| The Calling of Saint Matthew | |
|---|---|
| Italian:Vocazione di San Matteo | |
 | |
| Artist | Caravaggio |
| Year | 1599–1600 |
| Medium | Oil on canvas |
| Dimensions | 322 cm × 340 cm (127 in × 130 in) |
| Location | San Luigi dei Francesi,Rome |
The Calling of Saint Matthew is an oil painting by the ItalianBaroque masterCaravaggio that depicts themoment Jesus Christ calls on the tax collector Matthew to follow him. It was completed in 1599–1600 for theContarelli Chapel in the church of the French congregation,San Luigi dei Francesi inRome, where it remains. It hangs alongside two other paintings of Matthew by Caravaggio:The Martyrdom of Saint Matthew (painted around the same time as theCalling) andThe Inspiration of Saint Matthew (1602).
More than a decade earlier, CardinalMatthieu Cointerel had left funds and specific instructions in his will for the decoration of a chapel based on themes related to his namesake,Saint Matthew. The dome of the chapel was decorated with frescoes by the lateMannerist artistGiuseppe Cesari, Caravaggio's former employer and one of the most popular painters in Rome at the time. But as Cesari became busy with royal and papal patronage, CardinalFrancesco Maria del Monte, Caravaggio's patron and also the prefect of theFabbrica of St Peter's (the Vatican office for Church property), intervened to obtain for Caravaggio his first major church commission and his first painting with more than a handful of figures.[citation needed]
Caravaggio'sCalling of Saint Matthew hangs oppositeThe Martyrdom of Saint Matthew.[1] While theMartyrdom was probably the first to be started, theCalling was, by report, the first to be completed.[citation needed] The commission for these two lateral paintings — theCalling and theMartyrdom — is dated July 1599, and final payment was made in July 1600. Between the two, at the altar, isThe Inspiration of Saint Matthew (1602).[2]
The painting depicts the story from theGospel of Matthew (Matthew 9:9): "Jesus saw a man namedMatthew at his seat in the custom house, and said to him, 'Follow me', and Matthew rose and followed Him." Caravaggio depicts Matthew the tax collector sitting at a table with four other men. Jesus Christ and Saint Peter have entered the room, and Jesus is pointing at Matthew. A beam of light illuminates the faces of the men at the table who are looking at Jesus Christ. This is a depiction of a moment of spiritual awakening and conversion, which was something many Baroque artists were interested in painting, especially Caravaggio.[2]
There is some debate over which man in the picture is Saint Matthew, as the surprised gesture of the bearded man at the table can be read in two ways.[citation needed]
Most writers on theCalling assume Saint Matthew to be the bearded man, and see him to be pointing at himself, as if to ask "Me?" in response to Christ's summons. This theory is strengthened when one takes into consideration the other two works in this series,The Inspiration of Saint Matthew, andThe Martyrdom of Saint Matthew. The bearded man who models as Saint Matthew appears in all three works, with him unequivocally playing the role of Saint Matthew in both the "Inspiration" and the "Martyrdom".[2]
A more recent interpretation proposes that the bearded man is in fact pointing at the young man at the end of the table, whose head is slumped. In this reading, the bearded man is asking "Him?" in response to Christ's summons, and the painting is depicting the moment immediately before a young Matthew raises his head to see Christ. Other writers describe the painting as deliberately ambiguous.[3]
Some scholars speculate that Jesus is portrayed as the Last Adam or Second Adam as titled in the New Testament. This is displayed in Christ's hand as it reaches out towards Matthew. It is almost a mirrored image of Adam's hand inThe Creation of Adam by Michelangelo, the namesake of Caravaggio.[4] Twice in the New Testament, an explicit comparison is made between Jesus and Adam. In Romans 5:12–21, Paul argues that "just as through the disobedience of the one man the many were made sinners, so also through the obedience of the one man the many will be made righteous" (Romans 5:19, NIV). In 1 Corinthians 15:22, Paul argues that "as in Adam all die, so in Christ, all will be made alive," while in verse 45 he calls Jesus the "last/ultimate/final Adam".
"This clear legibility, so different from many Mannerist paintings, ... accounted for the work's enormous popularity."[1] The position of Christ's hand, however, reflects that of Adam's in the Sistine Chapel; the Church considered Christ to be the Second Adam. But instead of being gifted life, as the first Adam was, Christ is instead the one who bestows it, calling Levi to a new life as Matthew.[5][2]
Created during the Baroque era, the painting is an iconic example of the style, featuring conventions like naturalism and tenebrism, or a stark contrast between light and dark.[2]
Pope Francis has said that he often went to San Luigi as a young man to contemplate the painting. Referring both to Christ's outstretched arm and Matthew's response, Francis said, "This is me, a sinner on whom the Lord has turned his gaze."[6]
There are many otherearly modern representations of the calling of Matthew. Two were painted prior to Caravaggio's but it is unlikely that Caravaggio would have encountered them.[citation needed]
Media related toThe Calling of Saint Matthew by Caravaggio at Wikimedia Commons