Michelangelo, Flagellation of Christ, 1516 focus on Christ’s suffering marble striations prefigures death on the Cross Christocentric devotion of Franciscans suffering resolved in Transfiguration 1516 made clay figurine model for Christ
Michelangelo, Christ at the Column, 1516 focus on Christ’s suffering prefigures death on the Cross Christocentric devotion of Franciscans suffering resolved in Transfiguration
Giulio Clovio after lost modello by Michelangelo, c. 1540
Transfiguration > suggests 2nd Coming column dematerializes into transfigured apparition of Christ visualization of the Mass (Eucharist duality of Christ’s body - physical > transfigured Christ’s human and divine nature must be accessed by different vision external (physical) >< internal (spiritual)
St Matthew and Prophet Isaiah entrance archway Matthew wrote about Transfiguration Isaiah predicted Christ’s sufferings Sts Peter and Francis 1st pope and founder of Franciscan order namesake saints for Pierfrancesco both shown reading primacy of scripture no one sees Christ - know him through texts
Fifth Lateran Council 1511-17 convened by Julius II - closed by Leo X concerns regarding true and false prophecies restrictions on preaching necessity of fidelity to scripture
Sts Peter, John and James blinded by divine light reach into our space
Narbonne Cathedral culmination of rivalry Michelangelo instigated to challenge Raphael Giulio de’Medici made cardinal by Leo in 1513 during peace negotiations with France Leo claimed Narbonne for Giulio in thanks, Giulio commissioned 2 enormous altarpieces Lazarus was especially venerated in South of France
Competition continues meant to hang opposite 1516 Cardinal Giulio de’Medici commissioned 2 paintings for the Cathedral of Narbonne, where he was archbishop Sebastiano del Piombo’s Raising of Lazarus and Raphael’s Transfiguration Raphael got commission first - offended by competition Sebastiano’s was finished May 1519 - put on public view
infrared - reveals Sebastiano’s original version of Lazarus Michelangelo came in late
Michelangelo, Study for the Raising of Lazarus 1516, British Museum Michelangelo came in late
varied responses > invite viewer’s participation bravura display of oil technique combines principles of Florentine disegno and Venetian creative process revisions made in process freehand using brush
Raphael, Spasimo di Sicilia, 1517 Raphael, Sacrifice at Lystra, cartoon, 1516 response to Raphael dramatic compositions monumental force complex spatial organization artistic exchanges experiments in analogous directions
rivalry borrow from each other Raphael looks at Sebastiano’s Pieta and Transfiguration Raphael delayed beginning his work - to avoid comparison and the stealing of his ideas then Sebastiano delayed completion to prevent Raphael from seeing it
Sebastiano, Lamentation, 1516 commissioned by Don Jeronimo de Vich y Valterra
late Raphael introduces new and different values spiritual >< secular invention difficulty imitation + inspiration artificial elegance Raphael, Transfiguration, c. 1519
hung above his bier people were consumed with grief compared Raphael to the shining Christ according to Vasari: Raphael’s last brushstroke > face of Jesus apotheosis of Raphael displayed with Raising of Lazarus in Vatican after 1520
prefigurations of X’s resurrection
workshop, after Raphael, model for the 1st version of the Transfiguation, c. 1516
Gianfrancesco Penni after Raphael, Study for the Transfiguration, after 1516, Louvre
Matthew 17: 1-9 After six days Jesus took with him Peter, James and John, the brother of James, and led them up a high mountain by themselves. there he was transfigured before them. His face shone like the sun, and his clothes became as white as the light. Just then there appeared before them Moses and Elijah, talking with Jesus. Peter said to Jesus, “Lord, it is good for us to be here. If you wish, I will put up three shelters - one for you, one for Moses and one for Elijah.” While he was still speaking, a bright cloud covered them, and a voice from the cloud said, “This is my Son, whom I love; with him I am well pleased. Listen to him!” When the disciples heard this, they fell face down to the ground, terrified. But Jesus came and touched them. “Get up,” he said. “Don’t be afraid.” When they looked up, they saw no one except Jesus. As they were coming down the mountain, Jesus instructed them, “Don’t tell anyone what you have seen, until the Son of Man has been raised from the dead.” Matthew17: 14-21 When they came to the crowd, a man approached Jesus and knelt before him. “Lord, have mercy on my son,” he said. “He has seizures and is suffering greatly. He often falls into the fire or into the water. I brought him to your disciples but they could not heal him.” “You unbelieving and perverse generation,” Jesus replied, “how long shall I stay with you? How long shall I put up with you? Bring the boy here to me.” Jesus rebuked the demon, and it came out of the boy, and he was healed at that moment. Then the disciples came to Jesus in private and asked, “Whu couldn’t we drive it out?” He replied, “Because you have so little faith. Truly I tell you, if you have faith as small as a mustard seed, you can say to this mountain, “Move from here to there,” and it will move. Nothing will be impossible for you.”
Why the dramatic change of composition? competition with Sebastiano/Michelangelo + request of patron - Cardinal Giulio de’Medici inspired by the Blessed Amadeo Menes da Silva Franciscan visionary and healer head of San Pietro in Montorio confessor of Sixtus IV Apocalypsis Nova popular spiritual guide describes the 2 episodes consecutively Transfiguration = prefiguration of Last Judgment final defeat of the Devil apostles could not heal until X died proof of ultimate divinity of Christ Christus Medicus > Medici after Raphael’s death, Cardinal Giulio installed it on high altar of San Pietro in Montorio etymology of Raphael’s name = God is healer // God heals close ties to Medici
Moses Elijah Sts Justus and Pastor patron ste of Narbonne
Turner lecture diagram
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