Melozzo da Forlì’s Musical angels – Christ among songs, music and dance
Melozzo da Forlì’s Musical angels – Christ among songs, music and dance
One of the musical angels, fresco from the old apse of the Basilica of Santi XII Apostoli, currently Pinacoteca Vaticana
One of the musical angel, fresco from the old apse of the Basilica of Santi XII Apostoli, currently Pinacoteca Vaticana
One of the musical angels, Melozza da Forlì, fresco from the old apse of the Basilica of Santi XII Apostoli, currently Pinacoteca Vaticana
Melozzo da Forli, fresco from the old apse of the Basilica of Santi XII Apostoli, currently Pinacoteca Vaticana
Melozzo da Forli, fresco from the old apse of the Basilica of Santi XII Apostoli, currently Pinacoteca Vaticana
Melozzo da Forli, fresco from the old apse of the Basilica of Santi XII Apostoli, currently Pinacoteca Vaticana
Christ among angels from the old apse of the Basilica Santi XII Apostoli, currently Palazzo Quirinale
On the wall of the IV room of the Vatican Museums, a colorful procession of angels and male heads stretches out, which to the average visitor would be difficult to associate with anything at all. Only a few know that these are the remains of a once existing and enthralling in its beauty decoration of the apse of one Roman church – a true pearl of the early Renaissance, which inspired the then painters and was an important part of the development of Roman painting in general. It is worth recalling these wonderful paintings and getting to know them better.
On the wall of the IV room of the Vatican Museums, a colorful procession of angels and male heads stretches out, which to the average visitor would be difficult to associate with anything at all. Only a few know that these are the remains of a once existing and enthralling in its beauty decoration of the apse of one Roman church – a true pearl of the early Renaissance, which inspired the then painters and was an important part of the development of Roman painting in general. It is worth recalling these wonderful paintings and getting to know them better.
They were created around 1480, when the influential, rich and aspiring to the rank of one of the leading patrons of art, papal nepot Giuliano della Rovere (the later Pope Julius II) decided – in connection with the restoration of the Church of Santi XII Apostoli – to fund new decorations in the part of the apse. Works on these were entrusted by him to Melozzo da Forlì – an artist, who became known for his outstanding decorations of the Vatican Library, created a few years earlier at the initiative of Pope Sixtus IV. The topic of choice for the apse, was the Ascension of Christ, accompanied by regiments of cherubs and singing angels, which is observed by the surprised Mary and the apostles looking up towards the sky. Ideal in their subtle beauty, blond-haired angels, in finely draped robes, float towards the heavens, while there standing on a cloud with his arms outstretched, with a heavily deformed figure due to a perspective foreshortening, pictured in the foreground of throngs of cherubs Christ, seems to be floating in the direction of the dome. The light descending from above filled this scene with a divine glow, while the expression of the whole was in a decisive way influenced by delicate colors, plasticity of figures, perfect drawing, but most of all using an unknown up to then perspective, providing the viewer with a feeling of boundless space stretching out above his head. All this had to make an unforgettable impression. There was no religious work in Rome which would with such intensity speak with its temporal beauty. For men of the Renaissance period it was a reflection of divine beauty, ideal and pure. This is a spellbinding world, almost out of a fable, far removed from suffering and fear. Christ floating up into the heavens, to the sounds of music, is reminiscent of an ancient hero dressed in a toga, who undergoes deification. Angels with individual visages and curly hair (sometimes with a fringe, sometimes parted) look like courtly musicians, who were willingly welcomed at courts and who with the use of typical for the time period instruments with their playing, singing and dancing brought liveliness to banquets of those times. And that is perhaps why people living in the following time period, dominated by the orthodoxy of Counterreformation and discarding such a storybook vision of the Ascension, without feeling too much grief allowed for the frescoes to be destroyed. At the start of the XVIII century, when modernization of the church was undertaken, these paintings were replaced by others. Fortunately sixteen elements were taken down and secured and today they can be admired in several locations.
The largest collection – four heads of the apostles, eight figures of angels with instruments and two fragments depicting groups of angels – is found in the aforementioned Vatican Museums. The figure of Christ is visible at the enterance to Palazzo del Quirinale in a rather unusual place, since it is the staircase, one of the angels can be found in the Madrid Prado Museum.
Remains of da Forlì’s frescoes are a work significant to Roman art and based on this work other great frescoes of that time should be evaluated – only a few years later decorations to the Carafa Chapel in the Basilica of Santa Maria sopra Minerva would be created and the paintings on the vault of the Sistine Chapel by Michelangelo. Only by imagining the greatness of Melozzo da Forli’s work, can we come to understand what a great inspiration it had to be for following generations of artists. Painting which we are wont to call illusionist, and which originates here, will by no accident culminate in the famous works of Baciccio and Andrea Pozzo, who decorated other Roman churches of the Baroque period.
Fragments of the apse decorations of the Church of Santi XII Apostoli, frescoes on canvas, Melozzo da Forlì, approx. 1480, Musei Vaticani, Palazzo del Quirinale
Melozzo da Forlì’s Sixtus IV Appointing Platina as Prefect of the Vatican Library – pope as an earthly ruler and a patron of science
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