666:, most especially in the version in the National Gallery, London. There the central rose and white jasmine is quite close to these elements in the present work, while in the Longhi Foundation picture the rose is a white one. The lower daisy in the present work has been repositioned, and in fact a prominent pentiment exists 3 cm above, and that is the position it has in the Hermitage painting of the Luteplayer. It could well be that the original flowerpiece that we know Del Monte owned of Caravaggio's, which he seems to have bought even before he met him, probably through the local picture dealer Maestro Valentino, could have been the continuing source of these variations. It was a painting described as a carafe of flowers, two palmi high, which was bought at the 1628 sale of the Del Monte collection in a lot that included the Musicians, but it has not been heard of since. It is interesting that he would devote such care to a painting of flowers, as he did also to the Basket of Fruit in the Ambrosiana, and that he was not averse to doing this, as is illustrated by the fact that he introduced the carafe of water with the same reflections into the canvases of the
576:
explaining the nature of the choice of the flowers, which are dominated by the irises at the top, and Iris was not only the messenger of the gods, but in the optical frame stood for the rainbow and the spectrum of colours that the various flowers represent. Once again, Della Porta's De refractione optices has an entire book devoted to ‘De Iride et colore’, an attempt to arrive at an understanding of the rainbow. But the naturalism of the flowers, including the seedpods of the iris and the shrivelled florets, shows that
Caravaggio was observing these from actual specimens, and not improving on what Nature might have arrived at had circumstances been different. The tacit expression of the theory of segnatura, the correspondence of certain forms from the natural world with those in man, is something that links the thinking behind the painting with Paracelsian belief. Del Monte's interest in this is manifest in the group of portraits that hung in his alchemical Casino, which are of the same seven luminaries who are illustrated in the titlepage of
633:. This work, now in the Capitoline Museum, has long been misconstrued as St. John the Baptist, but apart from the exhibitionist subject of the young boy, the ram (instead of a lamb) is a contradiction for that subject. Instead the work is an emblematic subject: the ram represents the first sign of the Zodiac, Aries, at the period of the spring equinox and the energy of that season. In the combination of themes, the harmony of the spheres is represented figuratively by Apollo the Luteplayer, where the spring equinox and the spring flowers are balanced by the fruits of autumn on the table – from the autumn equinox – under the sign of Libra, when the forces of nature are once again in equilibrium. It is easier to see the effeminate beauty of the shepherd as corresponding to Del Monte's personal aesthetic taste, than as the work that
377:
very arduous task of building a group from many separate observations of reality, of figures and objects; it is natural that the 'second original' is sometimes more fluent than the first. The anatomical anomalies in the
Wildenstein and Badminton House paintings, like the slightly out of line eyes, or the hesitations in the profile of the hand, are resolved in the Hermitage picture. By contrast, the Hermitage version is more cursory in the drapery, less insistent in the detail, and it does not have the magnificent reflections in the carafe, which were specific to the alchemical context of the original. This is also the reason for the jealousy with which the group of pictures was regarded by Caravaggio's patron Del Monte, and for the misunderstanding that the pursuit of natural philosophy incurred in the Rome of his day.
48:
426:. Nevertheless, critic Jason Kaufman felt that the rendition of the boy in the Wildenstein version was aesthetically inferior to the Hermitage, "...the face...hard and the expression less sweet than bovine...he features...more sharply defined, the eyebrows severely geometrized, and the complexion pink, rather than fleshtone, " and David Van Edwards, noting apparent mistakes in the depiction of the lute in the Wildenstein version, the secondary light source and the inconsistent perspectives of table and sitter, concluded that the painting is not by Caravaggio.
616:, ever-youthful, playing the lute, as opposed to his more conventional lyre, this may have been Del Monte's intention in this painting, and the rays of sunlight that are such a feature of the glass sphere have this meaning. Apollo is very much in place in a room devoted to the elements, as is implied in the ceiling painting, for the Stanza degli Elementi that Vasari did in Palazzo Vecchio has Apollo with the Chariot of the Sun in its middle, and Del Monte had this subject as the centrepiece of the ceiling in his new studiolo in Palazzo Avogadro, painted by
488:
185:
315:
381:
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esquisita diligenza finta. E questo (disse) che fu il piu bel pezzo, che facesse mai. ("He also painted a young man, playing the Lute, who seemed altogether alive and real with a carafe of flowers full of water, in which you could see perfectly the reflection of a window and other reflections of that room inside the water, and on those flowers there was a lively dew depicted with every exquisite care. And this (he said) was the best piece that he ever painted.)"
