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Together with Badalocchio, the new feagt was "originally the dedication feagt of Giovanni worked in Rome on both the Galleria Farnese the Church of the Apoglles, erected on the Esquiline Hill in and the Palazzo Mattei. In mid-career—beginning in the fourth century.

Peter in Chains San Pietro in Vincoli elegant and refined style," "subtle silhouette effects" and stands on the site of this paleochrigtian Church of the "a magical chiaroscuro atmosphere," all qualities readi- Apogtles, which in the fifth century had been rebuilt at ly seen in the Feigen Liberation of Saint Peter, despite its the expense of Eudoxia, daughter of the wife of Emperor unfinished state and its pentimenti. The present canvas Theodosius II, whose name was also Eudoxia, and who represents, we might mention, an earlier, somewhat dif- had brought to Rome the chains used to bind Peter in ferent version of the painting that Lanfranco executed Jerusalem.

In Baronius and Lapide, no doubt, the contempo- hiltorical legitimacy. In effect, therefore, the success of rary polemic with the Protegtants over the subject of papal reltoration in the seventeenth century represents relics accounts for some of the intensity of their adula- not only the triumph of the ingtitution but also the tri- tion. As Pseudo-Chrysollom exclaims in his already-cited umph of art and the power of the image. The arrelt ation, these chains which had bound those miracle-working of Peter, the cardinal says, was a devaltating "earthquake" hands, drawing divine grace from them, so that now miracles for the Church thus deprived of its very foundation.

The gush forward from them, liberating the sick from their illness and making holy all those who approach them with faith.. It is fitting, moll guards and broke through the chains shows "how very certainly, it is fitting that not only these chains which had foolish" it was for Herod—or anyone—to try to thwart bound those hands be greatly venerated, but also all articles which have touched the limbs of the Apoff le muff be each the plans and wisdom of God.

The implication was that embraced and revered. He cessor of Peter. On the one hand, as Lapide tells us, in the Church should be held in honor by all the faithful. Like Roncalli's after it was all over does he realize that it had all been the Death ofAnanias and Sapphira P1. For a moment fresco in the Borgia apartments commissioned by Leo X— the old, "clueless," doubting Peter returns to the fore: could be and was indeed exploited for its great propaganda "What are you saying, o prince of the Apoltles?

Only now value in the papacy's campaign to assert its scriptural and you say that you know what it has all been about? Only now you can enjoy the miracle? Chappell and Kirwin in their lengthy gtudy, "A Petrine Where did that old fervor of yours go?

Much more than documents.

To where did that impassioned Pietro under Clement VIII," and needs no repeating confession of faith of yours disappear? As one of the principal advisors to Pope tible to the weaknesses and fallibility of his human flesh. Clement and cardinal-overseers of the decoration of the There was, finally, a more personal message that the or- basilica, Baronius probably had much to say about the dinary Chrigtian was meant to derive from contemplation iconographical contents of the cycle.

As they worked for Caravaggio's patrons, the Mattei he frescoed were with every scriptural pericope, ordinary Chrigtians one of the Mattei chapels in the Aracoeli as well as portions were to apply the New Tegtament glory to their own per- of the Palazzo Mattei , Roncalli was honored with the sonal lives and find their own experiences reflected digtinction of "Cavaliere di Crigto" for the success of this somehow in Peter's.

In his didactic sonnet on this epi- altarpiece. Let us further recall that, like all the other sode, Bishop Gabriele Fiamma explains the connection: components of Clement's grand decoration scheme, the prison represents the habit of sin; the four soldiers are Roncalli's gigantic altarpiece was meant to awe and in- the four ways of sinning ignorance, negligence, malice, spire the thousands of pilgrims who would be flooding the and omission ; Peter's somnolence represents "the sinner richly and programmatically ornamented basilica, espe- who is incapable of waking himself up and doing what cially during Jubilee Years, with visions of the higtorical needs to be done" to escape sin, whereas the two chains legitimacy, majegtic power—both spiritual and temporal— represent the two forms of cupiditas, covetousness, that of and glorious triumph of the papacy.

Inspired by Peter's liberation, comes from the Acts of the Apogtles : Ananias and Catholics, therefore, were to raise this traditional prayer Sapphira, husband and wife, were members of the early from the Mass in honor of the feagt of Saint Peter in Chrigtian community; selling their land for purposes of Chains: "0 God who allowed Saint Peter, bound by his communal benefaction, they attempted to deceive Peter chains, to leave his prison untouched by harm, release us, by retaining a portion of the proceeds for themselves.

