Where to see pictures of Caravaggio in Rome? Brief biography Karavago Caravaggio works.

Michelangelo Caravaggio (1571 - 1610) is an Italian artist, a reformer of European painting of the XVII century, the founder of realism in painting, one of the largest masters Baroque. One of the first to applied the letter to the letter "Kyarostkuro" - a sharp oppression of light and shadow. Not a single drawing or sketch was found, the artist his complex compositions immediately realized on the canvas.

Life and creativity Caravaggio

Italian painter. Born on September 28, 1573. Studied in Milan (1584-1588); Worked in Rome (up to 1606), Naples (1607 and 1609-1610), on the islands of Malta and Sicily (1608-1609). Caravaggio, who did not belong to a certain art school, already in the early works opposed the individual expressiveness of the model, simple household motifs ("Little Patient Wakm", "Youth with a Basket of Fruit" - both in the Borghese Gallery, Rome) idealization of images and allegorical interpretation of the plot peculiar to the scene Art of mannerism and academism.

Little Sick Vaca Young Man With Basket of Fruit Holidays in Egypt Gadalka

A completely new, intimate-psychological interpretation received traditional religious topics ("Holidays in Egypt", Doria Pamfili Gallery, Rome). The artist made a great contribution to the formation of a household genre ("Gadalka", Louvre, Paris and others).

Mature works of the artist Caravaggio are monumental canvases with exceptional dramatic power ("vocation of the apostle Matthew" and "Marty's Martyman's Martyrdom", 1599-1600, Church of San Luigi Dei Francise in Rome; "Position in Coffin", 1602-1604, Pinakotek , Vatican; "Death of Mary", about 1605-1606, Louvre, Paris).

Vocation of the Apostle Matthew Martyrdom of the Apostle Matthew Position in the Coffin Death Mary

The picturesque manner of Caravaggio during this period is based on the powerful contrasts of light and the shadows, expressive simplicity of gestures, vigorous modeling of volumes, saturation of color - receptions that create emotional tension, acute feelings. The underlined "simpleness" of the types, the approval of the ideals of democratism was put by Caravaggio to the opposition in relation to modern art, rekwit it in the last years of life on the south of Italy. In the late works, Caravaggio addresses the theme of the loneliness of a person in the world hostile to him, he is attracted by the image of a small community of people, united related intimacy and spiritual warmth ("The burial of Saint Lucia", 1608, Church of Santa Lucia, Syracuse).

The light in its paintings becomes soft and movable, flavor to the tonal unity, the letter of the letter becomes the character of free improvisation. The events of the biography of Caravaggio are striking by their drama. Caravaggio possessed a very quick-tempered, unbalanced and complex character. Starting from 1600, the time of the highest creative lift of Caravaggio, his name began to constantly appear in the protocols of the Roman police.

First, Caravaggio with friends made minor unlawful actions (threats, obscene verses, insults), for which they were brought to the court. But in 1606 the artist in the mouth of a quarrel during the game in the ball committed the murder and since then was forced to hide from the police.

After the murder, the artist fled from Rome to Naples. There he continued to work on large orders; His art had a decisive influence on the development of the Neapolitan school of painting. In 1608, Caravaggio moved to Malta, where he wrote a portrait of Master of Master of Master of Master and entered the Order himself. But soon, from there, Caravaggio had to run to Sicily because of his hot-tempered character. Having lived in Sicily for some time, the artist in 1609 returned to Naples, where he was attacked in the port tavern and was disfigured. At this time, Caravaggio was already sick with malaria, from the attack of which he died on July 18, 1610. The stern realism of Caravaggio was not understood by his contemporaries, adherents of "high art." Appeal to nature, which he made the direct object of the image in his works, and the truthfulness of her interpretation caused many attacks on the artist on the part of the clergy and officials. Nevertheless, in Italy itself there was a lot of his followers who called the Karavagisti.