674:
instead of other people's compositions. The parabolic mirror, probably the same one that Della Porta had had constructed in Venice in 1580, which had produced some sensational effects and led to the development of the camera obscura, was probably no larger than an eye-glass, but it made it possible to make a mosaic of naturalistic images that was extremely compelling; the technique also explains the shallow focus of
Caravaggio's compositions.
521:
1040:
269:, was to use "a strong light from above with a single window and the walls painted black, so that having the lights bright and the shadows dark, it gives depth to the painting, but with a method that is not natural nor done or thought of by any other century or older painters like Raphael, Titian, Correggio and others." The room itself seems to be the same as that in the
278:, and the beam of light across the rear wall has an upper limit that would appear to be the shutter of the window above the table in the Calling. The carafe is a "cut-and-paste" motif from another image, where the main light came from a window at more or less the same level as the carafe itself. Such a complex illustration of refracted light is unprecedented in the
452:, New York (January 25, 2001, lot 179); the painting was sold attributed to the circle of Caravaggio, possibly by Carlo Magnone. Clovis Whitfield, an art-dealer based in London, has questioned the attribution and suggested the Badminton House painting may actually be by Caravaggio. This conclusion was subsequently confirmed by several investigations and analyses.
416:– which was already known but thought to be a copy by another hand – commented on the markedly different lighting used for this version, claiming that it "marks a significant step toward the more dramatically lit, highly focused style of Caravaggio's maturity" – i.e., towards the heightened contrast between shadows and light (
583:(Frankfurt, 1609). We know that the Casino on the Pincio was the centre in Rome of the practice of iatrochymia or chemical medicine, although this kind of natural philosophy was increasingly frowned on and may well have played a part in the damnation memoriae that Del Monte was subjected to. But Federico Cesi and his
673:
Since the artist spent, according to
Bellori, four or five years in Rome doing repetitious devotional images, and copies of portrait heads ‘un grosso l’uno’, it was natural for him to repeat his own inventions when he arrived at this sensational new technique of copying reality, from a virtual image,
647:
455:
Originally covered in a thick yellow varnish, it corresponds in all details with the description made by
Baglione of the work he saw at Cardinal Del Monte's palace. The flowers are scattered with dewdrops as Baglione remarks, and the carafe of water reflects the window and other features of the room.
230:
The still life elements are of an extremely high standard in all versions, the finely rendered fruit and flowers in two versions equalled by the textures of spinetta and flute in the other, and the artist has reproduced the initial notes of the madrigals so exactly that one can recognize the Roman
657:
The idea of "correspondences" that informed so much of contemporary natural philosophy, means that the globe of the carafe with its reflections, like a crystal ball, would have been seen as a parallel with the celestial globe on the ceiling with the
Elements above. This feature, described in the
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the painter's development as beginning with copying others’ work – 'Proceeding further, he can also copy his own work, so that the replica may be as good, and even sometimes better, than the first'. The procedure for making a second version was, however, substantially different from the sometimes
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on the first floor of the Casino on the Pincio that Del Monte had acquired in 1596, and where
Guercino would later paint his fresco of Aurora for the Ludovisi. On the ground floor Del Monte did his alchemical work and chemistry; above, on the ceiling of the studiolo, Caravaggio painted the gods
607:
would have struck the right chord in representing the harmony of the universe, in a place opposite the single window. Already the strength of his painting style was in painting classical subjects from life around him, like the
Bacchus in the painting in the Uffizi, their features were sometimes
154:
E dipinse … anche un giovane, che sonava il Lauto, che vivo, e vero il tutto parea con una caraffa di fiori piena d’acqua, che dentro il reflesso d’ua fenestra eccelentemente si scorgeva con altri ripercotimenti di quella camera dentro l’acqua, e sopra quei fiori eravi una viva rugiada con ogni
575:
in his Magia
Naturale (Naples, 1589) as ones corresponding to vision, from the marigold that looks like the Sun, the yellow cornflower that looks like the eye, to another flower that resembles the eyebright that was since the Middle Ages an ingredient in eye remedies. This would go some way to
173:, the artist places a table-top in front of the figure. In the Hermitage and Badminton House versions it is bare marble, with a violin on one side and a still life of flowers and fruit on the other. In the Wildenstein version the table is covered with a carpet and extended forwards to hold a
507:
and Van der Ast, often waited to study separate specimens in various seasons of the year but include them all in a fictive assembly. The fruits in the
Luteplayer, however, are not of the same season as the flowers, suggesting a similar cross-seasonal approach as Brueghel and Bosschaert.
