 |
Caravaggio, Calling of Saint Matthew (detail) Italian, c. 1599-1600 Rome, Church of San Luigi dei Francesi, Contarelli Chapel |
"Jesus saw a tax collector named Levi sitting at the customs post.
He said to him, “Follow me.”And leaving everything behind, he got up and followed him.
Then Levi gave a great banquet for him in his house,
and a large crowd of tax collectors
and others were at table with them.
The Pharisees and their scribes complained to his disciples, saying,
“Why do you eat and drink with tax collectors and sinners?”
Jesus said to them in reply,
“Those who are healthy do not need a physician, but the sick do.
I have not come to call the righteous to repentance but sinners.”
(Luke 5:27-32)
"As Jesus passed by, he saw a man named Matthew sitting at the customs post.
He said to him, "Follow me."
And he got up and followed him.”
(Matthew 9:9-13)
Thus did Matthew (or Levi as he is called in the Gospel of Mark) become a disciple of Jesus. After the Ascension, Matthew is said to have found his ministry in spreading the good news of salvation to the regions of the Middle East and the Balkans. One of the Synoptic Gospels is attributed to him.
Matthew’s symbol is unique. While the other Evangelists are associated with animal symbols (the eagle for John, the lion for Mark and the ox for Luke), Matthew’s symbol is an angel. So, his symbol serves a dual purpose, the angel is for Matthew both his symbol and his source of inspiration. Thus he is frequently shown receiving inspiration from an angel, his own symbol. This image accounts for the majority of representations of Saint Matthew from the early medieval through the Baroque periods. Only a sampling of the available works which use this theme are shown below.
"As Jesus passed by, he saw a man named Matthew sitting at the customs post.
He said to him, "Follow me."
And he got up and followed him.”
(Matthew 9:9-13)
Thus did Matthew (or Levi as he is called in the Gospel of Mark) become a disciple of Jesus. After the Ascension, Matthew is said to have found his ministry in spreading the good news of salvation to the regions of the Middle East and the Balkans. One of the Synoptic Gospels is attributed to him.
Matthew the Evangelist
It is as one of the evangelists that Matthew first appears in art. Many of the surviving manuscript copies of the Gospels include so-called Evangelist Portraits, one for each of the four Gospels.
The Evangelists are usually shown seated in the act of writing, although sometimes they stand, holding their books.
Some of the earliest "portraits" appear in the Gospel books created in Irish monasteries during the early Middle Ages. In these the image is more a representation of a man than it is an attempt to depict a realistic human being. The Irish manuscripts demonstrate the alternative, abstract, insular style indigenous to Northern Europe outside the former Roman Empire.
Continental manuscripts, especially during the slightly later Carolingian and Ottonian periods, on the other hand, tried very hard to recreate human figures derived from the classical Roman tradition. That tradition was very much alive on the eastern side of Europe, in the Byzantine Empire, which had once been the eastern part of the greater Roman Empire.
This tradition of the evangelist portrait carried right through the Middle Ages, in many artistic media and in both Eastern and Western Europe.
The Evangelists are usually shown seated in the act of writing, although sometimes they stand, holding their books.
Some of the earliest "portraits" appear in the Gospel books created in Irish monasteries during the early Middle Ages. In these the image is more a representation of a man than it is an attempt to depict a realistic human being. The Irish manuscripts demonstrate the alternative, abstract, insular style indigenous to Northern Europe outside the former Roman Empire.
,%20Stiftsbibliothek_MS%20Cod.%20Sang.%2051,%20Page%202.jpg) |
| Saint Matthew From the Gospels of Saint Gall Irish, c. 750 Saint Gallen (SZ), Stiftsbibliothek MS Cod. Sang. 51, Page 2 |
 |
| Saint Matthew Portrait From the Book of Kells Irish, c. 800 Dublin, Trinity College Old Library MS 58, fol. 28v |
Continental manuscripts, especially during the slightly later Carolingian and Ottonian periods, on the other hand, tried very hard to recreate human figures derived from the classical Roman tradition. That tradition was very much alive on the eastern side of Europe, in the Byzantine Empire, which had once been the eastern part of the greater Roman Empire.