Influence of Caravaggio on the world of art

Creative manner of Karavaggio had a direct impact on the addition of the flow of Caravagizism - an independent direction in the 17th century European art. For Caravagizism, the democracy of the figurative system is characterized, an increased sense of real objectability, the materiality of the image, the active role of black and white contrasts in the pictorial-plastic solution of the picture, the monumentalization of genre-household motifs. In Italy, where the trends of Caravagazism retained their relevance until the end of the 17th century, and they were particularly affected by Rome's painting, Genoa and Naples, the most powerful and original interpretation of the Heritage of Caravaggio in the work of the Italian artist Orazio Jegeniski and his daughter Artemisia.

But even more significant was the impact of Caravaggio's creativity outside Italy.

Not a major painter of that time did not pass by the passion for the Caravaggism, which was an important stage on the path of European realistic art. Among the European masters of Caravagism outside Italy, the most significant creativity of Utrecht Karavaggers in Holland (Gerrit Wan Honthorst, Hendarc Terbrujgen, etc.), as well as Husepore de Ribers in Spain and Adam Elsheimer in Germany. Peter Paul Rubens, Diego Velasquez, Rembrandt Wang Rhine, Georges de latat passed through the stage of Caravagism. The impact of individual receptions of Caravagizism is also noticeable in the works of some masters of Academism (Gvido Reni, Sebastian Ricci in Italy and William Adolf Buggero in France) and Baroque (Karel Shkret in the Czech Republic and others).

The loyalty of Caravaggio realism sometimes came very far away.

Such an extreme case is the history of the creation of the "Resurrection of Lazarus". Referring to eyewitness testimonies, the writer suzinno tells how in a spacious room reserved under the workshop at the hospital of the Crusader's Brotherhood Hospital, the artist ordered to bring the body of a newly killed young man who was digging out of the grave, to achieve greater reliability when writing Lazarus. Two hired simulators flatly refused to pose, holding the corpse in his hands. Then, angry, Caravaggio snatched the dagger and forced them to submit to his will.

Michelangelo Merisi da Caravaggio (Ial. Michelangelo Merisi da Caravaggio; September 29, 1571 (15710929), Milan - July 18, 1610, Porto-Ercla) - Italian artist, reformer of European painting of the XVII century, the founder of realism in painting, one of the largest master Baroque masters. One of the first to applied the letter to the letter "Kyarostkuro" - a sharp oppression of light and shadow. Not a single drawing or sketch was found, the artist his complex compositions immediately realized on the canvas.

The son of the architect Farm Merisi and his second wife Lucia Arantori, the daughter of the landowner from the town of Caravaggio, not far from Milan. Father served by the manager of the Marquis Francesco Sforza da Caravaggio. In 1576, the father and grandfather died during the plague, mother and children moved to Caravaggio.

The first patrons of the future artist were the duke and the duchess of the column.

In 1584, in Milan, Michelangelo Merisi comes to the workshop of Peterckano, who was considered a student of Titian. At that time, mannerism dominated the artistic world of Italy, but the positions of Lombard realism were strong in Milan.

The first works of the artist, written in Milan, genre scenes and portraits, did not reach this day.

By the end of the 1580s, the life of hot-tempered in the nature of the measurement is overshadowed by scandals, fights and imprisonment, which will accompany him all his life.

In 1589, the artist comes home to sell his land put on, apparently, needing money. The last time he attends the house after the death of the mother in 1590.

In the fall of 1591, he is forced to flee from Milan after a quarrel behind a card game ended by murder. Having stopped at first to Venice, he goes to Rome.

In Rome, Merisi noted Pandolfo Pucchi, invited him to his house, provided existence by charging performing copies from church paintings.

Borromeo, who became acquainted with Caravaggio at the time of his Roman life, described him as a "man inexpressible, with gross manners, ever-closed in a bombing and inhabiting where he had. Drawing street boys, regulars of restaurants and miserable vagrants, he looked quite a happy man. " Borromeo admitted that he didn't like everything in the paintings of the artist.

