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The Death of the Virgin
1604–06 · huile sur toile (oil on canvas) · Musée du Louvre, Paris — Département des Peintures
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image 15.9×24 in on a 18×24 in sheet
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All editionsAbout this painting
Our Lady lies dead in a red dress, one arm flung out, and over her hangs a great red curtain where the angels would be. Only a thin ring of gold says who she is. The Louvre writes that Caravaggio completely abandons the iconography traditionally used to indicate the holiness of the Virgin, and gives a raw and realistic view of her mortal remains. The clergy of Santa Maria della Scala refused it. Rubens urged it on the Duke of Mantua. Colette Féraudet finds ointment for embalming in the copper basin on the floor; the Golden Legend's Virgin leaves the tomb and needs none. The basin waits anyway.
Sources: INV 54, oil on canvas, 3.69 × 2.45 m, c. 1601–1606; commissioned by Laerzio Cherubini for Santa Maria della Scala in Trastevere and refused by the clergy of that church · the Louvre's reading: the swollen spread feet, ‘a raw and realistic view of the Virgin's mortal remains’, the abandoned iconography, a halo reduced to a thread, and the replacement by Carlo Saraceni · Giovanni Baglione, Le vite (Rome, 1642), 138; Giulio Mancini, Considerazioni sulla pittura (MS c. 1617–21); Giovan Pietro Bellori, Le vite (Rome, 1672), 213; and Frances Gage, ‘Caravaggio's Death of the Virgin, Giulio Mancini, and the Madonna Blasphemed’, in Caravaggio: Reflections and Refractions (Routledge, 2017), 83–104 · Rossella Vodret and Giovanna Granata, ‘Not Only Caravaggio’, in Caravaggio's Rome 1600–1630 (Skira, 2012), 64 · Colette Féraudet, 'La Mort de la Vierge', Panorama de l'art (RMN-Grand Palais), 2023. · Jacobus de Voragine, 'Legenda aurea', 'The Assumption of the Glorious Virgin our Lady S. Mary' (Caxton's translation).