_816-835_%C3%89pernay,%20Biblioth%C3%A8que%20Municipale,%20Ms.%201.jpg) |
| Saint Matthew Writing from the Ebbo Gospels French (Reims), c. 816-835 Epernay, Bibliotheque municipale MS 1 This miniature demonstrates the attempted revival of Roman classicism that prevailed in the Carolingian Empire during the 9th century. |
 |
| Saint Matthew Writing from the Gospels of Sainte-Aure French, c. 850-875 Paris, Bibliotheque nationale de France MS Arsenal 1171, fol. 17v |
 |
| Saint Matthew Writing From the Harley Golden Gospels German (Aachen), c. 875-900 London, British Library MS Harley 2788, fol. 13v |
 |
| Saint Matthew at His Desk From a Bible Byzantine (Constantinople), 10th century Paris, Bibliotheque nationale de France MS Coislin 195, fol. 9v This miniature shows the kind of classical painting which the Carolingian and Ottonian artists attempted to emulate. |
,%20c.%20975-1000_Munich,%20Bayerische%20Staatsbibliothek_MS%20Clm%2014000-879,%20fol.%2016v.jpg) |
| Saint Matthew From the Codex Aureus of St. Emmeram German (Munich), c. 975-1000 Munich, Bayerische Staatsbibliothek MS Clm 14000-879, fol. 16v |
This tradition of the evangelist portrait carried right through the Middle Ages, in many artistic media and in both Eastern and Western Europe.
 |
| Saints Matthew and Luke Byzantine Enamel, 11th century Paris, Musée de Cluny, Musée national du Moyen Age |
,%20c.%201000_Munich,%20Bayerische%20Staatsbibliothek_MS%20Clm%204453,%20fol.%2025v.jpg) |
| Saint Matthew From the Gospel Book of Otto III German (Reichenau), c. 1000 Munich, Bayerische Staatsbibliothek MS Clm 4453, fol. 25v Here we begin to see a blending of the classical tradition with the indigenous abstract tradition to create something new. |
 |
| Saint Matthew From the main altar of the Abbey of Grandmont French Enamel, c.1231 Paris, Musée du Louvre |
 |
| Ugolino da Siena, Saint Matthew Italian, c. 1330-1335 New York, Metropolitan Museum of Art, Robert Lehman Collection |
 |
| Andrea Orcagna, Saint Matthew with Scenes from His Life Italian, c. 1367 Florence, Galleria degli Uffizi |
 |
| Giovanni di Benedetto and Workshop, Saint Matthew Writing From a Missal Italian, c. 1385-1390 Paris, Bibliotheque nationale de France MS Latin 757, fol. 185v |
 |
| Michael Medovartsev, Saint Matthew Writing From a Bible Byzantine (Russian), c.1475-1500 London, British Library MS Egerton 3045, fol. 10v This shows how remarkably stable Byzantine iconography was, for the Russian painting is very similar to the Greek painting of 500 years earlier. |
 |
| Atelier of Jean Goujon, Saint Matthew Wood Inlays from the Chapel of the Chateau d'Ecouen French, 1548 Chantilly, Musée Condé |
 |
| Camillo Rusconi, Saint Matthew Italian, c. 1708-1718 Rome, Basilica of San Giovanni in Laterano |
 |
| Jean-August-Dominique Ingres, Saint Matthew French, c. 1800-1825 Paris, Musée du Louvre |
Matthew and His Symbol
The evangelists are frequently represented by their associated symbols. These symbols are derived from, and related to, the four winged creatures, known as the Tetramorph, that stand at the throne of God in the vision of Ezekiel (Ezekiel 1:10) and in the Book of Revelation (Revelation 4:6-7).Matthew’s symbol is unique. While the other Evangelists are associated with animal symbols (the eagle for John, the lion for Mark and the ox for Luke), Matthew’s symbol is an angel. So, his symbol serves a dual purpose, the angel is for Matthew both his symbol and his source of inspiration. Thus he is frequently shown receiving inspiration from an angel, his own symbol. This image accounts for the majority of representations of Saint Matthew from the early medieval through the Baroque periods. Only a sampling of the available works which use this theme are shown below.
