Federico Barocci and the Oratorians by Ian F. Verstegen;

Author:Ian F. Verstegen; [Verstegen, Ian F.]
Language: eng
Format: epub
Tags: ART015080 Art / History / Renaissance
ISBN: 9781612481333
Publisher: PennStateUP
Published: 2017-04-04T05:00:00+00:00

The Milanese Scene: Saint Ambrose’s Pardon of Theodosius and the Lamentation of Christ for Milan Cathedral

The smallish Nativity, successfully obtained even while the Presentation had not been yet delivered, must have given the Milanese hope for bigger things from Barocci. On 24 February 1600, [92] the Milanese ordered two altarpieces for the Duomo, one for the Chapel of San Giovanni Buono (Lamentation of Christ), and the other for the Chapel of San Ambrogio (Saint Ambrose’s Pardon of Theodosius).95 Here we recognize a familiar story, where Barocci enters optimistically into a commission for two altarpieces, as he had for Urbino Cathedral and also (almost) for the Chiesa Nuova.

The payments followed rapidly for both (22 April 1600; 22 September 1600; 23 November 1600; 24 June1601; 20 December 1601), and Barocci gave priority to the Saint Ambrose’s Pardon of Theodosius (plate VI) that was to be painted with the help of his assistant Alessandro Vitali.96 The painting was finished by 14 July 1603 and was delivered just three months after the Presentation was sent to Rome. Although this painting was dependent on the Presentation as its visual model and was therefore considered derivative, the quality of the Saint Ambrose’s Pardon of Theodosius has recently been positively reconsidered. As he did with most of his workshop pictures, Barocci took care to ensure that the picture was touched up and equal to his name.

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