Abstract

In a 1617 letter, the Bolognese artist, Ludovico Carraci described the young painter, Guercino, as a “miracle who stupefies those who see his works.”1 Interestingly then, those who view Guercino’s altarpiece “St. Francis in Ecstasy with St. Benedict,”2 will perhaps find their own stupefication to be a dynamic echo of the mystical transformation of the pictured saints themselves, an echo repeated in various tropes of transformation that engage notions of angelic presence, musical response, the lives of St. Francis and St. Benedict, and the actions of the altar graced by the painting itself.Guercino’s altarpiece depicts an angel violinist at the apex of a triangle with the two..