 |
| The Evangelist Symbols From the Book of Kells Irish, c. 800 Dublin, Trinity College Old Library MS 58, fol. 27v |
 |
| Saint Matthew Writing From a Gospel Book French (St. Amand), c. 875-900 Paris, Bibliotheque nationale de France MS Latin 257, fol.13r |
 |
| Christ in Majesty Surrounded by the Four Evangelists and Their Symbols From the Gospels of the Sainte-Chapelle German (Treves), c. 984 Paris, Bibliotheque nationale de France MS Latin 8851, fol. 1v |
,%20c.%201007-1012_Munich,%20Bayerische%20Staatsbibliothek_MS%20Clm%204452,%20fol.%203v.jpg) |
| Saint Matthew From the Book of Pericopes of Heinrich II German (Reichenau), c. 1007-1012 Munich, Bayerische Staatsbibliothek MS Clm 4452, fol. 3v |
,%20c.%201025-1050_Paris,%20BNF_MS%20Latin%20275,%20fol.%203v.jpeg) |
| Saint Matthew From a Bible German (Mainz), c. 1025-1050 Paris, Bibliotheque nationale de France MS Latin 275, fol. 3v |
,%20c.%201125-1135_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20777,%20fol.%203v.jpg) |
| Saint Matthew From the Mostyn Gospels English (Gloucester), c. 1125-1135 New York, Pierpont Morgan Library MS M 777, fol. 3v |
 |
| Saint Mattew Writing From a Gospel Book French (Meuse), c, 1150-1200 The Hague, Koninklijk Bibliothek MS KB 76 E 17, fol. 11v |
 |
| Master of the Bible of Jean de Sy, Saint Matthew From the Bible historiale by Guyart des Moulins French, 1357 London, British Library MS Royal 17 E VII, fol. 133v |
 |
| Follower of Jean Fouquet, Saint Matthew Writing From a Book of Hours French (Tours), c.1470 The Hague, Koninklijk Bibliotheek MS KB 74 G 28, fol. 17r |
 |
| Alvise Vivarini, Saint Matthew Italian, c. 1480 Venice, Gallerie dell'Accademia |
 |
| Boccaccio Boccaccino, Saint Matthew Italian, c. 1503 Florence, Galleria degli Uffizi |
 |
| Jean Bourdichon, Saint Matthew Writing From the Grandes heures of Anne de Bretagne French (Tours), c. 1503-1508 Paris, Bibliotheque nationale de France MS Latin 9474, fol. 21v |
 |
| Giovanni Gerolamo Savoldo, Saint Matthew and the Angel Italian, c.1534 New York, Metropolitan Museum of Art |
 |
| Jean Goujon, Saint Matthew From the Church of Saint Germain l'Auxerrois French (Paris), c. 1544-1545 Paris, Musée du Louvre, Département des Sculptures du Moyen Age, de la Renaissance et des temps modernes |
 |
| Johannes Wierix after Maarten de Vos, Saint Matthew Writing From the Thesaurus Novi Testamenti elegantissimis iconibus expressus continens historias atque miracula do[mi] ni nostri Iesu Christi Flemish, 1585 London, British Museum |
 |
| After Pierre Mignard, Saint Matthew French, c.1700 Versailles, Chateaux de Versailles et de Trianon |
 |
| Nicolas Antoine Taunay, Saint Matthew and the Angel French, c. 1810-1815 Saint-Lo, Musée des Beaux-Arts |
 |
| Charles Lemeire, Angel of Saint Matthew from the Tetramorph Maquette for decoration of the cupola of the Basilica of Saint Martin d'Ainay in Lyon French, 1899-1900 Paris, Musée d'Orsay |
 |
| Natalia Gontcharova, Saint Matthew Costume design for the never danced Diaghilev ballet "Liturgie" Russian, 1915-1927 Paris, Centre national d'art et de culture Georges-Pompidou I am including this image in this category because the artist has conflated the angel and St. Matthew into one image through the wing-like extensions of the figure's draperies. |
Scenes From the Life of Matthew -- The Calling
Among images before the seventeenth century, scenes of Matthew's occupation and of his life-changing encounter with Jesus were less frequent than those that depict him as an evangelist. Although these do appear occasionally, they were nowhere near as popular a subject.
