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These are the user uploaded subtitles that are being translated: 1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 2 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 3 00:00:13,400 --> 00:00:18,200 [INSTRUMENTAL MUSIC] 4 00:00:40,680 --> 00:00:42,040 [WATER DRIPPING] 5 00:00:47,520 --> 00:00:48,520 [FLUTTERING] 6 00:00:54,600 --> 00:00:56,520 [FLUTTERING] 7 00:00:59,760 --> 00:01:03,120 [MAN] Before I lost it, I never gave a fig for liberty. 8 00:01:09,560 --> 00:01:12,200 - [FLUTTERING] - Liberty, the great unknowable. 9 00:01:13,120 --> 00:01:14,440 Intangible. 10 00:01:14,600 --> 00:01:15,600 Invisible. 11 00:01:16,280 --> 00:01:17,280 Unbreathable. 12 00:01:21,800 --> 00:01:22,800 [RATTLING] 13 00:01:27,360 --> 00:01:28,400 We are born free... 14 00:01:29,280 --> 00:01:30,480 and we think it's forever. 15 00:01:43,080 --> 00:01:45,720 [FLUTTERING] 16 00:01:47,360 --> 00:01:50,200 I took the liberty of dropping the name Michelangelo, 17 00:01:50,360 --> 00:01:51,920 the name my parents baptized me with. 18 00:01:53,160 --> 00:01:54,160 I chose... 19 00:01:54,880 --> 00:01:55,880 Caravaggio... 20 00:02:02,320 --> 00:02:04,720 the name of the place from where my family hails. 21 00:02:05,200 --> 00:02:06,560 A place and a world that I fled... 22 00:02:07,040 --> 00:02:08,040 in pursuit of a dream... 23 00:02:08,160 --> 00:02:11,000 [RATTLING] 24 00:02:14,200 --> 00:02:15,320 the dream of liberty. 25 00:02:15,880 --> 00:02:20,040 I have not protected that dream from my own true self, from my own excess. 26 00:02:20,200 --> 00:02:22,000 [MUSIC CRESCENDO] 27 00:02:25,360 --> 00:02:28,560 And now that my liberty has been taken away from me, 28 00:02:28,840 --> 00:02:30,960 liberty is all I can think of. 29 00:02:33,480 --> 00:02:34,480 [FLUTTERING] 30 00:02:38,600 --> 00:02:41,600 Only now, would I be able truly to feel it, 31 00:02:42,520 --> 00:02:43,520 to see it... 32 00:02:44,120 --> 00:02:45,240 to love it. 33 00:02:45,400 --> 00:02:47,080 [VIOLENT FLUTTERING] 34 00:02:49,240 --> 00:02:52,000 Only now, could I defend my liberty tooth and nail... 35 00:02:52,520 --> 00:02:54,440 even at the cost of life itself. 36 00:03:11,520 --> 00:03:17,600 [UPBEAT MUSIC] 37 00:03:17,760 --> 00:03:19,000 [SOFT PIANO MUSIC] 38 00:03:20,840 --> 00:03:21,960 [FOOTSTEPS] 39 00:03:24,040 --> 00:03:26,880 [NARRATOR] Caravaggio's life has always been cloaked in mystery. 40 00:03:29,840 --> 00:03:34,000 In 2007, an extraordinary discovery shook the art world. 41 00:03:35,120 --> 00:03:37,480 The birth certificate of Michelangelo Merisi 42 00:03:37,640 --> 00:03:40,680 was discovered in the Diocesan Historical Archive in Milan. 43 00:03:41,680 --> 00:03:44,920 He was baptised on the 30th of September, 1571 44 00:03:45,120 --> 00:03:47,800 in the church of Santo Stefano in Brolo, Milan, 45 00:03:48,000 --> 00:03:50,880 not in Caravaggio, as was previously believed. 46 00:03:51,080 --> 00:03:54,040 He was born the day before, on the 29th of September, 47 00:03:54,520 --> 00:03:56,240 the feast of St. Michael the Archangel... 48 00:03:56,840 --> 00:03:58,920 hence his name "Michelangelo." 49 00:04:04,400 --> 00:04:06,680 [WATER RIPPLING] 50 00:04:14,640 --> 00:04:15,720 At six years old, 51 00:04:15,880 --> 00:04:18,760 Caravaggio had the first traumatic experience of his life. 52 00:04:20,920 --> 00:04:23,960 To escape the plague, the Merisi family left Milan, 53 00:04:24,600 --> 00:04:27,280 and returned to his parents' birthplace, Caravaggio. 54 00:04:29,160 --> 00:04:31,880 But his father, grandfather, and uncle did not survive. 55 00:04:33,000 --> 00:04:34,000 All three died. 56 00:04:38,320 --> 00:04:42,440 At the end of the epidemic, in 1584, Caravaggio returned to Milan 57 00:04:42,840 --> 00:04:45,720 to study painting in the workshop of Simone Peterzano, 58 00:04:46,240 --> 00:04:49,520 an illustrious master who had been Titian's pupil in Venice. 59 00:04:52,720 --> 00:04:54,960 Caravaggio was just 13 years old. 60 00:04:55,560 --> 00:04:58,640 With Peterzano he learned to paint in the typical style of Lombardy, 61 00:04:58,920 --> 00:05:00,200 a region in northern Italy, 62 00:05:00,600 --> 00:05:03,680 inspired by the Venetian School, with its focus on light, 63 00:05:03,840 --> 00:05:05,240 and the depiction of reality. 64 00:05:06,800 --> 00:05:10,240 [INSTRUMENTAL MUSIC] 65 00:05:14,960 --> 00:05:17,440 He studied under the master for a number of years, 66 00:05:17,880 --> 00:05:20,080 but nothing is known of his works of that period. 67 00:05:24,760 --> 00:05:27,960 However, recent research has uncovered a remarkable event. 68 00:05:29,800 --> 00:05:34,240 A previously unpublished manuscript by Gaspare Celio, dated 1614... 69 00:05:35,720 --> 00:05:39,400 recounts that the painter fled Milan, after killing a man. 70 00:05:40,440 --> 00:05:43,520 [INSTRUMENTAL MUSIC] 71 00:05:50,520 --> 00:05:54,000 [TENSE MUSIC] 72 00:05:56,200 --> 00:05:57,560 [PERCUSSION HITS] 73 00:05:59,040 --> 00:06:02,880 [CARAVAGGIO] People say there is no need to reproduce reality as it truly is. 74 00:06:03,760 --> 00:06:05,280 Perhaps the opposite is true. 75 00:06:07,840 --> 00:06:08,840 I can do this. 76 00:06:09,280 --> 00:06:10,600 Reality is my lifeblood. 77 00:06:11,000 --> 00:06:12,640 I know of nothing beyond reality. 78 00:06:14,640 --> 00:06:18,720 From eye to mind, from mind to hand, from hand to heart... 79 00:06:20,320 --> 00:06:23,800 reality, like painting, often thrives on deception, 80 00:06:24,360 --> 00:06:27,040 or, better, on creating illusion. 81 00:06:29,400 --> 00:06:32,400 [STRINGS CLASSICAL MUSIC] 82 00:06:36,640 --> 00:06:37,680 [NARRATOR] As an artist, 83 00:06:38,080 --> 00:06:40,520 Caravaggio spent his formative years in Milan. 