460:(incisions made in the paint with the brush-handle), set the Badminton House painting apart from the Hermitage version. It is slightly larger than the Hermitage work, whose original edge cuts the flowers on the left and the scroll of the violin, and painted with denser brushwork.
290:(1593) was particularly concerned with optical matters, the second volume being devoted entirely to the incidence of light on water-filled and glass spheres. The circle of Della Porta was significant for Caravaggio later on in Naples, where the commission for the
463:
This painting would seem to be the one described in the 1627 inventory of Del Monte's collection. It was not the painting described in 1628 by the heirs as ‘Un giovane che sona di clevo’ (without an attribution) which was sold together with Caravaggio's
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commissioned shortly afterwards for his first-born son, named indeed Giovanni Battista, a painting that is to be sought in one of the many paintings of St John the Baptist that Caravaggio executed. There was such a picture, painted for the
498:
The flowerpiece is of major importance for the still-life tradition, not only in Italy, but also in the Netherlands, and there is a certain link to earlier Flemish painting; for example, many of the Flemish flower painters, from
835:
G. B. Baglione, Le vite de’ pittori scultori et architetti, dal Pontificato di Gregorio XIII del 1572; in fino a’ tempi di Papa Urbano Ottavo nel 1642. (Manuscript written c. 1625, cf. Marini 1987), Edited by V. Marini. Rome
203:(1515–1568), and the visible text reads in part: "Vous savez que je vous aime et vous adore...Je fus vôtre." ("You know I love you and adore you...I was yours"). The Wildenstein version shows songs by a native Florentine (
642:
and later also bought by Cardinal Pio from the Del Monte collection, an oblong composition with St John playing with a lamb, and with a reed cross on his shoulder, that was eventually sold to Gavin Hamilton in 1777.
956:
C. L. Frommel, “Caravaggio, Minniti e il Cardinal Francesco Maria del Monte”, in Caravaggio. La Vita e le Opere attraverso I documenti. Atti del Convegno Internazionale di studi. Rome 1996, pp. 18–41
371:
The appearance of second originals is a feature of a new understanding of Caravaggio's work, and indeed Vincenzo Giustiniani, whose experience was closely related to the artist's career, describes in his
132:, Gloucestershire, came to light in 2001, and which today is understood to be the original version. The Hermitage and the Badminton House versions were exhibited together in 2020 at the Galleria Borghese.
412:
masters of the 16th century and characteristic of the early phase of Caravaggio's development. The catalogue to the 1990 exhibition held to mark the identification of the Wildenstein
436:
It was purchased in 1808 at the Paris auction by Russian emperor Alexander I through his personal art adviser Valily Rudanovsky. Purchasing was supported by Dominique Vivant Denon.
223:(Jacquet de Berchem). The flowers and damaged fruit, and the cracked body of the lute, suggest the theme of transience: love, like all things, is fleeting and mortal. The choice of
227:
composers over native Italians – only Layolle was a native Italian – no doubt reflects the cultural (and political) affiliations of the pro-French Del Monte-Giustiniani circle.