This Byzantine manuscript shows scenes from the New Testament, including scenes of the calling of the Apostles. The calling of Matthew is located in the center of the top row of images which is all that I have included here. We can see Matthew, at his tax counting table, responding to Jesus, who stands to his right.
It is difficult now for us to imagine the impact that this painting had on the people of Caravaggio’s day. Its dramatic play of lights and darks, called chiaroscuro, had been developed by earlier artists, but had never been used with such a powerful, flickering effect. The faces and gestures of the figures seem to spring out of the dark. The arrangement of lights and darks divides the composition into two triangles, each of which is centered on one of the two main protagonists, Jesus and Matthew.
Also dramatic is the issue of dress. While Jesus and His companion appear to be wearing traditional “antique” dress, the contemporary dress worn by Matthew and his cronies is unexpected and moves the scene out of the realm of “somewhere back in time” to “right now”, which is a new and shocking idea.1 This transports the event into the present day and is a reminder that the call extends to us too. It is as if Jesus had suddenly walked into one of our twenty-first century offices and said to us “Follow me!”
The other paintings for the Contarelli Chapel have similar effects of lighting, but they lack the contemporary “punch” of the Calling. They are the Inspiration of Saint Matthew, which is derived from the historical type of the evangelist portrait, shows Saint Matthew, half standing, half kneeling, at his writing bench, receiving inspiration from an angel, which is, of course, his traditional symbol.
The other is the violent Martyrdom of Saint Matthew, which virtually explodes out of the canvas on which it is painted. Horrified by the violent act of Saint Matthew’s attacker, the onlookers flee the scene. Some are in contemporary dress (circa 1600), while others are dressed in various “antique” styles.
At the center is the figure of Saint Matthew, clad in priestly vestments. Even as his hand is pulled upward by his executioner, who prepares to use the sword he carries in his right hand, an angel reaches from heaven with the palm of martyrdom, ready for the moment of Matthew’s death.
These three paintings had a monumental impact on the history of art in the 17th century. Other artists borrowed various elements for their own work. Some adopted the strong chiaroscuro lighting, others the contemporary settings. Those in the immediate aftermath of Caravaggio (who died young only ten years after completing the Contarelli Chapel paintings) are often known by the group name of the Caravaggisti.
One of the first (and best) of these was the young French artist, Valentin de Boulogne, who studied Caravaggio's work in Rome before himself dying young there. His French patrons introduced the style to France, where it had a great influence.
But, nearly every artist in Europe was affected to some extent by these works in honor of Saint Matthew for many years to come.
"Matthew the apostle, preaching in Ethiopia, in the city that is said Nadaber, found there two enchanters named Zaroes and Arphaxat, which enchanted the men by their art, so that whom that they would, should seem that thy were prived of the health and office of their members. Which were so elevated in pride that they made them to be honoured as gods......
Then came before them a man that said that the enchanters were come with two dragons, which cast fire and sulphur by their mouths and nostrils, and slew all the men. Then the apostle garnished him with the sign of the cross and went out surely to them, and anon as these dragons saw him, anon they came and slept at his feet. Then said Matthew to the enchanters: Where is your craft? Awake ye them if ye may; and if I would pray our Lord, that which ye would have committed in me, I should soon execute on you. And when the people were assembled, he commanded the dragons that they should depart without hurting of any, and they went anon.....
anon a great noise arose, and a great weeping was made for the son of the king which was dead, and when these enchanters might not raise him, they made the king believe that he was ravished into the company of the gods, and that he should make to him a temple and an image. And then the foresaid eunuch, keeper of the queen Candace, made the enchanters to be kept, and sent for the apostle. And when the apostle was come he made his prayer and raised the king's son anon."2
The Church celebrates the feast day of Saint Matthew on September 21st.
© M. Duffy, 2011, 2016, 2022
_____________________________________________________________________
1. Freedberg, S.J. Circa 1600: A Revolution of Style in Italian Painting, Cambridge, Harvard University Press, 1983, pp. 59-63.
