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The Ecstasy of St. Cecilia (Raphael)
''The St. Cecilia Altarpiece'' is an oil painting by Italian High Renaissance painter Raphael. Completed in his later years, around 1516-1517, the painting depicts Saint Cecilia, the patron saint of musicians and Church music, listening to a choir of angels in the company of St. Paul, St. John the Evangelist, St. Augustine and Mary Magdalene. Commissioned for a church in Bologna, the painting now hangs there in the Pinacoteca Nazionale, or National Painting Gallery. According to Vasari the musical instruments strewn about Cecilia's feet were not painted by Raphael, but by his student, Giovanni da Udine.〔G. Vasari, ''Le vite de' piu eccellenti pittori, scultori ed architettori,'' ed. G. Milanesi, Milan, 1906, VI, 551. Late in his career Raphael typically assigned portions of his works to assistants. On this point see Andrea Emiliani," L'estasi di Santa Cecilia," in ''L'estasi di Santa Cecilia di Raffaello da Urbino nella Pinacoteca Nazionale di Bologna,'' ed. Andrea Emiliani, Bologna: Alfa, 1983, i-xciii,〕
In 1880, English Romantic poet Percy Shelley described the painting as follows:
The central figure, St. Cecilia, seems rapt in such inspiration as produced her image in the painter's mind; her deep, dark, eloquent eyes lifted up; her chestnut hair flung back from her forehead — she holds an organ in her hands — her countenance, as it were, calmed by the depth of its passion and rapture, and penetrated throughout with the warm and radiant light of life. She is listening to the music of heaven, and, as I imagine, has just ceased to sing, for the four figures that surround her evidently point, by their attitudes, towards her; particularly St. John, who, with a tender yet impassioned gesture, bends his countenance towards her, languid with the depth of emotion. At her feet lie various instruments of music, broken and unstrung.〔''Letters from Italy''; quoted in Singleton (1899), p. 288.〕
==History==
The altarpiece was commissioned for a chapel dedicated to St. Cecilia at the Augustinian church of San Giovanni in Monte in Bologna. According to Vasari the work was commissioned by Cardinal Lorenzo Pucci in 1513.〔Vasari, IV, 349, and III, 545; Vasari (1987), 303-304; Champlin and Perkins (1913), 261. Pucci family documents ascribe the commission to Cardinal Lorenzo's nephew, Antonio, a canon of Florence Cathedral. O. Pucci, "La santa Cecilia di Raffaello d'Urbino," ''Rivista Fiorentina'', I, June, 1908, 6-7.〕 Given the extraordinary popularity of the painter at this time in his career, it is likely that only such a highly placed church authority could have had any hope of hiring him. The patron of the chapel itself, however, was Elena Duglioli dall'Olio, an aristocratic Bolognese woman who would later be beatified for her piety. She was a close friend of Antonio Pucci, Cardinal Lorenzo's nephew, and most art historians today agree that the Pucci must have served as her agents and advisers with Raphael and that the painting was more likely commissioned for her around 1516, when construction on the chapel was compeleted.〔Stanislaw Mossakowski, "Raphael's ''St. Cecilia.'' An Iconographical Study," ''Zeitschrift für Kunstgeschichte,'' 31 (1968), 1-2; Gabriella Zarri, "L'altra Cecilia: Elena Duglioli dall'Olio (1472-1520)," in ''La Santa Cecilia di Raffaello: Indagini per un dipinto,'' ed. Andrea Emiliani (Bologna: Alfa, 1983), 81-118; Carla Bernardini, "Antefatti Bolognese: Una traccia," in ''L'estasi di Santa Cecilia di Raffaello da Urbino nella Pinacoteca Nazionale di Bologna,'' ed. Andrea Emiliani, Bologna: Alfa, 1983, 2-19. Historian Eugène Müntz suggested in his 1882 biography of the artist that Elena Duglioni was inspired to build a chapel by a vision, but conveyed her inspiration to her kinsman Antonio Pucci, who footed the bill for the chapel and convinced his uncle Lorenzo to commission the work. Müntz (1882), 525.〕 Duglioli had a particular devotion to the cult of St. Cecilia and had been given a relic (her knucklebone) by the papal legate to Bologna, Cardinal Francesco Alidosi. She struggled to live a chaste life in emulation of the early Christian saint and persuaded her husband not to consummate their marriage.〔Mossakowski, 2; Roger Jones and Nicholas Penny, ''Raphael,'' New Haven: Yale University Press, 1983, 146.〕
The painting was looted to Paris in 1793.〔Champlin and Perkins (1913), 261.〕 While there, it was transferred to canvas. In 1815, the painting was returned to Bologna where, after cleaning, and was hung in the Pinacoteca Nazionale di Bologna. The painting's condition is poor, as it has been damaged by repainting over the years.
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