In the capital, according to the customs of Italian artists of that time, he gets a nickname associated with the place of birth, as, for example, it was with Veronese or Correzo. So Michelangelo Merisi became Caravaggio.

In 1593, Caravaggio enters the Cesari D'Arpino workshop, which instructs the Caravaggio to write flowers and leaves on the frescoes. In the workshop, D'Arpino, he met patches and artists, in particular, by Jan Breighel.

The early works of Caravaggio are written under the influence of Leonardo da Vinci (with "Madonna in the rocks" and "The Last Supper" he met in Milan), Georgeon, Titian, Giovanni Bellini, Manteny.

The first picture that has come to us is "Boy, Cleaning Fruit" (1593).

In the workshop, D'Arpino Caravaggio meets Mario Minni, who became his student and a model of a number of paintings, the first of which is the "young man with a fruit basket" (1593-1594).

After the fight, Caravaggio enters the prison of the Mi-Di Nona, where his meeting is going on with Jordan Bruno.

Soon he rustles from Cesari d'Arpino, the homeless Caravaggio invited against himself to the grammar.

In 1593, Roman fever fell ill (one of the names of malaria), he was in the hospital for six months on the verge of life and death. Perhaps, under the impression of the disease, it creates a picture of the "patient wakm" (1593) - the first self portrait.

The first multifigure paintings were created in 1594 - this is "Schuler" and "Gadalka" (Capitolian museums). Georges de latat will subsequently write its "fortune teller" with an identical composition.

In these works, he acts as a brave innovative, who quoted the chief artistic directions of that era - Manherism and Academism, opposing them to the stern realism and democracy of their art. Hero Caravaggio - a man from a street crowd, - the Roman boy or a young man, endowed with the sensual beauty and naturalness of mindlessly-cheerful being; The Karavaggio Hero appears in the role of a street merchant, a musician, an ardent shyol, who is attentive to Lukava Gypsy, then in the appearance and attributes of the ancient God. These genre in their essence characters filled with a bright light, closely moved to the viewer, depicted with an underlined monumentality and plastic tangible.

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Caravaggio (Caravaggio; real name and surname Michelangelo da Merisi, Michelangelo Da Merisi), Italian painter. The largest representative of the Baroque era. Until the early 1590s studied from the Milan artist S. Petercano; In 1592 he went to Rome, on the road, perhaps visited Venice. Formed under the influence of North-Italian masters (J. Savoldo, A. Marettos, J. Romanino, L. Lotto). Some time worked as an assistant to the Roman artist-manurista J. Cesari (Kavaler D'Arpino), in the workshop of which he fulfilled his first works ("Boy with a fruit basket", 1593-94; "Sick Vakh", about 1593, both - in the Borghese Gallery , Rome). Thanks to the trading of Maestro Valentino's paintings, Caravaggio became acquainted with Cardinal Francesco Maria del Monte, who became the patron saint of the master and introduced it to the artistic environment of Rome. For Cardinal Del Monte, the best paintings of the early Roman period were written: "Vakh" (1595-97, Uffizi Gallery, Florence), "Butterist" (1595-97, Hermitage, St. Petersburg), "Fruit basket" (1598-1601 , Pinakotek Ambrosian, Milan). In the works of the end of the 1590s, the skill of the illusionistic transmission of realities (which is especially noticeable in still lifes, which the artist includes in its paintings) is connected to its poetry. Full poetic charm and classic reminderscences Mythological images of allegory ("Concert", 1595-97, Metropolitan Museum, New York; "Amur-winner", about 1603, art gallery, Berlin) In addition to literally, the hidden meaning, understandable formed Roman public of that time and frequently inaccessible to the modern viewer.

