Calling of Saint Matthew
Matthew's eyes breathe the light in Christ's eyes.
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Matthew is shown as he counts his earnings, while awaiting the ferry boat. The scene takes place in a sulfurous atmosphere where the only scenic
elements are a table bearing the coins being counted by a young man. A usurer stands by the youth's side to keep track of his countings.
Two ornately-dressed young men cast a distracted look to the side, where two figures are entering the room. An arm stetches out towards Matthew,
and one hears: "You are Matthew, Matthew you will follow me." The outstretched hand is repeated in Matthew's raised hand. Two hands: one serves to
designate, and the other to reply to the designation. Nothing more. The miraculous aspect of this painting is that something is actually in
the process of happening: Christ has just walked in and designated Matthew. Light precedes, follows, and accompanies Christ's arm. The
two have come to an understanding. There is nothing obvious about the miracle here, for Caravaggio wanted it to be subtle. The first
person entering - St. Peter - hides the Christ figure, while the young men hide the figure Matthew; and yet, gaze meets hand. The miracle here lies in the chiaroscuro.
The miracle by Caravaggio.
No one could know it was Christ who was entering the room: he is shown entering without fanfare, mingling in with an everyday reality
that continues. Matthew's face
is transfigured; it is a handsome face with bright eyes, lips curled into almost a smile. He feels truly
designated. As for the Christ figure, we search the composition to
find it and, when we do, we are struck by the way it emanates an at once sacred and altogether human fervor. It is among the most
religiously persuasive and generous portrayals of Christ in all of Western painting, miraculously conveying the goodness, open
spirit, and light of His gaze.
How ironic that this man, notorious for the debauchery of his life,should be able to paint the truths of humanity and the generosity
of Christ better than anyone else. In his comprehension of Christ, Caravaggio is on a par with the great mystics of all time. Before
this painter, no one had ever managed to depict the calling of St. Matthew in terms so faithful to the Scripture. As is only natural,
certain figures block the revelation being made, and these do not belong to the central mystery.
The young man in the foreground turns his head, for he has heard a noise. His companion casts an
astonishingly empty look at the newcomer. The gazes of the two well-dressed young men conceal the meaningful gazes of Matthew and Christ.
Christ's eyes are the eyes of Matthew, and Matthew's eyes breathe the light of the eyes of Christ.
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