
Every line above is reproduced from the holding institution’s own catalogue entry, which is linked. Where their title, date or attribution differs from ours, theirs is the one printed here.
The angel is a wall. Black swallow wings, back turned, a violin: on one side the Madonna asleep with the Child in her arms, idealised, in lush growth; on the other Joseph, worn out, holding the score.
Camiz and Ziino identified those notes in 1983: Bauldeweyn's Quam pulchra es, on the Song of Songs, dedicated to the Virgin. How beautiful art thou, and how comely, my dearest, in delights. Matthew moves them by night and records no halt and no music.
The bride is asleep. The man who holds her love song open is rapt at the angel.
Sources: Galleria Doria Pamphilj, Roma — collection page, Caravaggio, English text; also "Both are depicted in an idealized style, and the beauty of their features is in direct contrast to the naturalistic portrayal of Saint Joseph" · Franca Trinchieri Camiz and Agostino Ziino, Studi musicali XII (1983), 67-83 · Andrea De Marchi, 'Le provenienze dei Caravaggio Doria Pamphilj' · Galleria Doria Pamphilj, Roma — collection page, Caravaggio (Riposo durante la Fuga in Egitto, FC 241), Italian text; also "benche stravolto dalla stanchezza, e rapito dall'apparizione dell'angelo", "si presta a reggergli lo spartito", "addormentata con il Bambino in braccio", "circondata da una vegetazione rigogliosa" · Canticle of Canticles 7:6, Douay-Rheims (Challoner) — 7:7 in modern Hebrew versification
Who arose, and took the child and his mother by night, and retired into Egypt: and he was there until the death of Herod:
Matthew 2:14 · Douay-Rheims (Challoner), from the project’s own corpus at data/bible_drc.js
Printed on demand. Public-domain masterwork, reproduced from a 9,494 px master of the original. The whole image is printed — never cropped to fit the sheet — so every sheet carries an archival margin, and the dimensions and resolution listed above are the ones you receive.