84 00:06:43,520 --> 00:06:47,840 He must have studied Leonardo Da Vinci's Last Supper in Santa Maria delle Grazie. 85 00:06:52,960 --> 00:06:57,560 Peterzano probably advised his pupils to draw inspiration from this masterpiece. 86 00:06:58,400 --> 00:07:01,840 A few years later, when Caravaggio painted The Basket of Fruit, 87 00:07:02,000 --> 00:07:03,560 now at the Ambrosiana in Milan, 88 00:07:04,040 --> 00:07:07,280 he took inspiration from the still life on the table of The Last Supper, 89 00:07:07,960 --> 00:07:11,600 which today, has sadly almost entirely faded from view. 90 00:07:14,360 --> 00:07:17,760 The Basket of Fruit, painted for Cardinal Federico Borromeo, 91 00:07:18,080 --> 00:07:20,760 is an example of Caravaggio's early style of painting. 92 00:07:24,440 --> 00:07:25,760 It is a serene scene... 93 00:07:26,720 --> 00:07:29,240 a wicker basket filled with fruit and vine leaves 94 00:07:29,520 --> 00:07:31,680 is set against a completely neutral background, 95 00:07:32,440 --> 00:07:33,760 almost a non-place. 96 00:07:34,240 --> 00:07:37,920 It already indicates what later became a fundamental characteristic of his work, 97 00:07:38,400 --> 00:07:40,880 the elimination of the surrounding environment. 98 00:07:43,320 --> 00:07:46,240 Caravaggio neutralises the space around what he depicts, 99 00:07:46,840 --> 00:07:49,560 as if the images were in a metaphysical space. 100 00:07:50,720 --> 00:07:52,680 He creates a contrast in our perception, 101 00:07:52,960 --> 00:07:56,680 nothingness against the dramatic presence of the painted subject. 102 00:07:57,400 --> 00:07:59,600 We could almost reach out and touch those apples, 103 00:08:00,000 --> 00:08:02,760 those bunches of grapes, those figs and leaves. 104 00:08:04,560 --> 00:08:08,680 The basket protrudes slightly and, in seeming to move towards us, 105 00:08:08,840 --> 00:08:10,600 invites us to move closer to it. 106 00:08:11,960 --> 00:08:13,200 His art is seductive... 107 00:08:14,280 --> 00:08:15,400 it acts like a magnet. 108 00:08:19,160 --> 00:08:20,640 [CHURCH BELL RINGING] 109 00:08:28,200 --> 00:08:31,640 It was in Rome that the 25-year-old Caravaggio got his breakthrough. 110 00:08:33,080 --> 00:08:34,280 His early days there, 111 00:08:34,440 --> 00:08:37,120 as a penniless young man, can't have been easy. 112 00:08:41,480 --> 00:08:44,040 Giovanni Pietro Bellori, an early biographer, 113 00:08:44,200 --> 00:08:48,160 described him as "bisognoso et ignudo," "needy and naked." 114 00:08:48,800 --> 00:08:52,920 He found a place to stay with Monsignor Pandolfo Pucci, a priest at St Peter's, 115 00:08:53,240 --> 00:08:55,320 in the hope of making contact with the Papal Court. 116 00:08:57,400 --> 00:08:59,880 "Monsignor Salad," as Caravaggio called him, 117 00:09:00,040 --> 00:09:03,120 referring to the meagre, monotonous diet he was served... 118 00:09:03,880 --> 00:09:07,960 made him paint devotional copies, works of scant importance, 119 00:09:08,320 --> 00:09:10,480 and treated the artist with condescension. 120 00:09:11,440 --> 00:09:13,760 Caravaggio couldn't bear this, and left. 121 00:09:17,120 --> 00:09:19,440 [INSTRUMENTAL MUSIC] 122 00:09:19,880 --> 00:09:21,080 Now living in poverty, 123 00:09:21,760 --> 00:09:23,080 he became so ill 124 00:09:23,240 --> 00:09:25,160 that he ended up in the Hospital of Consolation. 125 00:09:27,920 --> 00:09:29,160 Could that be his face 126 00:09:29,320 --> 00:09:32,400 in the Young Sick Bacchus, today in the Galleria Borghese? 127 00:09:35,800 --> 00:09:38,720 [SOFT INSTRUMENTAL MUSIC] 128 00:09:50,240 --> 00:09:52,120 For his debut on the Roman scene, 129 00:09:52,560 --> 00:09:55,480 Caravaggio chose the ancient god of wine and revelry. 130 00:09:59,000 --> 00:10:00,800 This is an ambivalent subject 131 00:10:01,560 --> 00:10:05,440 which can be interpreted as a pagan image, the god Bacchus... 132 00:10:07,560 --> 00:10:09,040 or as a Christian image... 133 00:10:09,840 --> 00:10:11,880 the prefiguration of Jesus Christ. 134 00:10:14,000 --> 00:10:17,720 [INSTRUMENTAL MUSIC] 135 00:10:19,480 --> 00:10:23,680 The grapes in his hand recall the wine drunk by Jesus at The Last Supper... 136 00:10:25,520 --> 00:10:28,720 while the ivy may allude to the cross and the Passion. 137 00:10:30,720 --> 00:10:33,480 The work is intimate yet, at the same time, disquieting. 138 00:10:34,600 --> 00:10:36,480 It feels as if we could reach out and touch 139 00:10:36,640 --> 00:10:40,200 this looming figure, but the evasive expression in his cold eyes 140 00:10:40,720 --> 00:10:41,960 pushes us away. 141 00:10:43,480 --> 00:10:47,280 Today, we picture Caravaggio as the typical solitary genius, 142 00:10:47,880 --> 00:10:51,160 always focused on his work, far removed from everyday life. 143 00:10:51,520 --> 00:10:53,280 Yet this is far from accurate. 144 00:10:53,720 --> 00:10:54,720 In reality, 145 00:10:54,800 --> 00:10:58,880 Caravaggio was very much involved in society and life at the time 146 00:10:59,320 --> 00:11:01,520 and enjoyed close relationships with his colleagues. 147 00:11:02,560 --> 00:11:04,120 Then, when he came to Rome, 148 00:11:04,480 --> 00:11:07,400 he tried to carve out a place for himself on the city's art scene. 149 00:11:07,920 --> 00:11:10,960 Rome was the capital of the arts, and Caravaggio went to work 150 00:11:11,120 --> 00:11:13,360 at the most important studio in the city, 151 00:11:14,160 --> 00:11:17,240 the workshop of Giuseppe Cesari, the Cavalier d'Arpino. 