tag:blogger.com,1999:blog-7054785923214156833.post9053355937028563390..comments2024-02-03T17:02:45.046-08:00Comments on Giorgione et al...: Raphael: St. CeciliaDr. Fhttp://www.blogger.com/profile/08469403843869655063noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-7054785923214156833.post-29106246766765195682019-08-29T06:20:17.777-07:002019-08-29T06:20:17.777-07:00Anon:
Thanks for the excellent quote.Anon:<br /><br />Thanks for the excellent quote.Dr. Fhttps://www.blogger.com/profile/08469403843869655063noreply@blogger.comtag:blogger.com,1999:blog-7054785923214156833.post-17404331184153215012019-08-29T02:19:51.773-07:002019-08-29T02:19:51.773-07:00The german poet Goethe saw the painting in Bologna...The german poet Goethe saw the painting in Bologna 1786: "First of all, the Cecilia of Raphael. It was exactly what I had been told of it, but now I saw it with my own eyes. He has invariably accomplished that which others wished in vain to accomplish, and I would at present say no more of it than that it is by him. Five saints, side by side; not one of them has anything in common with us: however, their existence stands so perfectly real, that one would wish for the picture to last through eternity, even though for himself he could be content to be annihilated. But in order to understand Raphael aright, and to form a just appreciation of him, and not to praise him as a god, or as Melchisedec, "without descent" or pedigree, it is necessary to study his masters and his predecessors. These, too, had a standing on the firm soil of truth. Diligently, not to say anxiously, they had laid the foundation, and vied with each other in raising, step by step, the pyramid aloft, until at last, profiting by all their labours, and enlightened by a heavenly genius, Raphael set the last stone on the summit, above which, or even at which, no one else can ever stand..."Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-7054785923214156833.post-3468486726459387572013-04-23T06:36:11.016-07:002013-04-23T06:36:11.016-07:00Monica:
Thanks for the comment. In his study of R...Monica:<br /><br />Thanks for the comment. In his study of Raphael Jean=Pierre Cuzin states that Elena commissioned the painting herself for her family chapel. Although she was canonized in the eighteenth century, it is hard for me to believe that she was promoting her own cause. Cuzin notes that a relative of Elena's, Antonio Pucci, worked to get Raphael to accept the commission. Pucci was one of the founding members of the confraternity of the Oratorio of Divine Love, a pre-Reformation renewal movement. It seems to me that Divine Love is the key to the painting.<br /><br />The post at Three Pipe Problem linked above also discusses Elena.<br /><br />FrankDr. Fhttps://www.blogger.com/profile/08469403843869655063noreply@blogger.comtag:blogger.com,1999:blog-7054785923214156833.post-45884289153396690422013-04-22T13:05:58.604-07:002013-04-22T13:05:58.604-07:00Hi Frank! Nice post!
I seem to remember that when...Hi Frank! Nice post!<br /><br />I seem to remember that when this painting was created, Elena Duglioli dall'Oglio was either a candidate for canonization (or, more likely, it was thought that she would be come a candidate after her death). Perhaps the inclusion of certain saints would have added greater emphasis to her worthiness as a saint? Although I don't have the textbook at hand right now, I know this topic was mentioned in Kim Wood's new book, "Art & Visual Culture: Medieval to Renaissance": http://www.amazon.com/Art-Visual-Culture-1100-1600-Renaissance/dp/1849760934Alberti's Windowhttps://www.blogger.com/profile/17060586087447314960noreply@blogger.comtag:blogger.com,1999:blog-7054785923214156833.post-7559268618848523082013-04-19T09:55:23.628-07:002013-04-19T09:55:23.628-07:00Here is David Orme's note on San Giovanni in M...Here is David Orme's note on San Giovanni in Monte.<br /><br /> For me, it brings back memories of the church in which it was originally placed. I think I've spoken of the San Stefano complex in Bologna. This was looked on as a 'virtual pilgrimage', with the various locations in the complex representing different locations in Jerusalem. Once you've been round that, you head up a slight slope ('monte' is a considerable exaggeration!) to San Giovanni, which represented the final location, the Mount of Olives - indeed, tubs of olive trees stood outside the church while we were there. (pic attached) An ideal location for paintings suggesting the link between Heaven and Earth.Dr. Fhttps://www.blogger.com/profile/08469403843869655063noreply@blogger.com