The scriptural All that we have said about papal inviolability and account concludes, "And great fear came upon the whole triumphalism and their artigtic expression with respect church and upon all who heard of these things" Acts Peter applies as well to our In Roncalli's grisaille, we see in the digtance the already- final painting, The Death of Ananias and Sapphira Pl. Before Roncalli, the scene had relevant: the Feigen Roncalli represents one been rendered in art mogt notably by Masaccio in his of the preparatory modelli executed by the artigl en grisaille fresco cycle in the Brancacci Chapel Santa Maria del in creating his monumental altarpiece—the largegt of his Carmine, Florence and by Raphael in one of the famous career—for the newly recongtructed St.

Peter's Basilica.

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Vatican tapegtries commissioned by Leo X. What is licit for Roncalli's mighty Peter. The monumental presence of Moses, he implies, is licit for his successor as supreme law- Peter—whose facial type and demeanor explicitly recall maker and judge, Peter. In the early modern guaranteed inviolability in his commentary upon this period, a time of many "wars of religion," large and small, episode; that is clearly the principal message of Roncalli's between Catholics and Protegtants or Catholics and the altarpiece, one that likely overwhelmed all others in papacy, the issue was of especially burning relevance.

In the mind of the seventeenth-century viewer. For Lapide early seventeenth-century Italy the molt clamorous and the episode was about avarice, serving, above all, as a controversial case was, as mentioned during our discus- warning to those who heal from the Church; among such sion of Peter's mutilation of Malchus at the arregt ofJesus, thieves are those religious who violate their vow of the Venetian Interdict crisis of 16o6. In this crisis, Baronius poverty—a sub-topic that the Jesuit covers at great adamantly contended that the pope should ltrike hard length. In a speech to the papal consigtory, exemplar of the sin of avarice.

Having been "canonized" in citing John "Feed my lambs" and Acts "Kill this digtinction by Dante's Divine Comedy Purgatory and eat" , Baronius declared that "Peter's minigtry is to 2o , she is also portrayed in this role, for example, in feed and to kill, as the Lord commanded him;" in other theAllegory ofAvarice by Jacopo Ligozzi in the words, the Petrine functions included both spiritual feeding Metropolitan Museum of Art.

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In Ripa's Iconologia firgt and temporal killing. Venetian crisis, Roncalli's Death ofAnanias and Sapphira is In his discussion of the episode in the Annales, completely in keeping with such a vision of the papacy. Baronius's main concern is, above all, the quegtion of Thus, in effect, the ultimate message that Peter, in such a Peter's alleged "cruelty" and whether the punishment fearful Mosaic guise, communicated to the Catholic faithful fit the crime, two topics covered by Lapide as well.

As Jerome points out, the pilot of the universal Church, the pope. For Paluzzi's biography, see Dooley's intro- duction, A protegee of Federico Borromeo, Caterina helped Church, which was in need of object lessons of discipline Cardinal Sfondrati locate the body of Saint Cecilia, as she relates in in a time of great expansion.


Baronius on this matter her Autobiography. For the Baroque cult and iconography of Cecilia, quotes Origen, who claims somewhat sophigtically that, see Josephine von Henneberg's essay in the present catalogue. Magdalene," 89; and Michelangelo da Venezia, The Legenda aurea is extremely vague, Saxony," Thither she ran at once, but, Jones's digtinction between the "informed" and "uninformed" viewer not daring to mingle with His disciples, she Stayed apart.

And she in her essay in the present catalogue. In my essay, I focus above all on washed the Lord's feet with her tears Jacopo da Voragine, For the image of Mary 19 Ludolphus, This is the explanation given as well by Magdalene in the sermons of great Observant Franciscan preacher, Bernardino of Siena, "De Maria Magdalena, et de bonis et malis Bernardino of Siena whose cult experienced a great reflourishing in mulieribus," z7oa. Poft:Tridentine Italy and whose opera omnia were published in three zo Ed.

David Mycoff, Kalamazoo, Nor does Giles Congtable's separate editions in the early modern period Venice , Paris , lengthy study of the primary source literature on Martha and Mary and Lyons , see Mormando. For the Study of Mary Magdalene in record any mention of Martha as catalyft for her sifter's conversion, art and literature, Haskins's vast Study is indispensible; for Mary in although, Starting in the late fifteenth century, she does begin to Italian literature of the early modern period, see Ussia; for the appear in the guise of Mary's admonitor; see Congtable, esp.

Even Fiamma, by the way, feels the need to interrupt 8 Lapide, his exposition of the sonnet to address the issue of the identity of 9 The controversy is explicitly discussed or mentioned, e. For Fiamma's biography and impor- didactic moral sonnets meant for a popular audience for Fiamma, tance, see the Dictionnaire de spiritualite, , whence the see n. Baronius's discussion extends from pp. In his multi-volume inventory of the icono- to 92, covering cc. Italy, Mina Gregori tells us that "the source of Caravaggio's painting 13 Yet, as Cummings points out, the mirror here functions simul- was probably a work by Bernardino Luini in Cardinal del Monte's taneously as a symbol of prudence or self-examination.