152 00:11:20,560 --> 00:11:22,040 He set the young artist to work 153 00:11:22,200 --> 00:11:25,040 painting flowers and fruit, but Caravaggio 154 00:11:25,200 --> 00:11:26,320 was very unhappy about this, 155 00:11:26,400 --> 00:11:28,960 as we know from detailed contemporary accounts. 156 00:11:31,280 --> 00:11:33,160 [TENSE ORCHESTRAL MUSIC] 157 00:11:38,280 --> 00:11:40,880 [CARAVAGGIO] Without good fortune, willpower has no power. 158 00:11:46,080 --> 00:11:49,280 Is it not true that success seeks the helping hand of fortune? 159 00:11:53,320 --> 00:11:54,600 [CARAVAGGIO SIGHS] Fortune... 160 00:11:56,200 --> 00:11:59,400 fleeting as a sudden bolt of lightning against a blackening sky. 161 00:12:03,920 --> 00:12:07,040 Unpredictable. Untameable. Elusive. 162 00:12:11,640 --> 00:12:14,440 I have challenged fortune so many times, 163 00:12:14,920 --> 00:12:17,480 and so many times has fortune defeated me. 164 00:12:19,400 --> 00:12:22,240 [TENSE MUSIC] 165 00:12:24,920 --> 00:12:29,120 I will not give in. I come back to the table and I raise the stakes. 166 00:12:35,320 --> 00:12:38,840 I am not afraid to bet it all against the toughest odds... 167 00:12:43,240 --> 00:12:46,000 in life, and in my paintings. 168 00:12:51,160 --> 00:12:53,200 My art will amaze you. 169 00:12:54,560 --> 00:12:56,600 Its power will change you. 170 00:12:56,760 --> 00:12:59,360 [HEARTBEAT AND CLUNK] 171 00:12:59,520 --> 00:13:01,920 [RAPID PIANO MUSIC] 172 00:13:06,680 --> 00:13:08,360 [NARRATOR] Rome was booming in those years. 173 00:13:08,960 --> 00:13:12,120 Three million pilgrims arrived in 1600, Jubilee year, 174 00:13:12,480 --> 00:13:15,720 and Caravaggio divided his time between painting and revelry. 175 00:13:15,880 --> 00:13:18,960 [LAUGHTER AND GLASSES CLINKING] 176 00:13:19,120 --> 00:13:19,920 "When he had worked 177 00:13:20,080 --> 00:13:21,480 for a couple of weeks, 178 00:13:21,640 --> 00:13:24,016 he then gadded about for a month or two with his sword at his side 179 00:13:24,040 --> 00:13:25,440 and a servant behind him... 180 00:13:26,880 --> 00:13:28,920 going from one game of royal tennis to the next, 181 00:13:29,360 --> 00:13:31,720 much inclined to duelling and brawling." 182 00:13:33,280 --> 00:13:35,120 So recalls Karel van Mander, 183 00:13:35,480 --> 00:13:38,760 a 17th century Flemish historian and art critic, who describes 184 00:13:38,920 --> 00:13:40,440 a dissolute and dangerous Rome. 185 00:13:42,760 --> 00:13:45,600 "I would urge you to go if I did not fear it would lead you astray, 186 00:13:45,760 --> 00:13:48,640 because Rome is the capital of schools of painting, 187 00:13:49,400 --> 00:13:54,040 but also a place where spendthrifts and prodigal sons squander all they have." 188 00:14:02,960 --> 00:14:04,360 Caravaggio navigated this world, 189 00:14:04,960 --> 00:14:08,400 populated by cardsharps, prostitutes and people of ill repute, 190 00:14:08,560 --> 00:14:09,800 with remarkable ease. 191 00:14:15,880 --> 00:14:18,360 A number of documents confirm a certain propensity 192 00:14:18,520 --> 00:14:19,640 for restlessness. 193 00:14:20,440 --> 00:14:23,400 His many legal entanglements include a lawsuit against him 194 00:14:23,560 --> 00:14:26,080 on the 19th of November, 1600, for aggression... 195 00:14:28,280 --> 00:14:30,000 a summons to court by his future biographer, 196 00:14:30,040 --> 00:14:33,120 Giovanni Baglione, on the 28th of August, 1603... 197 00:14:34,320 --> 00:14:35,160 and, a year later, 198 00:14:35,320 --> 00:14:38,120 an accusation made by a serving boy at an inn... 199 00:14:39,360 --> 00:14:42,440 that the painter threw a plate of artichokes in his face. 200 00:14:57,520 --> 00:15:01,280 In the inns and taverns of Campo Marzio, Caravaggio was well-known... 201 00:15:02,560 --> 00:15:05,840 and his sword, hanging from his belt, was his loyal companion. 202 00:15:08,800 --> 00:15:10,480 The city of Rome's underbelly, 203 00:15:10,880 --> 00:15:13,960 so dear to the painter, can be glimpsed in two of his works 204 00:15:14,120 --> 00:15:16,160 that evoke the allure of the slums. 205 00:15:20,160 --> 00:15:24,480 In Cardsharps, the faces of the two young men around the table are remarkable. 206 00:15:25,160 --> 00:15:28,560 They seem to be the same person, but with opposite traits and attitudes. 207 00:15:29,360 --> 00:15:30,920 One is naïve and calm... 208 00:15:31,600 --> 00:15:33,480 the other sly and tense. 209 00:15:38,600 --> 00:15:42,720 The theme of deception is handled with amusement, as described by Bellori: 210 00:15:44,320 --> 00:15:47,560 "He portrayed a simple-minded young man holding some playing cards. 211 00:15:48,040 --> 00:15:50,440 Opposite him, in profile, a fraudulent youth 212 00:15:50,600 --> 00:15:52,520 leans with one hand upon the gaming table... 213 00:15:53,120 --> 00:15:56,160 while with the other, he draws a fake card from his belt. 214 00:15:56,640 --> 00:16:00,600 A third figure, near the duped boy, looks at the markings on the cards 215 00:16:00,960 --> 00:16:04,640 and, extending three fingers, reveals them to his crony." 216 00:16:10,960 --> 00:16:13,040 Another painting on the subject of deception 217 00:16:13,200 --> 00:16:14,280 is The Fortune Teller. 218 00:16:15,040 --> 00:16:19,400 Here, a gypsy charms the hapless youth with her intense and impudent gaze. 219 00:16:19,960 --> 00:16:24,560 And, while reading his palm, robs him by slipping off his ring with impunity. 220 00:16:27,000 --> 00:16:29,080 This is a theatrically constructed painting 221 00:16:29,240 --> 00:16:30,440 where the real action, 222 00:16:30,600 --> 00:16:32,760 that is the deception carried out by the gypsy, 223 00:16:32,920 --> 00:16:35,360 is only apparent on close observation. 