THE ANNUNCIATION

Artist: Domenico Cresti (Perugia c. 1560-Florence 1636)
Date: c. 1610
Dimensions: 187 x 278 cm
Materials: Oil on plaster applied to a masonry curtain wall

This altarpiece, depicting the Annunciation to the Virgin Mary was painted by Domenico Cresti, known as Il Passignano, one of the most esteemed artists who revitalized late Roman Mannerism with a more vivid Venetian color palette influenced by Federico Zuccari. His technical skill and meticulous religious documentation explain why he was considered one of the favorite artists of the Papal Court. The painting showcases the unique technique of oil on plaster applied to a masonry wall, a method prevalent among artists of the late 16th and early 17th centuries. This technique allowed for richer textures and depths, giving the artwork a distinctive appearance. The interplay of light and shadow, combined with delicate brushwork, captures the divine and serene atmosphere of this biblical event. Cresti’s use of color and form reflects the influence of Venetian masters, while his adherence to Roman Mannerist traditions is evident in the elegance and sophistication of the composition.

 

THE RISEN CHRIST APPEARS TO THE VIRGIN MARY AND THE APOSTLES

Artist: Domenico Cresti (Perugia c. 1560-Florence 1636)
Date: c. 1610
Dimensions: 195 x 120 cm
Materials: Oil on slate

Painted by Domenico Cresti for the Sacristy of the Pauline Chapel in the Basilica of St. Mary Major, this altarpiece features a subject rare for the period, the unusual iconography of the Resurrected Christ appearing to the Virgin Mary and the Apostles, emphasizing the continuity between the Resurrection and the founding of the Church. The inclusion of the Virgin Mary underscores her role in the divine narrative, which extends beyond the Crucifixion to the Resurrection and the early Church. The apostles are depicted with expressions of awe and reverence, emphasizing their transformation and mission after Jesus’s Resurrection. The dynamic composition, with its interplay of heavenly light and earthly figures, draws the viewer into the mystical experience. The detailed religious documentation and the inclusion of specific symbols, such as the stigmata on Christ’s hands and the presence of the apostles, reinforce the theological significance of the moment.

 

THE ECSTASY OF ST. FRANCESCA ROMANA AND THE ANGEL

Artist: Giovanni Baglione (Rome, 1573-1643)
Date: c. 1610
Dimensions: 204 x 120 cm
Materials: Oil on stucco

Giovanni Baglione, a Roman painter and art historian, continued the valuable work of Giorgio Vasari through his biographical writings on contemporary artists. Baglione’s contributions to St. Mary Major include the frescoes that adorn the entrance arch of the Pauline Chapel, which demonstrate his skill at large-scale composition, and the painting with the Ecstasy of St. Francesca Romana and the Angel, located in the Pauline Chapel. This work depicts a significant moment in the life of St. Francesca Romana, a revered Roman saint known for her charitable works and mystical experiences. The painting captures an episode of divine rapture, with St. Francesca Romana in ecstasy, accompanied by an angel. The saint is shown in deep spiritual communion, her gaze lifted upward, embodying her visionary experiences and unwavering faith. The angel, depicted with delicate and ethereal features, symbolizes the divine presence and guidance in her life. Baglione’s use of oil on stucco, a technique that combines the durability of stucco with the vibrant colors of oil paint, gives the work a unique texture and depth.