Un nuovo San Giovanni Battista nel deserto della fase caravaggesca di Giuseppe Vermiglio
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A Newly Discovered St. John the Baptist in the Desert
from the Caravaggesque period of Giuseppe Vermiglio
MAURO PAVESI
The surveys for the cataloguing of the works of Milan’s Pinacoteca
Ambrosiana brought to the discovery, among the most recent
acquisitions, of a previously unknown St. John the Baptist by Giuseppe
Vermiglio, which presents the same relaxed, calm pose of the painting of
the same subject made by Michelangelo Merisi da Caravaggio and now
part of the collection of Musei Capitolini in Rome. The artwork, never
mentioned in the specific literature, came through a donation to its
present location in 2007, with the attribution to an anonymous 17th-
Century Emilian painter; a number of glaring stylistic and structural
similarities undoubtedly confirm the attribution to Vermiglio. The
derivation from that specific Caravaggio original, painted in 1601 for
Ciriaco Mattei – and also known through a replica documented in the
Pamphili collection since the late 17th Century – adds a new piece to the
reconstruction of the Roman acquaintances in the Lombard artist’s early
career, after the notorious traces of his relationship with the Barberini and
Giustiniani families, as demonstrated, respectively, by the many replicas
Vermiglio had taken from Caravaggio’s Sacrifice of Isaac in the Barberini
collection, and by the Coronation of Thorns at Palazzo Altieri, derived from
another painting by Merisi, formerly part of the noteworthy collection of
Marquis Vincenzo Giustiniani. The possible date of Vermiglio’s newly discovered painting should not be extremely late, given the obvious
derivation from Caravaggio, which suggests a not quite distant impression
from the direct view of Merisi’s masterpieces; nonetheless, a clear
classicist reduction of the model and the normalization of its iconography
– typical elements of Vermiglio’s late Milanese works – seem to suggest a
date near his return to Lombardy (documented since 1621).
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