224 00:16:36,120 --> 00:16:39,040 [STRINGS MUSIC] 225 00:16:40,800 --> 00:16:43,480 These paintings greatly impressed Cardinal Del Monte, 226 00:16:43,760 --> 00:16:45,400 a discerning collector 227 00:16:45,560 --> 00:16:46,960 and great supporter of the arts. 228 00:16:51,840 --> 00:16:54,560 The Cardinal is so enthusiastic about Caravaggio 229 00:16:55,120 --> 00:16:57,080 that he takes him home to work in his house, 230 00:16:57,560 --> 00:16:59,320 where there is another artist's workshop. 231 00:17:00,800 --> 00:17:02,840 The Cardinal hosted a circle of artists 232 00:17:03,000 --> 00:17:06,720 at his home, with musicians, actors, painters, sculptors... 233 00:17:07,800 --> 00:17:09,120 and documents from the time, 234 00:17:09,600 --> 00:17:12,520 tell us that Caravaggio organised a kind of committee... 235 00:17:14,080 --> 00:17:18,240 a bit like Andy Warhol's so-called "Factory" in New York in the 1960s... 236 00:17:19,200 --> 00:17:23,360 where artists all types and from all walks of life literally came together. 237 00:17:25,280 --> 00:17:27,240 They lived together and worked together, 238 00:17:27,400 --> 00:17:30,080 each producing work to the best of their ability. 239 00:17:33,760 --> 00:17:35,336 [NARRATOR] Under the Cardinal's protection, 240 00:17:35,360 --> 00:17:37,440 Caravaggio seemed to lose some of his restlessness... 241 00:17:38,880 --> 00:17:41,680 but new events would soon shake up his life again. 242 00:17:44,240 --> 00:17:48,120 [SOFT ORCHESTRAL MUSIC] 243 00:18:01,560 --> 00:18:03,560 [CARAVAGGIO] I have made so many mistakes. 244 00:18:04,120 --> 00:18:05,640 And I have many more to make. 245 00:18:09,640 --> 00:18:13,120 With each mistake, I learn that life is made of change. 246 00:18:15,760 --> 00:18:20,320 [MELANCHOLIC MUSIC] 247 00:18:23,200 --> 00:18:24,480 Work after work... 248 00:18:25,440 --> 00:18:26,520 the painting helps me... 249 00:18:27,280 --> 00:18:28,280 to improve. 250 00:18:38,320 --> 00:18:41,920 In my paintings, I can see myself, failings and all. 251 00:18:46,080 --> 00:18:48,400 At least, I get to see them clearly. 252 00:18:50,880 --> 00:18:52,520 Like holding a mirror up to myself. 253 00:19:01,920 --> 00:19:05,240 Like a crystalline water jug that reflects its surroundings. 254 00:19:18,520 --> 00:19:19,720 A kind of magic... 255 00:19:22,160 --> 00:19:23,520 because in there it's me. 256 00:19:24,160 --> 00:19:25,160 Always... 257 00:19:25,600 --> 00:19:26,600 always me. 258 00:19:31,120 --> 00:19:34,080 [PIANO AND STRINGS MUSIC] 259 00:19:44,400 --> 00:19:46,640 [NARRATOR] Caravaggio considered his ability to reproduce 260 00:19:46,680 --> 00:19:49,400 transparencies and reflections in water 261 00:19:49,760 --> 00:19:52,720 to be his greatest talent, as one of his first biographers, 262 00:19:52,880 --> 00:19:55,680 Giovanni Baglione, noted when describing his Lute Player, 263 00:19:56,400 --> 00:20:00,040 which Caravaggio himself pronounced "il più bel pezzo che facesse mai"... 264 00:20:00,400 --> 00:20:01,680 "my greatest ever work." 265 00:20:09,440 --> 00:20:11,480 A boy plucks the strings of a lute, 266 00:20:12,040 --> 00:20:15,000 looking towards the viewer with such an emotional expression... 267 00:20:15,600 --> 00:20:18,200 that his eyes seem to be brimming with tears. 268 00:20:25,600 --> 00:20:28,800 Caravaggio masterfully combines reality and beauty. 269 00:20:29,800 --> 00:20:33,360 He brings the astonished viewer right into the scene itself... 270 00:20:36,840 --> 00:20:38,800 while his rendering of transparency... 271 00:20:39,600 --> 00:20:40,840 attracts like a magnet. 272 00:20:44,560 --> 00:20:47,680 This degree of artistic sophistication had rarely been seen. 273 00:20:55,560 --> 00:20:57,080 This is the seduction of art... 274 00:20:57,920 --> 00:20:59,080 according to Caravaggio. 275 00:21:11,560 --> 00:21:13,480 No work by him is more poised 276 00:21:13,640 --> 00:21:16,800 between the sacred and the profane than his Bacchus... 277 00:21:17,480 --> 00:21:18,920 painted for Cardinal del Monte, 278 00:21:19,360 --> 00:21:20,360 and now at the Uffizi. 279 00:21:22,440 --> 00:21:26,720 Bacchus looks directly at the viewer, with a sweetly ironic expression... 280 00:21:27,480 --> 00:21:29,800 proffering a tempting glass of red wine. 281 00:21:30,520 --> 00:21:33,280 [ORCHESTRAL CRESCENDO] 282 00:21:36,360 --> 00:21:40,040 Next to him is a still life and a carafe of almost black wine... 283 00:21:40,840 --> 00:21:42,360 with a few bubbles on the surface... 284 00:21:43,200 --> 00:21:44,320 a touch of realism 285 00:21:44,680 --> 00:21:48,240 that makes the moment captured by the painting seem even more lifelike. 286 00:21:49,200 --> 00:21:50,840 This is a far cry from the setting 287 00:21:51,000 --> 00:21:53,840 that a classical painter would have used to depict Bacchus... 288 00:21:54,560 --> 00:21:58,240 who seems to be sitting on a straw mattress covered by a white sheet. 289 00:21:58,880 --> 00:22:02,040 As if the artist had forgotten to arrange the drapery beforehand. 290 00:22:02,200 --> 00:22:04,840 [MUSIC CRESCENDO] 291 00:22:13,960 --> 00:22:15,680 Baglione gives us a fascinating detail about 292 00:22:15,800 --> 00:22:17,560 Caravaggio's technique: 293 00:22:19,000 --> 00:22:22,600 his first paintings were "drawn from reflections in a mirror." 294 00:22:23,800 --> 00:22:26,240 Caravaggio, he claims, used a mirror. 295 00:22:26,480 --> 00:22:28,520 A device that isolated the subject... 296 00:22:28,960 --> 00:22:31,520 and helped him focus exclusively on reality, 297 00:22:32,000 --> 00:22:34,560 on the space where nothing else exists. 