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The Procession to Calvary, Raphael (1483-1520), NG2919

About 1504-1505, 24.40 x 85.50 cm, Drying Oil on Poplar Panel,
The National Gallery, London

Art History
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Christ carries the cross, on his way to Golgotha. Behind him is Simon of Cyrene, who helps to bear the weight of the cross. The fainting Virgin is supported by the three other Maries. Saint John the Evangelist, beside her, wrings his hands. NG 2919 was the central scene of the predella below an altarpiece of the Virgin and Child with Saints, known today as the Colonna Altarpiece. This altarpiece was made for the church of S. Antonio, Perugia, in about 1504-5. The centre panel surmounted by a lunette as well as a part of the predella are now in New York (Metropolitan Museum of Art). Other parts of the predella exist in Boston (Isabella Stewart Gardner Museum) and London (Dulwich Picture Gallery).

Sold by the nuns of S. Antonio, Perugia, to Queen Christina of Sweden, 1663; bought by the Duc d'Orléans, 1721; subsequently in the Hibbert and Miles collections; collection of the Earl of Plymouth (Lord Windsor) by about 1893; from whom bought, 1913.

C. Plazzotta, ‘The Agony in the Garden – The Procession to Calvary - Pietà’, in Raphael: From Urbino to Rome, exh. cat., The National Gallery, London, 20 October 2004 – 16 January 2005, London 2004, nos 40-2.

Original Context

These three scenes from Christ’s Passion formed the predella of an altarpiece painted by Raphael for the convent of Sant’Antonio da Padua in Perugia, a religious house (now largely destroyed) for female tertiaries of the Franciscan Order. The altarpiece, known as the Colonna Altarpiece, consisted of a unified central panel depicting the Virgin and Child enthroned with saints (Saints Peter, Paul, Catherine and another female martyr) surmounted by a lunette representing God the Father blessing with two angels (now in the Metropolitan Museum of Art, New York). In the predella, the long central Procession to Calvary was flanked on the left by the Agony in the Garden, and on the right by the Pietà. Two smaller panels of Franciscan saints completed the ensemble. On stylistic grounds, most scholars date the altarpiece to around 1504–5, which accords with the date of 1505 recorded probably on the frame in the nineteenth century.[1] The altarpiece remained intact and in situ until 1663 when the impecunious nuns of Sant’Antonio sold the predella to an agent of Queen Christina of Sweden. A few years later (1677–8), they sold the main panel and lunette to Antonio Bigazzini of Perugia, who in turn sold them to the Colonna family in Rome (after whom the altarpiece is now named).

Notes

[1] Shearman 2003, p. 97. Oberhuber 1977, pp. 51–91, argues, however, for a dating around 1501–2.

Technique and Prototypes

Raphael made detailed preparatory cartoons for the individual predella scenes.[2] The scenes were painted on a single plank that was cut into three at the time of their sale from the convent. Vasari, who hailed the altarpiece as ‘a marvellous and devout work of art held in great honour by those nuns and highly admired by all painters’, did not neglect to mention the predella scenes as well, describing each one individually.[3] His attention may have been caught by the sensitive range and diversity of colours, echoing the vivid hues of the main altar panel above, which Raphael here deployed to organise and define his narratives, no doubt wishing to ensure maximum legibility in the enclosed inner sanctum of the nuns’ church. Some of the brightly coloured draperies are further enlivened by highlights in a contrasting colour, such as the lemon accents on the Magdalen’s rose-coloured robe in the Pietà, and Raphael used touches of gold to define the borders of several of the figures’ draperies and their double haloes. Although less overtly dependent on Peruginesque models than the predella of the Oddi Coronation of a year or two earlier, the two smaller scenes at either end of the predella nevertheless recall the older master’s formulae, as seen for example in his Agony in the Garden and Pietà for the convent of S. Giusto degli Ingesuati in Florence (both now in the Uffizi). These, and other, connections to works in Florence by other artists may imply that the predella scenes were completed after the main altarpiece, following Raphael’s first extended stay in the city.

Notes

[2] Only one, for the Agony, survives in the Pierpont Morgan Library, New York (inv. I, 15); see Joannides 1983, no. 83, and Meyer zur Capellen 2001, pp. 177–8, under no. 17C. Infrared reflectography reveals pouncing beneath the very full underdrawings of the Procession to Calvary and the Pietà. For the former see Bomford (ed.) 2002, no. 8; we are grateful to Alan Chong for sending us the newly made infrared-reflectogram of the Pietà.

[3] Vasari/BB, IV, p. 162.

The Agony in the Garden

The Agony in the Garden shows Christ on the Mount of Olives when he prayed that the cup symbolising his future sacrifice might be taken away from him. Three of his disciples, Peter, James and John, sleep soundly, disobeying his request to watch and pray. Their somnolent forms prefigure Christ’s lifeless corpse in the Pietà at the opposite end of the predella. The profile figure of Christ, with his bushy forelock and pointed beard, conforms to established Umbrian prototypes, but the brilliantly foreshortened figure of Saint John on the right, his legs crossed and his head and hands heavy with sleep, contains the seeds of a new, more naturalistic style, developing out of more conventionally posed sleeping apostles in paintings of this subject, and of the Resurrection, by Perugino and his followers, and by Giovanni Santi.[4] Raphael originally conceived this composition with the chalice set upon the altar-like rock at the top right, emphasising the eucharistic significance of the scene. This was later painted out by another artist and substituted – probably at the request of the nuns – with a flying angel bearing the cup, more in accordance with Umbrian tradition.[5] This explains the weak design of the angel and why it is squeezed into the corner, a factor which may have induced nineteenth-century scholars to attribute the panel to followers of Perugino such as Lo Spagna and Eusebio da San Giorgio.[6]

Notes

[4] See for example Perugino’s Agony, now in the Uffizi (Scarpellini 1984, cat. 44); Lo Spagna in the National Gallery (NG 1032).