1727:
1626:
265:
All three versions demonstrate the innovative approach to light that Caravaggio adopted at this time. Caravaggio's method, as described by Caravaggio's contemporary
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painting of the Luteplayer that Baglione saw presumably in situ with Cardinal Del Monte, is absent from the Hermitage version. Elements of the composition of the
869:
W. Chandler Kirwin, “Addendum to Cardinal Francesco Maria del Monte’s Inventory: the Date of the sale of Various notable Paintings”, Storia dell’arte 9–12, 1971
299:
950:
M. Calvesi, “La caraffa di fiori e I fiflessi di luce nella pittura del Caravaggio”, in Atti del Convegno Int. di Studi M.M. da Caravaggio 1995, pp. 227–247
1658:
1517:
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are repeated not only in the Hermitage work (with several counterpoint variations), but also in the glass carafe in the lower part of the two paintings
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The Hermitage version is from the collection of the artist's other important patron of the period, Del Monte's friend and neighbour, Marchese Vincenzo
1751:
242:
at about this time – castrati were highly prized and the Cardinal was a patron of music as well as of painting. More recently Caravaggio biographer
787:
1174:
1035:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on this painting (see index)
181:(a small keyboard instrument) and a caged songbird. The musical instruments are valuable and probably came from Del Monte's personal collection.
1014:
A cd devoted to the lute music during Caravaggio time, with an intabulation of the madrigals in Caravaggio paintings made by Joanmaria da Crema.
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1044:
1650:
1602:
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1453:
1405:
746:
1642:
1634:
1341:
422:
1835:
1743:
1469:
1214:
1349:
274:
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F.Trinchieri Camiz, The Castrato Singer: From Informal to Formal Portraiture”, Artibus et Historiae, vol. 18, 1988, pp. 171–186
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1294:
159:
The painting exists in three versions. All show a boy with soft facial features and thick brown hair, accompanying himself on the
1711:
1610:
1485:
1357:
986:
J. Harten & Jean-Hubert Martin, Caravaggio. Originale und Kopien im Spiegel der Forschung, exh. cat. Düsseldorf 2006, cat. 33
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1437:
1270:
1570:
1421:
1373:
1022:
944:
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1429:
1230:
1072:
976:
M. Gregori, La Natura Morta Italiana. Da Caravaggio al Settecento, exh. cat., Munich & Florence 2003, pp. 138–139
1845:
1703:
953:
S. D. Squarzina, “Caravaggio e i Giustiniani”, in Atti del Convegno Int. di Studi M.M. da Caravaggio 1995 pp. 94–111
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1594:
1509:
1030:
1618:
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933:, vol CXXXII, no. 1042, January 1990, pp. 7 (footnote 25), 13 (footnote 63), 20 (footnote 112), illus. p. 14, fig. 6
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1785:
1461:
1397:
1254:
1206:
1136:
1090:
936:
K. Christiansen, “Some Observations on the relationship between Caravaggio’s two treatments of the Lute-Player”,
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D. Mahon, “The singing Lute Player by Caravaggio from the Barberini Collection, painted for Cardinal del Monte”,
690:
258:
1538:
1445:
1381:
1302:
872:
L. Spezzaferro, “Lacultura del cardinal Del Monte e il primo tempo del Caravaggio”, Storia dell’arte 9–12, 1971
884:
F. T. Camiz and A. Ziino, “Caravaggio: Aspetti musicali e committenza” Studi Musicali 12, 1983, pp. 67–83
1477:
1262:
919:
F. Trinchieri Camiz, “La ‘Musica’ nei dipinti di Caravaggio.” Quaderni di Palazzo Venezia, no. 6, pp. 151–176
866:
C. L. Frommel, “Caravaggios Fruhwerk und der Kardinal Francesco Maria del Monte”, Storia dell’arte 9–12, 1971
572:
396:
in 1628, when it was described as "Un giovane che sona di clevo" (without an attribution) and included with
283:
1333:
1286:
1278:
1246:
893:
F. T. Camiz, in Cinque secoli di stampa musicale in Europa. Exhib.cat., Palazzo Venezia, Rome. Naples. 1985
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147:
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1389:
878:
A. Moir, Caravaggio and his Copyists, New York 1976, under appendix I, p. 85, no. 8g, illus. Fig. 20
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404:(named specifically as by Caravaggio) and various other paintings. The painting is illuminated by a soft