2. The Golden Legend or Lives of the Saints. Compiled by Jacobus de Voragine, Archbishop of Genoa, 1275. First Edition Published 1470. Englished by William Caxton, First Edition 1483, Edited by F.S. Ellis, Temple Classics, 1900 (Reprinted 1922, 1931.), Volume V, page 71. Found at: Internet History Source Books: Medieval http://sourcebooks.fordham.edu/basis/goldenlegend/GoldenLegend-Volume5.asp#Matthew
,%20c.%20879-882_BNF_Grec%20510_fol.87v%20(2).jpg) |
| Detail: The Calling of Matthew From the Orations of Gregory Nazianzus Greek, c. 879-882 Paris, Bibliotheque nationale de France MS Grec 510, fol. 87v |
This Byzantine manuscript shows scenes from the New Testament, including scenes of the calling of the Apostles. The calling of Matthew is located in the center of the top row of images which is all that I have included here. We can see Matthew, at his tax counting table, responding to Jesus, who stands to his right.
,%20c.%201250-1300_Paris,%20Bibliotheque%20nationale%20de%20France_MS%20Nouvelle%20acquisition%20francaise%2016231,%20fol.%2069v.jpg) |
| The Calling of Matthew From the Livre d'images de Madame Marie Flemish (Hainault), c. 1285-1290 Paris, Bibliotheque nationale de France MS Nouvelle acquisition francaise 16251, fol. 69v |
 |
| Master of the Coronation Book of Charles V, The Calling of Matthew From the Bible historiale of Guyart des Moulins Paris, c. 1350-1356 London, British Library MS Royal 19 D II, fol.426 |
 |
| Anonymous, The Calling of Matthew From the Bible historiale by Guiard des Moulins French (Paris), c. 1350-1356 Paris, Bibliotheque nationale de France Ms Francais 162, fol. 165 |
 |
| Marinus van Reymerswaele, The Calling of Saint Matthew Dutch, c.1530-1546 Dublin, National Gallery of Ireland |
Enter Caravaggio
This situation changed after Caravaggio. In 1599 Caravaggio received the commission for paintings to decorate the Contarelli Chapel in the Roman church of San Luigi dei Francesi (Saint Louis of the French), not far from the Pantheon. All of them broke important ground, artistically, and none more so than the Calling of Saint Matthew. |
| Caravaggio, The Calling of Saint Matthew Italian, 1599-1600 Rome, Church of San Luigi dei Francesi, Contarelli Chapel |
It is difficult now for us to imagine the impact that this painting had on the people of Caravaggio’s day. Its dramatic play of lights and darks, called chiaroscuro, had been developed by earlier artists, but had never been used with such a powerful, flickering effect. The faces and gestures of the figures seem to spring out of the dark. The arrangement of lights and darks divides the composition into two triangles, each of which is centered on one of the two main protagonists, Jesus and Matthew.
 |
| Caravaggio, The Calling of Saint Matthew (detail) Italian, 1599-1600 Rome, Church of San Luigi dei Francesi, Contarelli Chapel |
Also dramatic is the issue of dress. While Jesus and His companion appear to be wearing traditional “antique” dress, the contemporary dress worn by Matthew and his cronies is unexpected and moves the scene out of the realm of “somewhere back in time” to “right now”, which is a new and shocking idea.1 This transports the event into the present day and is a reminder that the call extends to us too. It is as if Jesus had suddenly walked into one of our twenty-first century offices and said to us “Follow me!”
 |
| Caravaggio, The Calling of Saint Matthew (detail) Italian, 1599-1600 Rome, Church of San Luigi dei Francesi, Contarelli Chapel |
The other paintings for the Contarelli Chapel have similar effects of lighting, but they lack the contemporary “punch” of the Calling. They are the Inspiration of Saint Matthew, which is derived from the historical type of the evangelist portrait, shows Saint Matthew, half standing, half kneeling, at his writing bench, receiving inspiration from an angel, which is, of course, his traditional symbol.
 |
| Caravaggio, The Inspiration of Saint Matthew Italian, 1600 Rome, Church of San Luigi dei Francesi, Contarelli Chapel |
The other is the violent Martyrdom of Saint Matthew, which virtually explodes out of the canvas on which it is painted. Horrified by the violent act of Saint Matthew’s attacker, the onlookers flee the scene. Some are in contemporary dress (circa 1600), while others are dressed in various “antique” styles.
