1615, Jusepe de Ribera, St. Gregory the Great -- Palazzo Barberini (Rome)
From the museum label: The painting was identified as one of the canvases with the four Doctors of the Church who appear, attributed to Spagnoletto, in one of the inventories of the Giustiniani family (1638).
The image, almost a portrait, exhibits with an immediate sense of realism the texture of the objects, in particular in the skillful rendition of the silky mozzetta of the pontiff, who is presented almost with his back to us, with his ear distinctly turned towards the spectator.
This choice is not accidental, for according to the hagiographic tradition St. Gregory wrote his works by listening to the secret dictation of the Holy Spirit, which appear here in the form of a dove, staring at us from behind the shoulders of the saint, so that only we can witness the accomplishment of the miracle of divine inspiration.
1615, Jusepe de Ribera, St. Gregory the Great -- Palazzo Barberini (Rome)
From the museum label: The painting was identified as one of the canvases with the four Doctors of the Church who appear, attributed to Spagnoletto, in one of the inventories of the Giustiniani family (1638).
The image, almost a portrait, exhibits with an immediate sense of realism the texture of the objects, in particular in the skillful rendition of the silky mozzetta of the pontiff, who is presented almost with his back to us, with his ear distinctly turned towards the spectator.
This choice is not accidental, for according to the hagiographic tradition St. Gregory wrote his works by listening to the secret dictation of the Holy Spirit, which appear here in the form of a dove, staring at us from behind the shoulders of the saint, so that only we can witness the accomplishment of the miracle of divine inspiration.