Disagrees with the author's interpretation of the painting (Paris, Louvre), seeing its innovative realism not as a way of disguising symbolism but as a new approach to narrative through the depiction of the drama of human experience. Discusses the commission for the work by the church of S. Maria della Scala in Trastevere, Rome (which refused the work on the grounds of its lack of decorum), its iconography, and contemporary reactions to Caravaggio's paintings.
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