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米开朗基罗 Part 04

But The Martyrdom of Matthew, the showpiece for the chapel, turned into a massive headache. The commission called for big architectural settings, the martyr, with his eyes rolled to heaven, a cast of hundreds angels on clouds.

Now Caravaggio knew he didn't want any part of that, but he didn't know what to do instead. Blocked, he turned to the scene for the other wall.

Somehow, when he thought about the calling of Matthew, a light went on. Why? Because it was about a sinner, not a saint.

. . . . . . -Where have you been? -Me, where have I been? I've been here for an hour, come on, sit down.

Suddenly it all makes sense, what the Church was looking for and what Caravaggio was born to do. Makes something sacred out of the lives of the squalid.

. . . . . . So instead of setting the calling in some fantasy Holy Land, Caravaggio beams Jesus down to a dim room in Rome.

It's a dive, really. Torn paper shades on the windows. Characters from the cardsharps and other low lives gather to witness the big moment.

Half of them don't even notice when the two mysterious strangers, Christ and St Peter, enter the room. Freeze-frame, the finger points.

'Who, me? ' 'Yes, you, Matthew, you miserable creature. ' 'We don't need the virtuous for this job. We need scum, like you. '

And for this instant of redemptive transformation, Caravaggio had another stunning idea. Instead of highlighting Christ, cover him up.

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