298 00:22:35,920 --> 00:22:38,960 [MUSIC CRESCENDO] 299 00:22:39,480 --> 00:22:42,000 The god pours the wine with his left hand. 300 00:22:42,640 --> 00:22:46,120 This detail supports the theory that it is, in fact, his right hand, 301 00:22:46,520 --> 00:22:47,680 reflected in a mirror. 302 00:22:52,560 --> 00:22:56,440 It is even more surprising to learn that Caravaggio not only used a mirror, 303 00:22:56,600 --> 00:23:00,840 but actually transformed his studio into a huge pinhole camera. 304 00:23:02,040 --> 00:23:05,480 He arranged his models here, illuminating them with light 305 00:23:05,640 --> 00:23:07,200 filtered through a hole in the ceiling, 306 00:23:07,680 --> 00:23:12,920 then projecting their image onto the canvas using a lens and a mirror. 307 00:23:27,040 --> 00:23:30,200 "An angel of the Lord appeared to Joseph in a dream and said, 308 00:23:31,120 --> 00:23:34,920 'Rise, take the child and his mother, and flee to Egypt, 309 00:23:35,480 --> 00:23:37,000 and remain there until I tell you, 310 00:23:37,720 --> 00:23:40,040 for Herod is about to search for the child, 311 00:23:40,400 --> 00:23:41,520 to destroy him'." 312 00:23:43,440 --> 00:23:45,160 So reads the Gospel of Matthew... 313 00:23:45,680 --> 00:23:47,720 which inspired The Rest on the Flight into Egypt, 314 00:23:48,440 --> 00:23:50,320 today in the Doria Pamphili Gallery. 315 00:23:55,480 --> 00:23:58,560 This is one of Caravaggio's most fascinating works 316 00:23:58,720 --> 00:24:01,000 because of the presence of this beautiful angel, 317 00:24:01,240 --> 00:24:03,520 with whom the artist seems to have fallen in love. 318 00:24:09,560 --> 00:24:11,920 This really is a central figure 319 00:24:12,080 --> 00:24:16,560 and as such, it represents an important concept in terms of realism, 320 00:24:16,880 --> 00:24:21,800 but also as regards the composition, as it forms the axis of the picture. 321 00:24:26,800 --> 00:24:29,480 [MUSIC CRESCENDO] 322 00:24:35,240 --> 00:24:37,000 [NARRATOR] Caravaggio's fame began to spread. 323 00:24:38,640 --> 00:24:40,200 Marquis Vincenzo Giustiniani, 324 00:24:40,360 --> 00:24:43,040 an important collector, commissioned the painting 325 00:24:43,640 --> 00:24:45,240 Amor Vincit Omnia. 326 00:24:48,360 --> 00:24:49,600 "Love conquers all. 327 00:24:50,520 --> 00:24:52,280 Let us, too, yield to Love," 328 00:24:53,120 --> 00:24:54,880 states Virgil in his Eclogues. 329 00:24:58,000 --> 00:24:59,680 It is a strange subject, 330 00:25:00,280 --> 00:25:04,080 a winged Cupid-like boy with a series of objects at his feet: 331 00:25:06,960 --> 00:25:08,240 musical instruments... 332 00:25:09,280 --> 00:25:10,280 arms... 333 00:25:10,840 --> 00:25:12,160 symbols of power. 334 00:25:17,280 --> 00:25:20,600 This audacious subject prompted the marquis to keep the painting 335 00:25:20,760 --> 00:25:22,200 concealed behind a curtain... 336 00:25:23,200 --> 00:25:24,680 partly so as not to diminish 337 00:25:24,840 --> 00:25:26,600 the other works in his collection. 338 00:25:27,920 --> 00:25:30,000 [DRIPPING WATER] 339 00:25:32,840 --> 00:25:36,240 [TENSE MUSIC] 340 00:25:51,840 --> 00:25:54,240 [CARAVAGGIO] They say I am unable to depict action. 341 00:25:56,440 --> 00:25:57,720 Beyond his reach... 342 00:25:59,160 --> 00:26:00,400 slander the envious. 343 00:26:02,640 --> 00:26:03,920 But I have gone further. 344 00:26:09,880 --> 00:26:12,640 I have learned to translate action into pure expression. 345 00:26:20,200 --> 00:26:23,680 To paint faces in which raw reactions depict the seen... 346 00:26:25,400 --> 00:26:26,400 and the unseen. 347 00:26:26,640 --> 00:26:28,120 [DRAMATIC INSTRUMENTAL MUSIC] 348 00:26:29,720 --> 00:26:33,360 My Medusa says more in one glance than ten books of words. 349 00:26:33,680 --> 00:26:38,760 The pain etched onto her face is pain I have felt so many times. 350 00:26:39,840 --> 00:26:42,560 You can read it in the marks of my very own face. 351 00:26:43,960 --> 00:26:45,760 Medusa and I have much in common. 352 00:26:46,600 --> 00:26:48,400 She can turn the living into granite. 353 00:26:50,240 --> 00:26:52,680 And I can paint the living into eternity. 354 00:26:53,160 --> 00:26:56,440 [MUSIC CRESCENDO] 355 00:27:06,720 --> 00:27:08,680 [NARRATOR] Caravaggio's fame grew at the same pace 356 00:27:08,840 --> 00:27:10,440 as the criticism he attracted. 357 00:27:11,520 --> 00:27:13,440 Every success sparked objections... 358 00:27:14,640 --> 00:27:16,080 principally about "action." 359 00:27:17,760 --> 00:27:19,680 The power of his figures was clear, 360 00:27:20,000 --> 00:27:24,200 but they were criticised for their lack of "movement, affections and grace." 361 00:27:31,000 --> 00:27:35,000 These accusations were silenced by his Shield with the Head of Medusa, 362 00:27:35,160 --> 00:27:36,720 now on display at the Uffizi. 363 00:27:37,920 --> 00:27:40,400 Again, this work refers to nature. 364 00:27:41,680 --> 00:27:45,720 The writhing snakes on Medusa's head look truly alive. 365 00:27:48,960 --> 00:27:51,120 The face is choked in a silent cry. 366 00:27:51,760 --> 00:27:53,840 In the moment immediately after decapitation... 367 00:27:54,520 --> 00:27:57,400 captured in the final act of unstoppable vitality. 368 00:27:58,400 --> 00:28:00,560 The gaping mouth shows her wet tongue... 369 00:28:01,320 --> 00:28:02,880 her eyes are wide open, 370 00:28:03,160 --> 00:28:05,680 her muscles contracted beyond all normal limits, 371 00:28:06,080 --> 00:28:07,280 her eyebrows knitted, 372 00:28:08,120 --> 00:28:11,120 and the tangle of snakes twist as if they have gone mad 373 00:28:11,760 --> 00:28:13,920 while spurts of blood ooze from her neck. 374 00:28:14,080 --> 00:28:17,720 [DRAMATIC INSTRUMENTAL MUSIC] 375 00:28:17,880 --> 00:28:20,200 It is an expression of authentic pain... 376 00:28:21,080 --> 00:28:24,080 like that of The Boy Bitten by a Lizard, in the National Gallery... 