34

Waagen, G. F. op.cit., (Vol. II, p. 82).

35

Ibid., (Vol. I, p. 249).

36

Compare with Meyer, J. Künstlerlexikon.

37

Catalogue n° 227 of the main collection. – Louvre catalogue n° 1122.

38

Capitolinian Collection, catalogue n° 244; Pommersfelden, Painting Department, n° 39.

39

Berlin, Gemäldegalerie, catalogue n° 369, (1815) from the Giustiniani Collection. Dijon, museum, catalogue n° 646.

40

Only example in Berlin, Gemäldegalerie, n° 381, this is the catalogue: „Wie durch gleichzeitige Berichte bestätigt wird, hat Caravaggio in Nr. 369 und 381 die irdische und die himmlische Liebe darstellen wollen.” (“As contemporary reports confirm, Caravaggio wanted to represent earthly and heavenly love in n° 369 and 381.”)

41

Musée des Offices, n° 1031.

42

Buckhardt, J. op.cit., (Vol. II, p. 1001).

43

Catalogue n° 408, canvas.

44

Baglione, G. op.cit., (ch. 1) – According to Baldunucci (Opere X, p. 204 s.), the order was given by a certain Vergilio Crescenzi.

45

Baglione, G. op.cit., (p. 251).

Baglione, G. Vita del Caval. Gius. Cesari d’Arpino, pittore, p. 129

Baglione, G. Vita di Caravaggio.

46

Buckardt, J. op.cit., (p. 977).

47

Witting, F. (1903). Von Kunst und Christentum. Strasbourg, Germany: Heitz.

48

Burckhardt, J. op.cit., (p. 984).

49

Ibid., (pp. 3, 8).

50

Catalogue n° 365; canvas, height: 2.32 m × width: 1.83 m. Compare with Hirth-Murther, Cicerone der Königliche Gemäldegalerie Berlin (p. 111); Gesellschaft (Photographic Association), Berlin.

51

Catalogue n° 32; according to Eisenmann, (1879) and Burckhardt, op.cit., (p. 984), the painting belonged to Caravaggio himself; the colours are imprecise, undefined, which is why it seems clear that this copy is not by Caravaggio’s hand.

52

Baglione, G. op.cit., (ch. 1); Louvre, catalogue n° 1121.

53

Compare with Eisenmann, op.cit., (p. 12).

54

Baglione, G, (ch. 1.c). Catalogue of the pictures in the National Gallery (1894), n° 172.

55

Innsbruck, Ferdinandeum catalogue n° 565. – The image in Notre Dame de Bruges can be found on a pillar in the central nave, to the right of the crossing. – Bellori also mentions three variations of the Emmaus painting; Bellori, G. P. (1672). Vite de’ pittori etc. moderni, (ch. 1. c). Rome, Italy. According to him, one featuring five figures was painted for the Marchese Patrizj, the second was made for Cardinal Scipione Borghese in Rome, and the third was painted in Zagarolo, near Palestrina, for Count Mazio Colonna.

56

Burckhardt, J. op.cit., (p. 972).

57

Vasi, M. (1818) A new picture of Rome, and its environs, in the form of an itinerary. (ch. 1. c; p. 4). The two small decorative pieces in the Kestnermuseum in Hanover (n° 61, 62) were probably made in collaboration with Prosperino.

58

See Baglione, G. (ch.1. c); also Vasi, M. op.cit., (ch. 1. c; p. 5).

59

Buckhardt, J. op.cit., (p. 995).