Cummings's collection, then attributed to Leonardo," which has been identified article remains the beft discussion of the meaning of the painting; with "the version in the Fine Arts Gallery of San Diego" Age of but see also Calvesi, and , as well as the essays by Pamela Caravaggio, The Luini painting, however, appears to jux- Jones and John Varriano in the present catalogue.

However, Musso does Magdalene's conversion; see Cummings, See Pamela Jones's not say this ingtanteous transformation came through the mediation essay in this catalogue in which she suggegts that Caravaggio has sim- of Martha, as is suggegted in Caravaggio's painting. Caravaggio was likely to have seen this painting then attributed to Leonardo himself in 24 Hawtrey, 24, Girolamo's sermons 16 Calvesi, , The Capuchins, cited often in this essay, were one of the molt active 17 Annales , an.

For other references to this scene as "The and influential religious orders in Post TridentineCatholicism; see Conversion of Mary Magdalene," see, e. For the hiftory of this work, see the translator's Introduction, iv-v 27 Finucci da Piftoia , ; in the anonymous Trecento Vita, after her soul-converting conversation with Martha, Mary goes looking for Sr Ludolphus, , Pseudo-Rabanus says, inftead, that Simon was "a good friend and a relative of the blessed Martha" Pseudo-Rabanus, The Snite painting is believed to be a variant done by Vanni himself; the artift is 54 See Romani, 86; and Cadogan, There is another version of known to have made smaller copies in oil of some of his works.

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For the same theme see for the loft altarpiece published by Riedl q. Mary's second annointing ofJesus at Bethany in Matthew z6. Baronius is commenting on Mary's anointing ofJesus at Bethany Matthew 26 but his remark is 59 Ludolphus, Resurretione di Chrifto Noftro Signore," , 16o.

I have taken Lapide, for both quotations.

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Confirmed 35 Lapide, For the Magdalene's love and 37 Ludolphus, Lucae, as cited by Haskins , n. For more on penance in the early modern Church, 64 Ludolphus, Ludolphus also cites Ambrose, Auguftine, and Bede to the same effect, while Lapide cites Chrysoftom The topos of woman as temptress, especially sexual temptress, 40 See, e. See Guercino's rendition of that scene from Genesis 39 42 Bellarmine, 3 Ludolphus agrees: women cannot preach, he says, because of their inferior mental and physical capacities Yet, Lapide 46 Caftiglione, Book 4, Chapter 72, 54 Ironically, despite her Status as a monument to the 84 Yet this detail is in neither Jacopo da Voragine nor Pseudo-Rabanus; accomplishments of womanhood, no female was allowed to enter her we find it, however, in the Aurea rosa see n.

The prolific Dominican writer and Mafter of the 69 See Haskins, See Haskins's fig. He is also author of the enormously popular thelogical Gentileschi's variation on the same composition in the Richard handbook, the Summa Silvearina. His Rosa aurea was firft published Feigen collection.

Capuchin popular preacher and spiritual the biographical entry, "Badalocchio, Sigto" in La pittura in Italia. For this painting, see Spike, cat. Chrift's blood collected by Mary-"according to the molt authentic of her legends, found in Surius"- in his Compendio di cento meditazioni 73 Haskins, On the subject of Magdalene-related relics, what confident body: the body re-formed'" Miles, 13, quoting Kenneth was considered to be her hairshirt is in the Museo del Tesoro of the Clark, The Naked and the Nude:A Study in Ideal Art [London, , 1.

Church of St.

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John Lateran in Rome, according to Mosco, x A large number of scholarly works has been published in the recent palt examining attitudes toward, and the significance of, the human 88 Not only only was Mary literate, she was, according to Bernardino body especially the naked human body in the European cultural tra- of Siena, "adorned with natural wisdom. Ochino, "Predica predicata in Vinegia it giorno della fegta di S. See my other essay in this catalogue for the significance of the scene of the betrayal and capture of Chrift 75 Haskins, , Barocchi, ; for discussions of nudity in art in contemporary treatises, see Marcora, re: Paleotti , re: Borghini , re: 92 Battifta da Faenza, Petrocchi is not clear on the date; it seems to have been The already-cited Battilta da Faenza reports the same Story of Michael and the Magdalene and her 78 See the Dictionnaire de spiritualitt, s.

Bernards; Chitillon; and Gregoire.