Caravaggio_ A Life Sacred and Profane - Andrew Graham-Dixon [271]
14. See ibid., passim.
15. See ibid., p. 25.
16. See Helen Langdon, The Lives of Caravaggio, pp. 76–7.
17. For the details and documents concerning this commission, see Vincenzo Pacelli, ‘New Documents concerning Caravaggio in Naples’, Burlington Magazine, vol. 119, no. 897 (Dec. 1977), pp. 819–29; and Vincenzo Pacelli, Caravaggio: Le sette opere di misericordia (Salerno, 1984), p. 102.
18. The quote is taken from the manuscript of C. De Lellis, Aggiunta alla Napoli sacra del d’Engenio 1654–89, cited in Vincenzo Pacelli, Caravaggio: Le sette opere di misericordia, p. 12.
19. See Ferdinando Bologna, ‘Caravaggio: The Final Years’, in Caravaggio: The Final Years, exhibition catalogue, the National Gallery (London, 2005), p. 22.
20. Tiberio del Pezzo was the member of the confraternity who signed the documents authorizing payment to Caravaggio, but since he was only a deputy his role is likely to have been marginal. For the documents concerning this commission, see Vincenzo Pacelli, Caravaggio: Le sette opere di misericordia, p. 102.
21. See pp. 250–53, above. Caravaggio painted Marino’s portrait in 1600 or 1601. It does not survive.
22. See Estelle Haan, From Academia to Amicitia: Milton’s Latin Writings and the Italian Academies (Philadelphia, 1998), p. 122.
23. Ibid., p. 119.
24. These documents are usefully summarized in John T. Spike, Caravaggio, in the CD-ROM catalogue entry on the picture.
25. See Helen Langdon, The Lives of Caravaggio, p. 77, where Bellori states that ‘he was commissioned to do the Flagellation of Christ at the Column in the Di Franco Chapel of the church of San Domenico Maggiore.’ There is another, half-length depiction of The Flagellation in Rouen that many scholars believe to be an autograph Caravaggio, but I am not convinced by it. Two other versions of the subject, one in Lucca and the other in a Swiss private collection, were published respectively by Roberto Longhi and Denis Mahon in the 1950s. I am not convinced by those paintings either.
26. See Vincenzo Pacelli, ‘New Documents concerning Caravaggio in Naples’, p. 820.
27. See Bernardo de Dominici, Vite de’ pittori, scultori ed architetti napoletani (Naples, 1742–3), pp. 275–6. Cited in John T. Spike, Caravaggio, in his entry on The Flagellation.
28. This could be said to bring full circle that fruitful interplay between painting and sculpture already embodied by Caravaggio’s own work. He himself had been powerfully influenced by the polychrome statuary of Lombardy and the sacri monti.
29. See Ann Tzeutschler Lurie and Denis Mahon, ‘Caravaggio’s Crucifixion of St Andrew from Valladolid’, Bulletin of the Cleveland Museum of Arts, vol. 64 (Jan. 1977), pp. 3–24. The picture had reportedly found its way to a convent in Spain by 1972, and was on sale in the art market in Switzerland a year later; it was purchased by the Cleveland Museum of Art through the L. C. Hanna Jr Bequest in 1976. See the CD-ROM catalogue entry on the painting in John T. Spike, Caravaggio.
30. See Caravaggio: The Final Years, exhibition catalogue, p. 109. Keith Christiansen’s entry on this particular painting also contains an outstandingly lucid account of the wider issues surrounding the much debated chronology of Caravaggio’s later pictures.
31. The quotation is taken from The Golden Legend of Jacobus de Voragine, translated and adapted from the Latin by Granger Ryan and Helmut Ripperberger (New York, 1969), p. 13.
32. John Varriano, in his Caravaggio: The Art of Realism (Pennsylvania, 2003), notes that ‘goiters are known to be geographically linked to mountainous places and were especially common in the region around Naples, the site where the earliest research on the disease was conducted.’
33. See Walter Friedlaender, Caravaggio Studies, p. 314.
34. It was taken there by Finson, who by that time had assumed sole ownership of the work. He subsequently bequeathed it to his friend and business partner, Vinck.
35. The picture was either sold or given to Emperor Josef II of Austria when he visited