377 00:28:25,200 --> 00:28:28,560 of which there is another masterful version in the Fondazione Longhi. 378 00:28:33,680 --> 00:28:35,840 The painting shows the reflex action 379 00:28:36,000 --> 00:28:39,200 of a boy who is drawing back his hand 380 00:28:39,600 --> 00:28:42,720 from the animal that appears in the foreground. 381 00:28:44,200 --> 00:28:49,360 His involuntary response is concentrated in the wonderful expression of his face, 382 00:28:49,680 --> 00:28:53,000 in his half-closed mouth and knitted brow... 383 00:28:54,920 --> 00:29:00,360 an extraordinary detail and a further example of Caravaggio's interest 384 00:29:00,600 --> 00:29:02,760 in depicting fleeting expressions. 385 00:29:08,720 --> 00:29:12,600 [NARRATOR] The boy's expression of shock as he recoils from his hidden assailant 386 00:29:12,760 --> 00:29:15,960 has given rise to an interpretation of the painting as a "vanitas," 387 00:29:16,320 --> 00:29:21,160 a reflection on the pitfalls encountered by those who give in to worldly pleasures. 388 00:29:26,400 --> 00:29:29,680 This focus on facial expressions is even more apparent 389 00:29:29,840 --> 00:29:31,720 in The Sacrifice of Isaac. 390 00:29:37,520 --> 00:29:40,560 The dramatic nature of the event can be seen in the desperation of 391 00:29:40,720 --> 00:29:45,400 the victim, Isaac, whose father, Abraham, is prepared to sacrifice his son 392 00:29:45,800 --> 00:29:48,040 in order to submit to the will of God. 393 00:29:49,200 --> 00:29:52,120 This remarkable painting is poised between 394 00:29:52,280 --> 00:29:55,320 Caravaggio's younger and more mature phase, 395 00:29:55,480 --> 00:29:58,080 and it also has a rather rare feature. 396 00:29:58,440 --> 00:30:02,160 A significant portion of the work is given over to the landscape. 397 00:30:04,880 --> 00:30:08,720 And landscape is not a common feature of Caravaggio's work. 398 00:30:11,040 --> 00:30:12,920 The overall composition of the painting 399 00:30:13,080 --> 00:30:16,920 is extremely balanced, while remaining highly realistic. 400 00:30:17,920 --> 00:30:19,760 This ability to reconcile 401 00:30:19,920 --> 00:30:25,200 a vivid sense of reality with cultural references is a key element of 402 00:30:25,360 --> 00:30:27,600 Caravaggio's artistic genius. 403 00:30:34,040 --> 00:30:37,640 [NARRATOR] Caravaggio's life continued to veer from success to desperation... 404 00:30:38,360 --> 00:30:39,680 from darkness to light... 405 00:30:40,720 --> 00:30:42,880 constantly tormented by his demons. 406 00:30:44,040 --> 00:30:45,040 He was twenty-eight... 407 00:30:45,640 --> 00:30:48,480 and his greatest opportunity was waiting in the wings. 408 00:30:54,520 --> 00:30:58,720 [UPBEAT DIGITAL MUSIC] 409 00:31:11,040 --> 00:31:13,240 [NARRATOR] I carry the name of an Archangel... 410 00:31:13,960 --> 00:31:15,840 the name of a great artist. 411 00:31:23,800 --> 00:31:26,560 Inside me rages the clash of an imperfect character. 412 00:31:27,440 --> 00:31:28,960 I cannot tame it. 413 00:31:35,160 --> 00:31:36,520 I wish I could break free... 414 00:31:36,880 --> 00:31:41,560 still this rebellious spirit, calm this wild instinct. 415 00:31:53,040 --> 00:31:54,560 If only I could see the light! 416 00:31:54,960 --> 00:31:55,960 [DRUM HIT] 417 00:31:57,000 --> 00:31:58,000 [DRUM HITS] 418 00:31:59,520 --> 00:32:02,080 Light... that sweeps away darkness... 419 00:32:03,160 --> 00:32:07,080 clear light that frees the blind and ravening mind. 420 00:32:12,080 --> 00:32:13,680 A light that I can represent... 421 00:32:14,320 --> 00:32:15,440 and yet cannot see. 422 00:32:29,560 --> 00:32:33,200 [NARRATOR] The 23rd of July, 1599, was a unique day. 423 00:32:34,040 --> 00:32:35,040 Unrepeatable. 424 00:32:36,600 --> 00:32:40,840 Caravaggio signed a contract for two large canvases to be hung on the side walls 425 00:32:41,120 --> 00:32:43,720 of the Contarelli Chapel in San Luigi dei Francesi: 426 00:32:44,840 --> 00:32:47,720 The Calling, and The Martyrdom of St. Matthew, 427 00:32:48,000 --> 00:32:49,360 his first public works. 428 00:32:56,000 --> 00:33:00,200 This was a prestigious commission in view of the imminent Jubilee in 1600... 429 00:33:01,080 --> 00:33:04,800 in which numerous artists had been engaged to help bring Rome up to date 430 00:33:05,200 --> 00:33:08,400 and celebrate the triumph of the Catholic Church over Protestantism. 431 00:33:17,160 --> 00:33:21,320 Cardinal Matteo Contarelli had entrusted the executors of his will 432 00:33:21,480 --> 00:33:24,160 to commission the decoration of his private burial chapel 433 00:33:24,560 --> 00:33:27,920 with a series of paintings telling the story of the apostle Matthew, 434 00:33:28,520 --> 00:33:29,520 his namesake. 435 00:33:38,200 --> 00:33:40,920 After various failed attempts by other artists, 436 00:33:41,240 --> 00:33:44,120 Caravaggio was now given the opportunity to prove himself 437 00:33:44,280 --> 00:33:47,240 in the public arena of large-scale religious painting. 438 00:33:48,560 --> 00:33:52,320 He had never painted canvases more than 150 centimetres wide... 439 00:33:53,440 --> 00:33:57,360 and he was now confronted with over three metres from side to side. 440 00:33:59,960 --> 00:34:03,200 [WOMAN]In the Contarelli Chapel, Caravaggio encountered a major problem. 441 00:34:03,840 --> 00:34:07,320 He was commissioned to paint some enormous canvases very quickly. 442 00:34:07,880 --> 00:34:11,000 They had to be populated by a series of characters, 443 00:34:11,240 --> 00:34:13,920 which did not chime with his artistic nature. 