At this time, Caravaggio opens up new opportunities for painting, first appealing to still life and "adventurous" genre ("fortune teller", about 1596-97, Louvre, Paris), which was further developed among his followers and became very popular in European painting 17th century, As well as to the image of the mythological image as a common type ("Narcissus", 1598-99, the National Gallery of Old Art, Rome). In his early religious works, the poetic interpretation of the plot as a moral example ("St. Marfa talks with Maria Magdalina", about 1598, the Institute of Arts, Detroit; "St. Ekaterina Alexandria", about 1598, the collection of Tissren-Borneysis, Madrid), how deep mental experience ("St. Mary Magdalen", about 1596-97, Doria-Pamfili Gallery, Rome; "Ecstasy of St. Francis", 1597-98, Wesworth Atheneum, Hartford, USA), as a manifest divine presence in the world ("Rest On the way to Egypt, "1596-97, Doria-Pamphili Gallery, Rome) connects with full drama scenes with violence and death (" Judith ", about 1598, National Gallery of Old Art, Rome;" Abraham Sacrifice ", 1601-02, gallery Uffizi. Florence).

The first major church order of Caravaggio became the cycle of paintings for the Kapella of French Cardinal Matteo Kontarelli in the Church of San Luigi Dei Francise (1599-1600) in Rome. In the scenes of the vocation and martyrdom of the apostle Matthew Karavaggio fundamentally updates the concept of a religious picture, in which the light, transforming and dramatizing evangel event begins to play a special role. In the "calling of the apostle Matthew" (see illustration of the article Jesus Christ) The light, cutting the darkness of the room, has both real physical nature and metaphorical meaning (the Light of the Divine Truth, illuminating the path to salvation). The fascinating expressiveness of the paintings of Karavaggio is built on the ability to accurately convey the real motive, while not reducing it to everydayness. The first version of the altar painting for Capella "St. Matthew and Angel "(1602, died in Berlin during the 2nd World War) was rejected by customers due to the unnecessarous appearance of the apostle. In the final version (1602-03), Caravaggio achieved greater coherence and solemnity of the composition, while retaining the living impedition in the appearance and movement of two figures.

In 1601, Caravaggio wrote two paintings - "Appeal by Sawla" and "Crucifixion of the Apostle Peter" for Capella T. Cheraszi in the Church of Santa Maria del Popolo in Rome. In them, as in the cycle for Capella Kontarelli, the expression has found a new religious worldship, which is characteristic of the time of counterfeiting: the ordinary everyday life of human being is transformed by the divine presence; Sincere faith of poor and the suffering is manifested in piety, clean the folk mercy. Each work of Caravaggio is a living fragment of reality depicted with maximum accuracy and deeply experienced by the artist who is trying to comprehend the events of Christian history, to understand their motivating causes and prevent their reflections in plastic forms that obey the laws of figurative dramaturgy. The realism of the religious works of Caravaggio, distant from the ideals of the beautiful worked by the masters of the Renaissance, is close to the religious ethics of St. Carla Borryoye and the People's Poieness F. Neri, which is especially noticeable in such works of the Roman period, as "Christ in Emmaus" (1601, National Gallery, London) , "Foma's assurance" (1602-03, Palace San Sust, Potsdam), "Madonna with pilgrims" (1604-05, Church of Sant-Agostino, Rome) and "Madonna with a snake" (1605-08, Borghese Gallery), "Saint Jerome" (1605-06, Borghese Gallery). The best works of Caravaggio of this time are distinguished by dramatic strength: "Coffin position" (1602-04, Vatican Pinakotek) and "Mary's Assumption" (about 1600-03, Louvre, Paris), in which he reaches the completeness of creative maturity. Powerful contrasts of light and shadow, common uncomplication of images, expressive laconism of gestures with an energetic laying of plastic volumes and saturation of a sonorous color allow the artist to achieve an unprecedented depth and sincerity in the transfer of a religious feeling, encourage the audience to empathize the events of the evangelical drama.