[5] Brown 1983, p. 121, fig. 51. For Umbrian examples – all of which show an angel holding the chalice – see Nucciarelli 1998, pp. 264–79.

[6] For example Crowe and Cavalcaselle 1882–5, I, p. 237; Richter 1902, p. 84.

The Procession to Calvary

The Procession to Calvary, the centrepiece of the predella, shows Christ carrying the cross, escorted by five foot-soldiers, one of whom drags him along by a rope. Behind him, Simon of Cyrene helps bear the weight of the cross. The rearing white horse and the twisting pose of the turbaned horseman at the head of the procession suggest knowledge of Leonardo’s unfinished fresco of the Battle of Anghiari. The group of the Virgin supported by the three Maries was inspired by figures in a Deposition for the high altar of SS. Annunziata in Florence, begun by Filippino Lippi around 1503. As was the case with other artists of his acquaintance, Raphael appears to have had access to Filippino’s designs, since his group is closer to the underdrawing of the painting than to the finished work (which was completed by Perugino following Filippino’s death in 1504).[7] The pose and to some extent the type of Christ in the Procession were inspired by the Communion of the Apostles by Justus of Ghent, an artist whose work greatly influenced both Giovanni Santi and Raphael.

The procession divides into three distinct groups (the horsemen, the figures around Christ, and the three Maries and John), knitted together by several figures looking back over their shoulders at the groups behind. The figures are animated by a variety of poses, costumes and headgear (Vasari singled out for praise the ‘beautiful movements’ of the soldiers dragging Christ), and the procession in all its diversity may indicate Raphael’s familiarity with Schongauer’s engraving of the same subject.[8] Raphael achieved greater sophistication and compositional depth in the crowd gathered about the preaching Baptist in the nearly contemporary Ansidei predella, also influenced by Northern prints.

Notes

[7] Nelson 2004, p. 33–4.

[8] Hollstein 1999, XLIX, pp. 32–3. We are grateful to Lorne Campbell for this suggestion.

The Pietà

In the Pietà at the right end of the predella, Raphael borrowed certain motifs, such as the seated Virgin, the kneeling pose of Saint John and the clasped hands of Nicodemus, from Perugino’s Pietà in S. Giusto, but there is far less rhetorical gravitas and more tender intimacy in Raphael’s small scene, designed specifically for the private devotions of the nuns. Perugino depicted Christ’s elongated body laid out rigidly, but Raphael’s Christ is small, his limbs are soft and round, and his vulnerability is conveyed by the bruised flesh around his wounds (especially that in his side) and the dark shadows under his eyes. His graceful pose is more evocative of serene sleep than death (compare the sleeping knight in the Allegory, a painting to which both the Agony and the Pietà are stylistically very close). Neither Christ’s features nor the scale of the figures are particularly consistent in the three predella scenes, perhaps implying that they were designed at intervals or simply that Raphael was not attentive to the overall design of the predella.

The Importance of the Altarpiece

Although modern criticism has characterised the Sant’Antonio altarpiece as an awkward blend of styles and influences, early sources responded to it in terms of the highest praise, and it was far more influential for the subsequent development of Umbrian sacre conversazioni than the more highly evolved Ansidei Madonna.[9] Its predella, reunited in the National Gallery exhibition of 2004-5 for the first time in almost two centuries, admirably demonstrates Raphael’s growing talent for narrative and for drawing out a poignantly human dimension in biblical stories.

Notes

[9] Ferino Pagden 1986, pp. 98–9; Cesare Crispolti’s guide to Perugia of 1597 described the Sant’Antonio altarpiece as ‘di bellezza squisita’, rating it more highly than Piero della Francesca’s altarpiece in the same church (S. Balzani, ‘Il monastero e il polittico: dati d’archivio e memorie’, in V. Garibaldi (ed.), Piero della Francesca: Il poittico di Sant’Antonio, Perugia 1993, pp. 45-56, esp. p. 47).

Select Bibliography

(40) Vasari/BB, IV, p. 162; Passavant 1839, II, p. 41; Zeri and Gardner 1980, II, pp. 75–8; Brown 1983, pp. 119–23; Bambach 1988, no. 224; Shearman 1996, pp. 205–6; Meyer zur Capellen 2001, no. 17C.

(41) Vasari/BB, IV, p. 162; Passavant 1839, II, p. 41; Crowe and Cavalcaselle 1882–5, I, pp. 217–21 and 236–9; Dussler 1971, p. 15; Gould 1975, pp. 220–2; Oberhuber 1977; Zeri and Gardner 1980, II, pp. 72–5; Ferino Pagden 1981, pp. 231–6; Ferino Pagden 1986, pp. 98–100; Shearman 1996, p. 203; Meyer zur Capellen 2001, no. 17D; Plazzotta in Bomford (ed.) 2002, no. 8; Roy, Spring and Plazzotta 2004, pp. 18–20.

(42) Vasari/BB, IV, p. 162; Passavant 1839, II, p. 42; Dussler 1971, p. 15; Hendy 1974, pp. 193–5; Brown 1983, pp. 59–62; Ferino Pagden 1986, pp. 103–5; Meyer zur Capellen 2001, no. 17E.


Art History: Linked PDFs
2004: Chapman, Hugo, Tom Henry, and Carol Plazzotta. Raphael: From Urbino to Rome. Exh. cat., National Gallery London, 20 October 2004 - 16 January 2006. London: National Gallery Company, 2004.

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