444 00:34:14,440 --> 00:34:15,440 What's more, 445 00:34:15,600 --> 00:34:19,440 it was his debut on the Roman art scene, where he was not viewed favourably. 446 00:34:33,200 --> 00:34:34,880 [NARRATOR] In The Calling of St Matthew... 447 00:34:35,120 --> 00:34:38,920 a scene previously immersed in gloom is illuminated by light. 448 00:34:39,920 --> 00:34:42,160 Yet this light does not come from the enormous window, 449 00:34:42,320 --> 00:34:46,040 but it seems to enter the picture as if driven by the arm of Christ... 450 00:34:47,640 --> 00:34:50,440 whose forward gesture reminds us of that of God the Father, 451 00:34:50,680 --> 00:34:55,080 painted by the other great Michelangelo on the ceiling of the Sistine Chapel. 452 00:34:57,600 --> 00:35:00,520 While Christ singles out Matthew, the tax collector... 453 00:35:01,440 --> 00:35:03,520 some of those around the table do not even notice 454 00:35:03,680 --> 00:35:05,520 that he has entered the room with St. Peter. 455 00:35:15,440 --> 00:35:18,960 One of the men sitting at the table looks towards Christ... 456 00:35:19,880 --> 00:35:24,400 and seems to gesture with his hands, as if to say "Am I the chosen one?" 457 00:35:27,200 --> 00:35:30,600 This interpretation has, however, been hotly debated over the years. 458 00:35:31,360 --> 00:35:35,080 Some argue that Matthew must be the young man avidly counting money. 459 00:35:40,200 --> 00:35:43,400 The many differences of opinion about The Calling of St. Matthew, 460 00:35:43,560 --> 00:35:47,120 sparked by admiration and envy, contributed to its status 461 00:35:47,280 --> 00:35:50,760 as perhaps one of the most celebrated of all Caravaggio's works. 462 00:35:55,920 --> 00:35:58,800 In the Contarelli Chapel, Caravaggio developed and refined 463 00:35:58,960 --> 00:36:01,720 a new technique. He substituted the light ground 464 00:36:01,880 --> 00:36:05,280 he had always applied to the canvas with a dark ground, 465 00:36:05,840 --> 00:36:10,000 so now the traditional sketch on the bare canvas he had used as a guide 466 00:36:10,160 --> 00:36:11,520 was no longer visible. 467 00:36:11,840 --> 00:36:16,480 He needed to find another way to outline his composition on a dark canvas. 468 00:36:18,840 --> 00:36:23,080 So, instead of drawing, he developed a kind of etching technique. 469 00:36:24,040 --> 00:36:26,040 He evidently used a pointed tool, 470 00:36:26,280 --> 00:36:28,600 some think he might have used the end of his brush, 471 00:36:28,840 --> 00:36:31,680 to engrave lines in the still fresh ground. 472 00:36:35,160 --> 00:36:39,840 He also used this ground to create the dark background of his paintings... 473 00:36:41,000 --> 00:36:43,200 as well as for all the parts in shadow. 474 00:36:44,160 --> 00:36:46,400 In fact, from the Contarelli Chapel on, 475 00:36:46,720 --> 00:36:50,360 Caravaggio only painted figures in light or half-light. 476 00:36:51,400 --> 00:36:54,400 Anything not in the light or half-light was not there; 477 00:36:54,560 --> 00:36:56,040 it simply no longer existed. 478 00:36:59,400 --> 00:37:02,920 [INSTRUMENTAL MUSIC] 479 00:37:06,480 --> 00:37:09,800 [NARRATOR] The canvas of The Martyrdom contains a fascinating detail. 480 00:37:11,800 --> 00:37:15,000 In the background on the left, we glimpse a fleeing figure... 481 00:37:15,840 --> 00:37:18,040 horrified by the violence he is witnessing. 482 00:37:26,040 --> 00:37:28,360 This is a self-portrait of Caravaggio... 483 00:37:29,400 --> 00:37:32,200 who shows his fearful and almost disgusted reaction 484 00:37:32,360 --> 00:37:33,800 to the work he himself has produced. 485 00:37:35,920 --> 00:37:39,120 A unique example in the history of western painting. 486 00:37:46,760 --> 00:37:48,160 Bellori wrote that Caravaggio 487 00:37:48,320 --> 00:37:50,200 painted this Martyrdom twice. 488 00:37:51,160 --> 00:37:53,360 This previously unsubstantiated claim 489 00:37:53,520 --> 00:37:55,760 was only confirmed in the twentieth century, 490 00:37:56,080 --> 00:37:59,520 when researchers used X-ray analysis to show how the artist 491 00:37:59,680 --> 00:38:03,240 continued to change idea about how best to compose this scene. 492 00:38:03,800 --> 00:38:07,360 [LIGHT INSTRUMENTAL MUSIC] 493 00:38:21,880 --> 00:38:25,480 The two Contarelli paintings are authentic figurative clashes. 494 00:38:26,000 --> 00:38:30,880 A reflection of Caravaggio's inner spirit, in a state of permanent agitation. 495 00:38:39,080 --> 00:38:41,400 Caravaggio also painted the altarpiece in the chapel, 496 00:38:42,000 --> 00:38:43,840 which shows St. Matthew writing the Gospel, 497 00:38:44,400 --> 00:38:46,600 guided by an angel who has descended from Heaven. 498 00:38:48,040 --> 00:38:50,800 However, this canvas conceals an unresolved mystery. 499 00:38:51,240 --> 00:38:54,120 [ORCHESTRAL MUSIC] 500 00:39:00,560 --> 00:39:03,640 Baglione reminds us that Marquis Vincenzo Giustiniani 501 00:39:03,800 --> 00:39:06,200 purchased a canvas of a certain St. Matthew 502 00:39:06,560 --> 00:39:09,680 that Caravaggio had previously painted for the altar at San Luigi, 503 00:39:09,840 --> 00:39:11,160 but which no one liked. 504 00:39:13,160 --> 00:39:15,840 This is the first version of St. Matthew and the Angel. 505 00:39:16,360 --> 00:39:18,760 it ended up at the Berlin State Museums 506 00:39:19,360 --> 00:39:22,200 and was destroyed during an air raid in the Second World War. 507 00:39:24,920 --> 00:39:27,840 A photograph of the lost work shows the apostle 508 00:39:28,000 --> 00:39:31,520 curiously characterised as an ancient philosopher or wise Jew... 509 00:39:32,640 --> 00:39:35,480 while the angel is androgynous and very sensual. 