At the center is the figure of Saint Matthew, clad in priestly vestments. Even as his hand is pulled upward by his executioner, who prepares to use the sword he carries in his right hand, an angel reaches from heaven with the palm of martyrdom, ready for the moment of Matthew’s death.
 |
| Caravaggio, The Martyrdom of Saint Matthew Italian, 1600 Rome, Church of San Luigi dei Francesi, Contarelli Chapel |
These three paintings had a monumental impact on the history of art in the 17th century. Other artists borrowed various elements for their own work. Some adopted the strong chiaroscuro lighting, others the contemporary settings. Those in the immediate aftermath of Caravaggio (who died young only ten years after completing the Contarelli Chapel paintings) are often known by the group name of the Caravaggisti.
One of the first (and best) of these was the young French artist, Valentin de Boulogne, who studied Caravaggio's work in Rome before himself dying young there. His French patrons introduced the style to France, where it had a great influence.
.jpg) |
| Valentin de Boulogne. Saint Matthew and the Angel French, c.1620-1632 Versailles, Chateaux de Versailles et de Trianon |
But, nearly every artist in Europe was affected to some extent by these works in honor of Saint Matthew for many years to come.
 |
| Giovanni Battista Caracciolo, Calling of Saint Matthew (?) Italian, c. 1625-1630 New York, Metropolitan Museum of Art There is some debate about the subject of this painting recently purchased in 2016 by the Metropolitan Museum of Art, but in my opinion it does appear to be the Calling of Saint Matthew. In my reading Matthew is the figure on the right, shown from behind. There is definitely money on the table, which is being fingered by the youth with the red turban who is peering curiously around the figure of Jesus. Behind Jesus stands what is probably a disciple, possibly Peter. |
 |
| Jacob Jordaens, The Four Evangelists Flemish, c. 1625-1630 Paris, Musée du Louvre |
 |
| Lambert Jacobszoon, Saint Matthew and the Angel Dutch, c. 1630-1631 Rouen, Musée des Beaux-Arts |
 |
| Simone Cantarini, Saint Matthew and the Angel Italian, c.1645-1648 Washington, National Gallery of Art |
 |
| Niccolo Tornioli, The Conversion of Saint Matthew Italian, c.1650-1652 Rouen, Musée des Beaux-Arts |
_Calling%20of%20St.%20M_Belgian_c.1650_Toulouse_Musee%20des%20Augustins.jpg) |
| Attributed to Charles Wautier, The Calling of Saint Matthew Flemish, c.1650 Toulouse, Musée des Augustins |
 |
| Juan de Pareja, The Calling of Saint Matthew Spanish, 1661 Madrid, Museo Nacional del Prado |
 |
| Rembrandt, Saint Matthew and the Angel Dutch, 1661 Paris, Musée du Louvre |
 |
| Jacob Jordaens, Saint Matthew and Two Apostles Flemish, c.1670 Lille, Palais des Beaux-Arts |
Other Scenes from the Life of Saint Matthew
Less frequently depicted are stories of Matthew's work as an Apostle following the Resurrection and Acension. These apocryphal stories are found in the various Lives of the Saints but above all in the Legenda aurea or Golden Legend, which was one of the most popular books, outside of the Bible and the Books of Hours, of the medieval period. Most of the stories focus on the confrontation between Saint Matthew and two magicians at the court of Candace, Queen of Ethiopia. As the Golden Legend describes it:"Matthew the apostle, preaching in Ethiopia, in the city that is said Nadaber, found there two enchanters named Zaroes and Arphaxat, which enchanted the men by their art, so that whom that they would, should seem that thy were prived of the health and office of their members. Which were so elevated in pride that they made them to be honoured as gods......