286:, who was the guiding spirit behind the foundation in 1603 of the Accademia dei Lincei. His multi-volume
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F. T. Camiz, “Due quadri musicali di scuola caravaggesca”, Musica e filologia, 1983 pp. 99–105
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295:
282:, and may have been the result of collaboration with scientists in Del Monte's circle, including
1808:
1799:
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907:
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780:
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47:
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1027:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF)
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504:
204:
169:
20:
8:
1774:
1222:
1058:
913:
M. Marini, Michelangelo Merisi da Caravaggio ‘pictor praestantissimus’, 1987, p. 378
684:
629:
243:
120:. It used to exist in two versions, one in the Wildenstein Collection and another in the
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220:
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990:
750:
477:
393:
270:
143:
1012:
487:
363:
359:
200:
196:
164:
121:
875:
M. Lavin, Seventeenth Century Barberini Documents and Inventories of Art, New York
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D. Van Edwards “A Caravaggio re-discovered?” Lute News, no. 50, June 1999 pp. 5–7
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were also dedicated followers of what they perceived as Paracelsian disciplines.
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129:
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184:
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125:
670:, without regard to the position of the figure in front of the light sources.
476:(named specifically as by Caravaggio) and various other paintings to Cardinal
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The studiolo had room also for another of Del Monte's pictures, the Shepherd
620:. Indeed, one of the most copied images in Giulio Romano's decoration of the
617:
247:
146:
gives the following description of a piece done by the artist for his patron
90:
100 cm × 126.5 cm (39 in × 49.8 in)
839:
G. P. Bellori, Le vite de’ pittori, scultori e architetti moderni, Rome 1672
1779:
966:, vol. CXLII, no. 1168, July 2000, p. 426, footnote 18, illus. Fig. 23
910:
1628–1725”, Miscellanea della soietà Romana di Storia Patria, vol. 27, 1987
624:
is the ceiling with that perhaps Caravaggio may have known from a drawing.
577:
449:
238:
known to have been a member of the Del Monte household and a singer at the
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P. Giusti Maccari, Pietro Paolini, pittore lucchese, 1603–1681, Lucca 1987
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405:
380:
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24:
557:
96 cm × 121 cm (38 in × 48 in)
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94 cm × 119 cm (37 in × 47 in)
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531:
325:
117:
58:
1032:
Painters of reality: the legacy of Leonardo and Caravaggio in Lombardy
887:
M. Cinotti, Caravaggio. Tutte le opere, Bergamo 1983, pp. 447–450
989:
C. Whitfield, Caravaggio, exh. cat., New York, 2007, pp. 48–56 (
979:
W. Bennett, “Picture sold for £75,00 is a Caravaggio worth millions”
846:, Felsina pittrice: Vite de’ pittori Bolognesi, Bologna 1678, 2 vols.
646:
417:
178:
900:, vol. CXXVII, July 1985, p. 452 (footnote), illus. p. 450, fig. 28
520:
388:(detail of flowers covered in dew as described by Baglione in 1642)
250:, the model for several other paintings from this period including
235:
208:
392:
The Wildenstein version was sold by Del Monte's heirs to Cardinal
962:
L. Buaer & S. Colton, “Tracing in some works by Caravaggio”,
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113:
1039:
613:
1446:
Madonna of Loreto (Madonna dei Pellegrini, Pilgrims' Madonna)
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110:
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L. Salerno, “The picture gallery of Vincenzo Giustiniani.”,
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823:
Discorsi sullearti e sui mestieri. ca. 1620 & ca. 1628
747:"Picture sold for £75,000 'is Caravaggio worth millions'"
1019:
Link to the booklet of the cd containing a small essay.
234:
The rather androgynous model could be Pedro Montoya, a
745:
Correspondent, Will Bennett, Art Sales (2004-07-13).
