Filippino Lippi and the Beautiful Cappella Carafa in Santa Maria Sopra Minerva

To my mind, one of the most fascinating periods where the Western art of painting is concerned is the Renaissance. Renaissance era painters combine the piety and symbolism of the medieval period with the refined elegance and techniques of later ages such as the baroque.  There is, I think, something deeply moving about Renaissance era painting.

To illustrate the point, I would turn your attention today to the Cappella Carafa found in the basilica of Santa Maria sopra Minerva in Rome. This particular chapel contains frescoes painted toward the end of the fifteenth century by the Tuscan painter, Filippino Lippi (+1504) and his pupil. 

Lippi primarily worked on religious subjects and much of his work is found in Florence. This Florentine connection came to bear in this particular commission in Rome, for when Dominican Cardinal, Oliviero Carafa, ordered the chapel to be built and was looking for an artist to decorate it. Lorenzo de Medici of Florence recommended Lippi to the cardinal for the commission -- and so it came to pass. 

For Lippi, who was still in his thirties at the time, it would be his first attempt a large cycle of frescoes, and his only work in Rome, but I think it fair to say he more than succeeded at his task -- which included Marian as well as Dominican themed frescoes. The Marian scenes include a depiction of the Assumption and another of the Annunciation, while the adjacent wall features scenes taken from the life of the great medieval Dominican theologian and author of the Summa Theologica, St. Thomas Aquinas.  

THE ALTARPIECE

The primary works within the chapel are arguably the Marian frescoes, most especially the image of the Annunciation that forms the 'altarpiece; of the chapel. This particular work includes not only the Virgin and archangel Gabriel, but also a depiction of Cardinal Carafa himself who is being presented to the Virigin by St. Thomas Aquinas. 

Sitting above and around the altar is a glorious depiction of the Assumption of the Blessed Virgin. The Virgin is carried up to heaven in glory by three angels bearing torches. Around the Virgin are found more angels, each of which are accompanied by musical instruments -- a popular theme in Renaissance depictions. 

THE RIGHT WALL

To the right of this central wall, Lippi picks up Dominican themes in the person of St. Thomas Aquinas. Top-most in the lunette we can see a depiction of the "Miracle of the Crucified Christ praising St. Thomas" while beneath is the "Triumph of St Thomas Aquinas over Heresy." In this latter case, to either side of St. Thomas are seen four figures personifying Grammar, Rhetoric, Theology and Philosophy while in the foreground are various heresiarchs with their various writings strewn upon the ground. Also of note is the background, showing Rome and specifically the Lateran archbasilica.  

"Miracle of the Crucified Christ Praising St. Thomas"

"The Triumph of St. Thomas Aquinas over Heresy." 

THE CEILING

The vault of the ceiling also contains some beautiful imagery, depicting four sibyls -- oracles of Greek antiquity that were another theme popular in Renaissance art and literature.  These sibyls were intended to symbolize divine wisdom and knowledge. It is worth noting that these were painted by Raffaellino del Garbo, a student and assistant of Lippi.

Sibyl of Delphi

Sybil of Cumae

The chapel also includes other beautiful elements, including a wonderful balustrade and gate that separates the chapel from the rest of the basilica, but our focus for today are the painted works of this chapel.  To my mind it these frescoes that stand out and make this particular chapel the main artistic highlight of the basilica of Santa Maria sopra Minvera, even over and above the main church itself. 

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