Then came before them a man that said that the enchanters were come with two dragons, which cast fire and sulphur by their mouths and nostrils, and slew all the men. Then the apostle garnished him with the sign of the cross and went out surely to them, and anon as these dragons saw him, anon they came and slept at his feet. Then said Matthew to the enchanters: Where is your craft? Awake ye them if ye may; and if I would pray our Lord, that which ye would have committed in me, I should soon execute on you. And when the people were assembled, he commanded the dragons that they should depart without hurting of any, and they went anon.....
anon a great noise arose, and a great weeping was made for the son of the king which was dead, and when these enchanters might not raise him, they made the king believe that he was ravished into the company of the gods, and that he should make to him a temple and an image. And then the foresaid eunuch, keeper of the queen Candace, made the enchanters to be kept, and sent for the apostle. And when the apostle was come he made his prayer and raised the king's son anon."2
 |
| Richard de Montbaston, Saint Matthew and the Magicians From the Legenda aurea by Jacobus de Voragine French (Paris), 1348 Paris, Bibliotheque nationale de France MS Francais 241, fol. 252v |
 |
| Jacques de Besancon, Saint Matthew and the Magicians From the Legenda aurea by Jacobus de Voragine French (Paris), c.1480-1490 Paris, Bibliotheque nationale de France MS Francais 245, fol. 104 |
The Martyrdom of Saint Matthew
One further part of the iconography of Saint Matthew, which seems to be largely confined to Northern Europe, is that of his martyrdom. With the exception of the extremely dramatic painting by Caravaggio discussed above, all the images which I have been able to find are from north of the Alps. Earlier images depict Saint Matthew being killed by someone using a sword, or a spear or an ax. Later images often simply reference his martyrdom by showing him holding the weapon that killed him.,%20c.%201190-1200_The%20Hague,%20Koninklijk%20Bibliotheek_MS%20KB%2076%20F%205,%20fol.%2026v.jpg) |
| The Martyrdom of Saint Matthew From a Picture Bible French (St. Omer), c. 1190-1200 The Hague, Koninklijk Bibliotheek MS KB 76 F 5, fol. 26v |
 |
| The Martyrdom of Saint Matthew From the Lives of the Saints by Wauchier de Denain French (Paris), c.1225-1250 London, British Library MS Royal 20 D VI, fol. 30v |
 |
| The Martyrdom of Saint Matthew From a Psalter German (Hildesheim), c. 1230-1240 Paris, Bibliotheque nationale de France MS Nouvelle acquisition latine 3102, fol. 3 |
 |
| Master of the Roman de Fauvel, The Martyrdom of Saint Matthew From the Vies des saints French (Paris), 1300-1350 Paris, Bibliotheque nationale de France MS Francais 183, fol. 49 |
 |
| Saint Matthew German, c.1376-1400 Burg bei Magdeburg, Church of Our Lady (now Protestant), Upper church |
 |
| Master of Froendenberger, Saint Matthew From the Altar of Our Lady German, 1410 Söst, Church of Saint Patrokli |
 |
| Alabaster Relief, Saint Matthew English, 1440-1460 London, Victoria and Albert Museum |
 |
| Hans Strigel the Younger and Thomas Bocksberger, Saint Matthew German, c.1470 Memmingen, Church of Our Lady (Now Protestant), Nave |
 |
| Jean Bourdichon, Saint Matthew From the Hours of Frederic of Aragon Paris (Tours), c. 1501-1504 Paris, Bibliotheque nationale de France MS Latin 10532, fol. 350r |
 |
| Antonius Wierix after Ambrosius Francken, Saint Matthew From the Thesaurus Novi Testamenti elegantissimis iconibus expressus continens historias atque miracula do[mi] ni nostri Iesu Christi Dutch, c.1580 London, British Museum |
 |
| Peter Paul Rubens, Saint Matthew Flemish, c.1610-1612 Madrid, Museo Nacional del Prado |
The Church celebrates the feast day of Saint Matthew on September 21st.
© M. Duffy, 2011, 2016, 2022
_____________________________________________________________________
1. Freedberg, S.J. Circa 1600: A Revolution of Style in Italian Painting, Cambridge, Harvard University Press, 1983, pp. 59-63.
2. The Golden Legend or Lives of the Saints. Compiled by Jacobus de Voragine, Archbishop of Genoa, 1275. First Edition Published 1470. Englished by William Caxton, First Edition 1483, Edited by F.S. Ellis, Temple Classics, 1900 (Reprinted 1922, 1931.), Volume V, page 71. Found at: Internet History Source Books: Medieval http://sourcebooks.fordham.edu/basis/goldenlegend/GoldenLegend-Volume5.asp#Matthew
No comments:
Post a Comment