1518:
Madonna and Child with Saint Anne (Dei Palafrenieri)
1366:
The Conversion of Saint Paul on the Road to Damascus
128:. A third version, which was kept for 275 years at
906:G. de Marchi, “Guiseppi Ghezzi mostre di quadri a
608:disguised by their contemporary appearance. Since
832:, 2 vols. Edited by A. Marucchi, Rome p. 108
612:had written that it was appropriate to represent
571:The flowers correspond with those illustrated by
298:, Marchese di Villa, whose friend, the alchemist
1822:
849:O. Sitwell, “The Red Folder. Parts I & II”,
594:was originally intended as a decoration for the
195:The Hermitage and Badminton House versions show
947:, Exh. Cat., Metropolitan Museum, New York 1990
480:, which has come down to us in the work in the
456:These elements, and the considerable number of
1720:Nativity with Saint Francis and Saint Lawrence
853:, vol. LXXX, May 1942, pp. 85–90, 115–118
722:Prof. Martin Kemp (Nature, Nov. 2002, p. 364).
1066:
896:K. Wolfe, “Caravaggio: another Lute Player”,
744:
731:D. Van Edwards “A Caravaggio re-discovered?”
246:has identified him as Caravaggio's companion
1231:Portrait of a Courtesan (Fillide Melandroni)
302:, was a member of the Accademia dei Lincei.
1643:Portrait of Alof de Wignacourt and his Page
711:Le Vite de’ Pittori, scultori et archtietti
1073:
1059:
1024:A Caravaggio Rediscovered, The Lute Player
945:“Caravaggio Rediscovered: The Lute Player”
519:
439:
969:M. Kemp, ‘The cut-and-paste Carafe’, in
786:CS1 maint: multiple names: authors list (
1728:Salome with the Head of John the Baptist
1627:Salome with the Head of John the Baptist
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379:
183:
177:, while the still life is replaced by a
1659:The Beheading of Saint John the Baptist
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1438:The Calling of Saints Peter and Andrew
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973:, Vol. 420, 28 Nov. 2002, p. 364
940:, vol. CXXXII, no.b1042, January 1990
890:H. Hibbard, Caravaggio, New York 1983
448:painting came to light at auction in
219:('Why do you not give yourself?') by
1008:Discovery of the Wildenstein version
863:102, pp. 21–27, 93–104, 135–148
856:R. Longhi, Il Caravaggio, Milan 1952
420:) that would mark paintings such as
191:(detail from the Hermitage version).
565:Ex-Badminton House, Gloucestershire
308:The Lute Player (Hermitage version)
13:
1770:Paintings attributed to Caravaggio
1175:Saint Francis of Assisi in Ecstasy
830:Considerazioni sulla pittura, 1620
802:The Camerino of Cardinal del Monte
14:
1862:
1836:Paintings in the Hermitage Museum
1001:
217:Pourquoi ne vous donnez-vous pas?
1786:Caravaggio, il pittore maledetto
1651:Portrait of Fra Antonio Martelli
1398:The Inspiration of Saint Matthew
1038:
313:
46:
1579:The Crucifixion of Saint Andrew
1406:The Incredulity of Saint Thomas
691:List of paintings by Caravaggio
256:and one of the two versions of
1752:David with the Head of Goliath
1587:David with the Head of Goliath
1358:The Crucifixion of Saint Peter
1342:The Martyrdom of Saint Matthew
1080:
794:
738:
725:
716:
703:
423:The Martyrdom of Saint Matthew
142:Caravaggio's early biographer
1:
1744:The Martyrdom of Saint Ursula
1470:Christ on the Mount of Olives
1247:Saint Catherine of Alexandria
1215:Rest on the Flight into Egypt
1045:The Lute Player by Caravaggio
815:
603:, representing the Elements.
