The Beheading of Saint John the Baptist, 1608.

Oil on canvas, 361 x 520 cm.

St John’s Co-Cathedral, Valletta, Malta.

 

 

The angel in the background is enshrouded with insubstantial colours and seems suspended in the air, his arms and chest naked, his body covered with a white veil that contrasts sharply with the darkness of the scene. On the right side of the altar one can see Christ calling Saint Matthew for his apostolic mission. Other figures are painted in a very natural manner, notably the saint who has stopped counting his money, one hand on his chest, and is now turning towards the Lord. By his side is an old man putting on his glasses and observing a young man sitting at the angle of the table who is grabbing a few coins. On another panel, the saint martyr, clothed in the priestly outfit, is lying down on a bench while, in front of him, the executioner is brandishing his sword to execute him while the people who attend the scene move back in horror. Although the painting has been reworked twice, the flimsiness of the composition and the gestures of the characters do not convey the tragedy of the event. The obscurity of the chapel and the dark colours of the canvas give a disservice to the contemplation of these two paintings. The artist then produced for the church of Sant’Agostino the other painting of the Cavaletti chapel, a Madonna standing up, holding the divine Child in her arms while he is giving his blessing to two pilgrims kneeling in front of them, their hands joined in prayer. The first one is a poor man, with bare feet and legs, carrying on his shoulder a leather bag and his pilgrim’s stick. He is accompanied by an old woman with a headdress.

 

But among the best works produced by Caravaggio’s brushes, The Entombment in Nuova dei Padri del Oratorio, where the figures are placed above a stone at the entrance of the sepulchre, is held in particular esteem. The sacred body is visible at the centre and Nicodemus is holding his feet. On the other side Saint John passes an arm under the shoulder of the Redeemer whose face is looking up, his chest showing the pallor of death, his arm falling out of the shroud, and the whole nude figure is treated with the most faithful sense of imitation. Behind Nicodemus one can catch sight of three women crying, one raising her arms, the other concealing her eyes and the third contemplating the Lord. In the church of Santa Maria Del Popolo, in the Assumption chapel painted by Annibale Carracci, the two paintings on each side are by Caravaggio’s hand: The Crucifixion of Saint Peter and The Conversion of Saint Paul whose scenes have been treated without any heroic movement. Still benefiting from the protection of Marchese Vincenzo Giustiniani, Caravaggio produced these paintings for him: The Crowning with Thorns and The Incredulity of Saint Thomas. In the latter, the Lord is grabbing the hand of Saint Thomas and taking the saint’s finger to his wound while uncovering his chest by lifting the shroud covering him. In addition to these two figures he also painted an Amor Victorious, or Cupid, brandishing arrows in his right hand, while arms, books, and other instruments representing trophies are lying at his feet. Other Roman noblemen, attracted by the magic of his brushes, commissioned paintings from him, notably Marchese Asdrubale Mattei, who asked him to undertake The Taking of Christ, also in half-figures. Judas’ hand lies on the Lord’s shoulder after kissing him. Nearby, a soldier in armour extends his arm and his iron-gloved hand towards the Lord, who, resigned and humble, endures being arrested with his hands crossed in front of him, while, at the back, Saint John is fleeing, arms raised and hands open. The painter has imitated with great precision the black bronze armour of the soldier whose head and face are covered with a helmet that only reveals his profile. Behind him a lantern is raised, feebly lighting two other heads with helmets. For the noblemen Massimi, Caravaggio undertook the famous painting Ecce Homo, which was transferred to Spain, and for the Marchese Patrizi, The Supper at Emmaus, in which Christ is represented at the centre, blessing the bread while one of the sitting disciples, having recognised him, is opening his arms; the other, his hands on the table, is looking at him, amazed; behind them stands the innkeeper wearing a hat and an old woman bringing the dish of food.