Metropolitan Museum: part 2 – Guercino (Italian, Cento 1591–1666 Bologna) - The Vocation of Saint Aloysius (Luigi) Gonzaga
Guercino (Italian, Cento 1591–1666 Bologna): Giovanni Francesco Barbieri ca. 1650; Oil on canvas; 140 x 106 in. (355.6 x 269.2 cm)
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The arrangement is structured around a strong diagonal line that begins with the angel’s outstretched arm and leads the viewers eye toward the figure on the right. This compositional device creates a sense of movement and directionality, reinforcing the notion of divine guidance. The young man’s posture – his hands extended in what appears to be acceptance or perhaps hesitant acknowledgement – suggests an internal struggle or contemplation regarding this offered vocation.
Above them, within a circular architectural niche, a group of cherubic figures are arranged amidst swirling clouds and celestial light. They appear to be engaged in musical activity; one holds a trumpet, another a tambourine, and yet another a wreath. This upper register functions as a heavenly chorus, celebrating or witnessing the event unfolding below. The inclusion of the wreath hints at reward, honor, or perhaps victory over temptation.
The lower portion of the painting is anchored by a stone pedestal upon which lie scattered lilies – symbols of purity and innocence – and a crown. These objects likely represent the worldly temptations that the young man is being called to renounce in favor of a religious life. The dark background serves to isolate the figures, intensifying their emotional impact and drawing attention to the interplay of light and shadow.
The artist’s meticulous rendering of textures – from the delicate feathers of the angels wings to the folds of the clerical garments – demonstrates a mastery of technique. The overall effect is one of profound spiritual significance, portraying a pivotal moment in the life of an individual called to dedicate himself to divine service.