117.
58. See Rudolf and Margot Wittkower, Born Under Saturn (New York, 1963), p. 198. Orazio Gentileschi eventually prospered in France and Genoa in the 1620s. He was called to London in 1626 to become a painter at the court of King Charles I, who rewarded him with a generous stipend.
59. See G. P. Caffarelli, ‘Famiglie romane’, Biblioteca Angelica MS 1638, cc. 88r–v; cited (reliably) in Riccardo Bassani and Fiora Bellini, Caravaggio assassino (Rome, 1994), p. 13, n. 20.
60. ASR, Tribunale criminale del Senatore (TCS), reg. 1438, testimony of Onorio Longhi, 4 May 1595, cc. 20v–22v.
61. Ibid.
62. Ibid., reg. 444, testimony of Margherita Fannella, 4 May 1595.
63. Cited in Sandro Corradini, Materiali per un processo (Rome, 1993), document 15, 25–7 Oct., deposition by Stefano Longhi and others.
64. Ibid.
65. See Rudolf and Margot Wittkower, Born Under Saturn, p. 196.
66. See L. Pascoli, Vite de