The independent nature of Caravaggio often led him to clashes with the law. In 1606, while playing the ball, Caravaggio in a quarrel committed the murder, after which he fled from Rome to Naples, from where in 1607 he moved to the island of Malta, where he was adopted in the Maltese Knight's Order. However, after a quarrel with a high-ranking member of the Order, the artist was thrown into prison, from where he fled to Sicily Island. Because of the persecution by the Maltese Order, who killed him from his ranks, decided to return to Rome in 1610, hoping for the help of influential patrons, however, on the road died of fever. During the wavelets, Caravaggio created a number of outstanding works of religious painting. In Naples in 1606-07, he wrote for the Church of San Domenico-Maggira large altar paintings "Seven Mercy Affairs" (Church of Pio Monte-della-Miserikondi, Naples), "Madonna Kolotok" (Artistic and Historical Museum, Vienna) and " Bacheling of Christ "(Capodimont Museum, Naples); In Malta in 1607-08 - "Condition of the head of John the Baptist" and "Holy Jerome" (both - in the church of John the Baptist, Valletta); In Sicily in 1609 - "The burial of St. Lucia "For the Church of Santa Lucia (Regional Museum of Palazzo Belleo, Syracuse)," Resurrection of Lazarus "for the Genoese merchant Ladzari and" Worship of Pastukhov "for the Church of Santa Maria-deli Angeli (both in the National Museum, Messina). Strain drama inherent in the art of the artist acquires in its later work the nature of the epic tragedy. The monumental canvas constructed on the ratio of a deaf, dark background and major figures of the first plan, illuminated by flares of pulsating light, have an extraordinary power of emotional impact, involve the viewer in the events. To the last years of the life of Caravaggio also includes the painting "David from the head of Goliath" (about 1610, Borghese Gallery, Rome), where in the appearance of Goliath, whose head David holds on his hand stretched forward, guessed the features of the artist himself.

Cartajo's work had a great influence on modern art not only Italy, but also Europe as a whole, touched most of the artists who worked then (see Caravaggism).

Lit.: Marangoni M. Il Caravaggio. Firenze, 1922; Zimmerovskaya T. P. Michelangelo da Caravaggio. M., 1955; Vsevolozhskaya S. Michelangelo da Caravaggio. M., 1960; Röttgen N. Il Caravaggio: Ricerche E Interpretazioni. Roma, 1974; Michelangelo da Caravaggio. Documents, memories of contemporaries. M., 1975; Hibbard N. Caravaggio. L., 1983; Long R. Karavaggio // Long R. from Chimabue to Morandi. M., 1984; CARAVAGGIO E IL SUO TEMPO. Cat. Napoli, 1985; Marini M. Caravaggio. Roma, 1987; Calvesi M. La Realtà Del Caravaggio. Torino, 1990; Cinotti M. Caravaggio: La Vita E L'Opera. Bergamo, 1991; Longhi R. Caravaggio. 3. AUFL. Dresden; Basel, 1993; Gash J. Caravaggio. N. Y., 1994; Bonsanti J. Karavago. M., 1995; Svidersky M. I. Karavaggio. The first modern artist. St. Petersburg., 2001; Lamber J. Karavaggio. M., 2004; CARAVAGGIO: ORIGINALE UND KOPIEN IM SPIEGEL DER FORSCHUNG / HRSG. Von J. Harten. Stuttg., 2006.

Caravaggio had a lot of followers. And enemies. It is difficult to assess who more. Some copied and used its innovative methods.

Others sought to destroy it. And do everything to forget about his work forever. In part, they succeeded. About Caravaggio forgotten for whole three centuries.

But historical justice enthusiasm. In the 20th century, the world realized his genius. As said art historian Roberto Long, "there would be no ribery without Caravaggo, or. And Delacroix, and wrote differently. "

His life looks like an adventure novel. With a sad finale. In 1610, at the age of 39, Caravaggio disappeared without a trace. Did he die from malaria, as his contemporaries asserted? Or killed him?