573:Giovanni Battista della Porta
284:Giovanni Battista della Porta
167:about love. As in the Uffizi
137:
69:
1350:The Conversion of Saint Paul
1334:The Calling of Saint Matthew
1279:Portrait of Maffeo Barberini
808:, LIX, n. 77, 2008, pp. 3–38
696:
294:seems to have emanated from
148:Cardinal Francesco Del Monte
7:
1555:Saint Francis in Meditation
1542:(Madrid; c. 1605–1609)
1390:Saint Matthew and the Angel
1295:Judith Beheading Holofernes
825:, edited by A. Banti, Milan
677:
590:It appears likely that the
61:(controversial attribution)
10:
1867:
1846:Musical instruments in art
1712:Adoration of the Shepherds
1611:The Flagellation of Christ
1486:Saint Jerome in Meditation
1239:Jupiter, Neptune and Pluto
1122:Boy with a Basket of Fruit
983:, July 14, 2004, p. 7
735:, n. 50, June 1999 pp. 5–7
601:Neptune, Jupiter and Pluto
18:
1762:
1677:
1528:
1321:
1271:Martha and Mary Magdalene
1258:(Princeton; c. 1598)
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231:printer, Valerio Dorica.
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37:
32:
1696:The Burial of Saint Lucy
1603:The Crowning with Thorns
1571:The Seven Works of Mercy
1547:Mary Magdalen in Ecstasy
1454:The Crowning with Thorns
1422:The Entombment of Christ
1130:Boy Bitten by a Crayfish
668:A Boy bitten by a Lizard
664:A Boy bitten by a Lizard
275:Calling of Saint Matthew
215:('Let go the veil') and
109:is a composition by the
1841:Paintings by Caravaggio
1502:Portrait of Pope Paul V
1462:The Death of the Virgin
1430:Saint Francis in Prayer
964:The Burlington Magazine
938:The Burlington Magazine
931:The Burlington Magazine
898:The Burlington Magazine
861:The Burlington Magazine
851:The Burlington Magazine
440:Badminton House version
296:Giovanni Battista Manso
1704:The Raising of Lazarus
1630:(London; c. 1607)
1255:The Sacrifice of Isaac
1183:Boy Bitten by a Lizard
908:San Salvatore in Lauro
654:
514:Apollo the Lute Player
495:
389:
374:Discorso sulla pittura
288:De Refractione Optices
192:
157:
98:Wildenstein Collection
16:Painting by Caravaggio
1736:Denial of Saint Peter
1595:Madonna of the Rosary
1510:Still Life with Fruit
1481:(Genoa; c. 1605)
926:, vol. I, 1989, p. 82
924:Caravaggism in Europe
649:
490:
383:
187:
152:
1635:Saint Jerome Writing
1619:Christ at the Column
1497:(Rome; c. 1605)
1494:Saint Jerome Writing
1414:The Taking of Christ
1133:(c. 1593; lost)
1047:at Wikimedia Commons
943:K. Christiansen, in
713:, Roma, 1642, p. 136
585:Accademia dei Lincei
505:Ambrosius Bosschaert
300:Colantonio Stigliola
205:Francesco de Layolle
21:Valentin de Boulogne
19:For the painting by
1809:Caravaggio's Shadow
1775:Utrecht Caravaggism
1441:(c. 1603–1606)
1159:Del Monte paintings
709:Giovanni Baglione,
685:100 Great Paintings
292:Seven Acts of Mercy
1207:Penitent Magdalene
1138:The Fortune Teller
1114:Young Sick Bacchus
800:Clovis Whitfield “
779:has generic name (
660:Apollo Lute Player
655:
651:Apollo Lute Player
496:
492:Apollo Lute Player
390:
259:The Fortune Teller
193:
40:Suonatore di liuto
1818:
1817:
1680:Sicily and Naples
1393:(1602; destroyed)
1303:David and Goliath
1106:Boy Peeling Fruit
1091:List of paintings
1043:Media related to
569:
568:
478:Antonio Barberini
394:Antonio Barberini
369:
368:
271:Contarelli Chapel
221:Giachetto Berchem
144:Giovanni Baglione
102:
101:
1858:
1688:The Annunciation
1638:(Valletta; 1607)
1563:Supper at Emmaus
1531:Naples and Malta
1374:Supper at Emmaus
1263:John the Baptist
1075:
1068:
1061:
1052:
1051:
1042:
821:V. Giustiniani,
809:
798:
792:
791:
784:
778:
774:
772:
764:
762:
761:
742:
736:
729:
723:
720:
714:
707:
581:Basilica Chymica
523:
511:
510:
408:inspired by the
364:Saint Petersburg
360:Hermitage Museum
317:
305:
304:
201:Jacques Arcadelt
122:Hermitage Museum
