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 A.M.GORKY INSTITUTE OF WORLD LITERATURE
OF THE RUSSIAN ACADEMY OF SCIENCES

Povarskaya 25A, bld. 1, 121069 Moscow, Russia
fedor@dostmirkult.ru

ISSN 2619-0311 (Print)
ISSN 2712-8512 (Online)

Caravaggio’s Death of the Virgin for Santa Maria della Scala in Rome as a “Subject of Controversy”: The Artist’s Intention and the Position of the Clergy

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  • Author: Natalia F. Borovskaya
  • Information about the author:

    Natalia F. Borovskaya, PhD in History of Art, Professor, Ilya Glazunov Russian Academy of painting, sculpture, and architecture, Miasnitskaya 21, 101000 Moscow, Russia.

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  • For citation:

    Borovskaya, N.F. “Caravaggio’s Death of the Virgin for Santa Maria della Scala in Rome as a ‘Subject of Controversy’: The Artist’s Intention and the Position of the Clergy.” Dostoevsky and World Culture. Philological journal, no. 4 (20), 2022, pp. 190–219. (In Russ.) https://doi.org/10.22455/2619-0311-2022-4-190-219
  • Received: 14 Aug. 2022
  • Approved after reviewing: 16 Aug. 2022
  • Published: 25 Dec. 2022
  • Issue: 2022 no. 4 (20)
  • Department: DOSTOEVSKY: HIS READINGS
  • Pages: 190-219
  • DOI: Visit Website
  • EDN:

    https://elibrary.ru/YKZSUJ
  • UDK: 7.034
  • BBK: 85.103(3)
  • Publication Type: Research Article
  • Keywords: Assumption, iconography, Caravaggio, Titian, Rubens, Saraceni, apocrypha, composition, naturalism.
  • Abstract: The article is dedicated to the analysis of the situation that developed around Caravaggio’s painting Death of the Virgin (1606, Louvre, Paris). The priests of Santa Maria della Scala forbade Laerzio Cherubini, who commissioned the work, to place it in the family chapel for which it was destinated. The conflict is considered as a spiritual choice, namely the rejection of the meanings the artist expressed in his reading of the Assumption of the Virgin Mary. In this context, the main iconographical typologies of the subject are here analyzed: the Assumption as the death of the Virgin and the Assumption as Her triumph in Heaven. The innovative features of Caravaggio’s painting are also considered here, as well as the possible spiritual reasons that convinced the clergy of Santa Maria della Scala to reject it.

References

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