Now let's try to figure out how Caravaggio was able to attract so many followers. Nude so many enemies. And what led him to death.

1. Famous Teborazo Caravaggio.

Caravaggio is very recognizable by the manner of Tebohroso. This is when in the background - solid darkness. And the figures and items are illuminated by the only inequer light source. This light is like a very surround image from the gloom. Spectacular. Emotionally. Dramatically.

1602 National Gallery of Ireland, Dublin. WGA.hu.

Tebogeneos Some artists scolded. Calling the painting of Caravago "basement". Others, on the contrary, borrowed it. Moreover, they made it basement literally. And they opened their workshops in real basements with one source of light.

Murillo. Small beggar. 1650. Artchive.ru.

2. The extraordinary realism of Caravaggio

From the very beginning, Caravaggio for realism. Even the gods he did not want to idealize. His famous "Vakh" is depicted with dirt under the nails. And the fruits are scrambled with caterpillars. No idealization. And special divinity. Rather, the swimmer pretending to God.

Caravaggio. Bacchus. 1598 Uffizi Gallery, Florence. WGA.hu.

Caravaggio attracts the most plausible as possible and biblical stories. Look at his picture "Unbelief of St. Thomas". The wizard shows this plot very realistic. Not avoiding even the most unpleasant details. Saint Thomas penetrates his finger into the wound of Christ. Do not believe in his resurrection.

No symbolism. Everything is very literally.

Caravaggio. Disbelief of the Apostle Thoma. 1601-1602 Palace San Sust, Potsdam, Germany. Wikimedia.commons.com

3. Pictures of Caravaggio were often rejected by customers

Sports for their paintings Karavago found among street beggars and prostitutes. And forged the canvas many of their features. Dirty heels, bald, deep neckline. It turned out that Caravaggio was against the "scenic edict". This law has forbidden to give the faces of the holy features of ordinary people.

Therefore, it is not surprising that the ministers of his work often did not like him. After all, the faces on the canvas could be recognized by parishioners. And there is already not far to the exclosed "whore in the temple!"

So, his picture "Madonna with a snake" was kept in the Cathedral of St. Peter only two days. Exactly because of this reason. Caravaggio posed his beloved Lena. She lived in a riding courtyard in Rome. It was a quarter of prostitutes and gangsters. It may have been an ordinary woman. But because of the place of residence, a priori belonged to the ladies of lung behavior.

Caravaggio. Madonna with a snake. 1605-1606 Borghese Gallery, Rome

Refused from the "Assumption of St. Mary". This picture was written in order for the church of Santa Maria della Rock. However, customers were extremely outraged by the work received.

Other artists, Holy Maria, at the time of his death, were depicted rather asleep. Or happily ascended to the son of heaven. As, for example, in the picture of Karachchi, Contemporary Caravaggio.

Annibal Karachchi. Holy Mary's Assumption. 1600-1601 Church of Santa Maria del Popolo, Rome

Caravaggio also saw the dead Maria. For real. Her body has a swollen. The skin is extremely pale. Bareboard, she lies in the surroundings of the apostles. They are flawed in their loss. No glorious ascension. Only sorrow and sadness.

Caravaggio. Mary's Assumption. 1602-1606 Louvre, Paris. WGA.hu.

4. Karavago was an aggressive and hot-tempered person

Caravaggio was very quick-tempered and scorch. With a sword on the advantage, he could be a week to wander around the banks. It was easy to hurt his pride. In this case, the restaurant flew a plate with food. Or broke the sword. So contemporaries Caravaggio understood that this genius had very little chance to live a long life.

His patrons and friends were surprised, as such an aggressive person could have written true love and tenderness. As, for example, in the picture "Rest on the way to Egypt".

Caravaggio. Holidays in Egypt. Fragment. 1598 Doria Pamphili Gallery, Rome. WGA.hu.

