Guglielmo CACCIA dit Il MONCALVO (Montabone, 1568 – Moncalvo, 1625)

Provenance:
• France, private collection

Bibliography:
• G. Romano, C. E. Spantigati, *Guglielmo Caccia detto il Moncalvo (1568-1625): dipinti e disegni*, [exh. cat.], Turin: Lindau, 1997

A prominent artistic figure of the Counter-Reformation, Guglielmo Caccia distinguished himself through his exclusive depiction of religious scenes. A native of Piedmont, the young artist trained in the same region under the guidance of Giovanni Francesco Biancaro, known as Il Ruscone (1546/1549 – 1588). Despite his youth, his talent quickly garnered attention, and his work soon achieved great success. As a remarkable representative of his native region, he earned the nickname *Il Raffaello del Monferrato* (the Raphael of Montferrat).

Summoned to the royal palace in Turin, he collaborated with Federico Zuccari between 1605 and 1607 on a monumental work commissioned by Charles Emmanuel I, Duke of Savoy. This was the decoration of the Grand Gallery, which connected the Palazzo Madama to the new ducal palace (1608–1610). Unfortunately, this masterpiece was lost in a fire in the early 18th century.

Praised for his dexterity with the brush and his mastery of grand compositions, Caccia received further commissions for ceiling decorations, including the vault of the apse and the dome of San Marco in Novara, as well as the Church of San Francesco in Moncalvo—the town he held dear, which would earn him his moniker. Around 1593, Caccia purchased a property there, later converting part of it into a convent that housed four of his daughters, including Orsola Maddalena, who would in turn make a name for herself in painting.

Beyond grand decorative schemes, Caccia also fulfilled commissions for various religious orders, travelling to numerous Italian cities such as Guarene, Vercelli, Sacro Monte di Crea, Turin, Chieri, Novara, and Milan.

Our drawing is an example of Counter-Reformation art, which dominated Italian painting in the late 16th century, as explained by Archbishop Gabriele Paleotti of Bologna in his treatise published in 1582. He emphasised that sacred images must move the faithful in order to be persuasive. Caccia responded to this demand. The aesthetic of his compositions, marked by an ingenious simplicity, makes sacred scenes feel tangible. The expressions on his figures’ faces are humanised, allowing the viewer to engage more deeply with the religious narratives depicted.

To create his painted works, the artist produced numerous preparatory drawings, which were essential for the construction of his compositions. Caccia appears to have developed some of his sketches in series. The Mystic Marriage of Saint Catherine—an episode from *The Golden Legend*—is a recurring subject in his oeuvre, with an example held at the British Museum (ill.?). Our drawing was likely used in the execution of a painted work, several versions of which are known (ill. 2).

Caccia consistently employed pen work, mastering its every nuance. This technique allowed for remarkable precision in rendering figures, which he imbued with an ethereal quality. His graphic style is delicate and poetic; his supple lines lend a lightness to his divine figures. Each figure is carefully studied, and no part of the sheet is left unused—the verso of our drawing contains various pen studies of figures, including a bust-length portrait that attests to the artist’s creative genius and his continual quest for inspiration.

M.O.