The Montalto Madonna and the intellectual and spiritual life of Cardinal Peretti di Montalto

My thought soars not so high ; though duly bent
In reverence, and awe, and long attent,
To study Nature and the works and ways,
So wondrous, that surround us : but no mind,
Whom earthly fetters bind,
Though led to truth, and swift to utter praise,
Can pierce the crystal that enshrines above
The Flower of endless Love ; …1

Torquato Tasso (1544-1595) 'The Nativity' Rome, December 1588

The poetic extract above precisely demonstrates the ease with which the sixteenth-century patron moved between the intellectual and religious; for them, there was little distinction. With this in mind this essay sets out to explore how a private devotional image can provide an insight into the mind and life of the commissioning patron. Although we cannot be certain how individual spiritual or even intellectual experience manifested itself in relation to small devotional images, Burt Treffer offers a useful line of thought. His method applies a mix of pictorial analysis and iconography, investigation into the purpose of the painting and who it was for, as well as a close reading of the associated literature.2 

A recently rediscovered devotional image by Annibale Carracci The Holy Family with the Infant Saint John the Baptist, or the Montalto Madonna (National Gallery, London) (c1600) is perfectly placed to demonstrate and reflect the pursuits of its first owner, the Roman Cardinal Deacon Alessandro Damasceni Peretti di Montalto (1571–1623). Taken in its wider context, this small painting on copper enables the art historian to explore reformation church politics, familial ambition as well as flourishing city wide intellectual pursuits. 

Tasso and the Search for En-light-enment

It has long been appreciated that an interdisciplinary approach has to be taken when looking at the arts. A book from 1922 said the 'pictorial qualities of the arts corresponded psychologically and aesthetically to the musical qualities of literature'. But it was the author's next words that struck me as particularly relevant, 'the formal objects of the art historian and the literary scholar, as far as the Baroque is concerned, are ... similar because the mode of conceiving reality is the same, and this same type of concept is anchored in the spirit and will of the men of that epoch' (my emphasis).1

It's an old fashioned way of stating that art, literature, music – and not forgetting the natural sciences – are all products of a particular time and place. Therefore although I'm ostensibly focusing on a piece of art, I feel that it is crucial to see across as many disciplines possible, whether art, literature or music because all of these offer valuable insights into prevailing thoughts. This explains why the final part of my essay moves from baroque musical monody to a different kind of poetic voice.

An excursion into Baroque music

It turns out that few art historians make excursions into music history, mainly because music can be rather technical. I am the first to admit some music articles are unfathomable without a degree in composition, maths or some such, and are rather off putting. It depends on what the musicologist is trying to convey. Are they talking about how the music is actually made; or are they describing the effects of certain musical combinations; or are they writing about theory? There are as many ways of writing about music as there are about art. When an analyst of paint does a technical report, someone of limited experience in this area would struggle to read it. So art can be just as technical as music in some respects.

I've spent a little time in choirs, and one of them concentrated on motets, masses and madrigals by well known early modern/Baroque composers such as Byrd, Tallis, Palastrina, Lotti etc. The sound, textures and rhythms of these pieces are relatively familiar; who has not felt the internal pulse of Tallis's 40 part motet Spem in Alium? Therefore I feel relatively well placed to apply a certain level of thought to how music like this works, and its effect on an audience and performer.

My Love Affair with Cardinal Alessandro Peretti Montalto Begins

Although the intellectual life of the artist is crucial, my focus this weekend has been on the patron and his concerns. I'm coming round full circle to my initial essay idea which focused purely on the Montalto Madonna - this would embrace all the thoughts I was having regarding the renewal of the church, private devotion, poetry, music, innovations in the creation of art and so on. The other paintings are interesting but I think I will end up using them as guest appearances to support the main feature. One of the reasons for this is we can only be certain of one of the commissions - I have been unable to find out who commissioned the other paintings and this would lead to a very unbalanced essay. These are my musings about the man who commissioned the Holy Family so far.