74:
71:
50:
30:
29:
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1859:
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1855:
1851:Genre paintings
1831:1590s paintings
1821:
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1758:
1679:
1673:
1530:
1524:
1382:Amor Victorious
1326:painter in Rome
1325:
1323:
1317:
1287:Basket of Fruit
1191:The Lute Player
1158:
1152:
1093:
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1079:
1004:
981:Daily Telegraph
818:
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765:
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730:
726:
721:
717:
708:
704:
699:
680:
653:during cleaning
446:Badminton House
442:
213:Laisse le voile
207:) on a text by
189:The Lute Player
140:
130:Badminton House
106:The Lute Player
72:
33:The Lute Player
28:
17:
12:
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1667:Sleeping Cupid
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1622:(c. 1607)
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1607:
1606:(Vienna; 1607)
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1314:(c. 1599)
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1150:
1149:(c. 1594)
1146:The Cardsharps
1142:
1141:(c. 1594)
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267:Giulio Mancini
253:The Cardsharps
240:Sistine Chapel
225:Franco-Flemish
175:tenor recorder
163:as he sings a
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126:St. Petersburg
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1780:Caravaggisti
1755:(Rome; 1610)
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1723:(1609; lost)
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758:. Retrieved
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497:
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484:collection.
471:
467:St Catherine
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39:
1803:(2007 film)
1795:(1986 film)
1646:(1607–1608)
1345:(1599–1600)
1337:(1599–1600)
1324:Most famous
836:p. 136
777:|last=
592:Lute Player
482:Wildenstein
431:Giustiniani
414:Lute Player
406:chiaroscuro
386:Lute Player
280:Cinquecento
73: 1596
25:Lute Player
1825:Categories
1801:Caravaggio
1793:Caravaggio
1082:Caravaggio
816:References
760:2017-11-21
554:Dimensions
532:Caravaggio
473:Cardsharps
458:pentimenti
402:Cardsharps
348:Dimensions
326:Caravaggio
244:Peter Robb
138:Background
118:Caravaggio
87:Dimensions
59:Caravaggio
1678:1608–1610
1539:Ecce Homo
1529:1606–1608
1478:Ecce Homo
1322:1600–1606
1311:Narcissus
1157:1595–1599
1098:1593–1594
769:cite news
755:0307-1235
733:Lute News
697:Footnotes
450:Sotheby's
418:tenebrism
197:madrigals
38:Italian:
844:Malvasia
806:Paragone
678:See also
596:studiolo
562:Location
494:(detail)
470:and the
400:and the
356:Location
236:castrato
209:Petrarch
179:spinetta
165:madrigal
95:Location
1763:Related
1199:Bacchus
630:Corydon
410:Brescia
384:Apollo
170:Bacchus
116:master
114:Baroque
111:Italian
1747:(1610)
1739:(1610)
1715:(1609)
1707:(1609)
1699:(1608)
1691:(1608)
1670:(1608)
1662:(1608)
1654:(1608)
1598:(1607)
1582:(1607)
1574:(1606)
1558:(1606)
1550:(1606)
1521:(1606)
1513:(1605)
1505:(1605)
1473:(1605)
1465:(1604)
1417:(1602)
1401:(1602)
1385:(1602)
1369:(1601)
1361:(1601)
1353:(1600)
1282:(1598)
1223:Medusa
993:
971:Nature
842:C. C.
753:
614:Apollo
605:Apollo
546:Medium
541:c.1596
528:Artist
340:Medium
335:c.1600
322:Artist
79:Medium
55:Artist
23:, see
991:ISBN
788:link
781:help
751:ISSN
538:Year
444:The
332:Year
161:lute
66:Year
503:to
199:by
1827::
804:”
773::
771:}}
767:{{
749:.
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362:,
262:.
211::
150::
124:,
70:c.
1074:e
1067:t
1060:v
997:)
790:)
783:)
763:.
27:.
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