Although, of course, dark, tragic plots prevail in his works. Especially sinister and bloodthirsty is his masterpiece "Condition of the head of John the Baptist." Particularly sensitive is better not to look (and not read description).

Caravaggio. Condition of Head of John the Baptist. 1608 Saint John's Cathedral, Malta. Wikipedia.ru.

Most of the painting - in darkness. And the central figure of the composition - the Ball. He just cut his throat saint. And already cooked dagger to cut off his head. It is terrible only Salome. She so calmly substitutes a copper dish for the head of the executed! What is just a blood blowing in the veins.

The very moment of murder is depicted. So it could only write to the one who watched the killed in his eyes.

Yes, Caravaggio was a killer. But not calculating. In the heat of another fight after the verbal pass, he killed a man. Ranuchcho Tomasoni. What then sorry very much. This is obviously one of his last works. In the picture "David with head of Goliath".

Caravaggio. David from the head of Goliath. 1609-1610. Borghese Gallery, Rome. Artchive.ru.

So no one has shown anyone else. The young man is crushed and with sadness in his eyes looks at the head of the defeated enemy. No triumph. No pride for yourself.

There is a version that this is a double self-portrait Caravaggio. In the image of David - his bright side of the soul. In the image of Goliath - dark. This picture is a sentence to himself. For murder. For deprivation of the life of another person.

5. The mystery of the death of Caravaggio has not yet been solved

For the murder of Karavago was sentenced to death. He fled from Rome. But it was the beginning of the end. His life inevitably went to Sunny.

True for a while snapped hope for salvation. When Caravaggio got into Malta to the crusaders knights. He wrote a few masterpieces here. Including for the Maltese Cathedral. He was produced in the knights. Now there was much more chance of achieving Pope Pope.

But again something went wrong. Another fight. Jail. Flight on Sicily.

Here is the official version of the death of the artist. More in Malta Karavago received a written pardon from Rome. In Sicily, he sits on the ship. To return to the eternal city. But the captain of the ship landed him halfway in one of the ports. Allegedly suspecting the criminal in him. After that, the artist was forced to walk to another city, Porto Ercla.

The path ran through a wetland. There he picked up malaria. He was found without the consciousness of the landowner. He picked up the artist. But he soon died. His body was thrown into the sea in order not to distribute infection.

Caravaggio. Ecstasis Saint Magdalene. 1610. Private collection. One of the last works of the master. It may have been written in parallel with the picture "David from the head of Goliath".

This version is set out in the letter of this landowner to one of the Roman Cardinals. Almost everything in this story seems contrived. No one, except the owner of those lands, did not admit that he saw the artist alive or dead.

And most importantly, why did Captain landed Caravaggio ashore? After all, half the amount for the passage passenger paid upon arrival.

And why Karavago went to Porto Ercla, when he needed to get to Rome? And Rome was much closer, but on the other side. I did not confuse Caravaggio Road!

In 2010, in the town of Porto Ercla, where Caravaggio was allegedly sent, they found his remains. Many art historians doubt the authenticity of the find. The benefit for the town itself is too obvious. After all, the discovery was made exactly the 400th anniversary of the artist's death. Now Caravaggio has a grave and even the park around it. Not bad bait for tourists.

My version…

I think he was killed by Sicily. Or he was overtaken by members of the Winchuco clan. After all, blood revenge was almost common in those times. Or revived by Caravaggio Maltese knights.

Whatever the killers, they clearly got rid of the body. And invented the story of "Return to Rome". In order to send those who want to investigate this case, on a false path.

It is possible that Karavago at some point he himself surrendered to the persecutors. Because tired of the chase. Because he was tormented by the flour of conscience (judging by the picture). Because in Rome, his beloved Lena was no longer waiting for him (shortly before death, he found out that she died from CHAKHETOP).

Well, we can only guess. After 400 years, it is hardly possible to find the truth for someone.

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