510 00:39:39,080 --> 00:39:42,400 We do not know for certain why this first version was rejected, 511 00:39:42,800 --> 00:39:44,960 but it could have been due to its lack of "decorum." 512 00:39:49,880 --> 00:39:52,000 The saint would appear to be illiterate 513 00:39:52,520 --> 00:39:55,080 able to write only what is dictated to him, 514 00:39:55,720 --> 00:39:57,440 and guided by the angelic hand. 515 00:39:58,560 --> 00:40:01,880 [INSTRUMENTAL MUSIC] 516 00:40:07,880 --> 00:40:12,280 The Contarelli Chapel became a prestigious calling card for Caravaggio. 517 00:40:24,520 --> 00:40:27,880 [DRIPPING WATER] 518 00:40:37,000 --> 00:40:38,520 [KNOCKING] 519 00:40:39,880 --> 00:40:41,200 [CARAVAGGIO] I am a man of value, 520 00:40:41,520 --> 00:40:44,520 and as a man of value, I know a fine painter. 521 00:40:45,000 --> 00:40:47,440 I admire them. I appreciate their art. 522 00:40:48,120 --> 00:40:50,880 I can distinguish the good from those who vainly 523 00:40:51,040 --> 00:40:52,040 claim to be good. 524 00:40:52,840 --> 00:40:53,840 Such men... 525 00:40:54,520 --> 00:40:55,520 simple bores. 526 00:40:56,320 --> 00:41:00,520 To be a man of value is to deeply understand painting, like me... 527 00:41:01,120 --> 00:41:02,800 to be able to reproduce reality... 528 00:41:03,520 --> 00:41:04,520 the natural. 529 00:41:05,200 --> 00:41:07,720 I leave the boast of empty words to others. 530 00:41:08,600 --> 00:41:10,680 I let my works do my talking for me. 531 00:41:12,360 --> 00:41:14,680 [DRIPPING WATER] 532 00:41:28,000 --> 00:41:31,120 [NARRATOR] What we know about Caravaggio does not only come from his works... 533 00:41:32,320 --> 00:41:34,440 but also from written documents... 534 00:41:36,200 --> 00:41:38,160 many of which are court papers. 535 00:41:40,400 --> 00:41:43,480 The invaluable reports preserved in the State Archive in Rome... 536 00:41:45,160 --> 00:41:46,480 give us a vivid sense of 537 00:41:46,640 --> 00:41:48,280 Caravaggio's life and troubles. 538 00:41:48,440 --> 00:41:51,680 [SUSPENSE MUSIC] 539 00:41:53,240 --> 00:41:56,000 The minutes of the Baglione trial in 1603... 540 00:41:56,520 --> 00:41:59,520 describe alliances and envy among artists... 541 00:42:00,600 --> 00:42:03,560 but, above all, reveal Caravaggio's theory of painting. 542 00:42:07,000 --> 00:42:08,640 "A real artist of worth 543 00:42:08,800 --> 00:42:11,560 knows how to paint well and imitate nature." 544 00:42:13,080 --> 00:42:16,880 And Caravaggio knew that in this he was better than anyone else. 545 00:42:21,040 --> 00:42:23,600 Caravaggio was summoned to court by Baglione... 546 00:42:24,520 --> 00:42:27,840 because he and his friends, Onorio Longhi and Orazio Gentileschi, 547 00:42:28,440 --> 00:42:32,680 had circulated a series of offensive verses about his future biographer... 548 00:42:33,400 --> 00:42:34,520 who was also a painter. 549 00:42:44,080 --> 00:42:46,640 At the same time as this latest brush with the law... 550 00:42:48,120 --> 00:42:49,800 he was offered a great opportunity: 551 00:42:51,160 --> 00:42:53,680 to work in the Basilica of Santa Maria del Popolo. 552 00:43:08,680 --> 00:43:10,400 Here, on his arrival in Rome, 553 00:43:11,160 --> 00:43:14,280 Caravaggio had probably admired the frescoes by Pinturicchio... 554 00:43:18,320 --> 00:43:20,400 and the chapel designed by Raphael. 555 00:43:29,080 --> 00:43:31,680 He was commissioned to paint two pictures on wooden panels, 556 00:43:32,160 --> 00:43:34,960 to be placed on either side of the altar in the Cerasi Chapel. 557 00:43:44,840 --> 00:43:47,920 Caravaggio signed the contract while working on the Contarelli Chapel... 558 00:43:48,960 --> 00:43:50,440 which clearly indicates the immediate 559 00:43:50,600 --> 00:43:53,360 and striking success of his first public works. 560 00:43:55,440 --> 00:43:58,760 The Cerasi episode, however, was a very troubled one. 561 00:44:00,120 --> 00:44:02,760 Baglione recalls that these oil paintings on wood 562 00:44:03,120 --> 00:44:04,920 were initially finished in another style, 563 00:44:05,360 --> 00:44:07,600 but because they did not meet with the Patron's pleasure, 564 00:44:07,760 --> 00:44:09,600 they were taken by Cardinal Sannesio. 565 00:44:10,560 --> 00:44:13,080 So, Cerasi rejected the two paintings on wood. 566 00:44:13,880 --> 00:44:16,400 Caravaggio had no other option than to start again... 567 00:44:17,000 --> 00:44:19,000 this time using his favourite technique, 568 00:44:19,400 --> 00:44:20,400 oil on canvas. 569 00:44:21,240 --> 00:44:22,800 The result was surprising. 570 00:44:22,960 --> 00:44:27,760 [UPBEAT ORCHESTRAL MUSIC] 571 00:44:29,840 --> 00:44:31,680 In The Crucifixion of St. Peter, 572 00:44:32,080 --> 00:44:36,280 the executioners lifting Peter's cross are depicted as if they were frozen, 573 00:44:36,680 --> 00:44:37,800 like blocks of stone. 574 00:44:46,400 --> 00:44:50,600 But The Conversion of St. Paul is the undisputed masterpiece of the chapel. 575 00:44:51,600 --> 00:44:53,000 There is no background scene 576 00:44:53,440 --> 00:44:57,040 and Caravaggio concentrates his artistic focus on the depiction of 577 00:44:57,200 --> 00:44:58,200 the individual figure... 578 00:44:59,320 --> 00:45:01,120 eliminating everything superfluous... 579 00:45:02,120 --> 00:45:05,840 and reducing the canvas to its bare essentials. 580 00:45:12,240 --> 00:45:14,400 The soldier, who has fallen from his horse, 581 00:45:14,720 --> 00:45:16,400 lies with his arms open wide 582 00:45:16,840 --> 00:45:19,760 as if to welcome the heavenly light into his very being. 583 00:45:25,880 --> 00:45:27,080 In the Historia, 584 00:45:27,400 --> 00:45:30,320 the narrative line of the work, there is no action... 585 00:45:31,040 --> 00:45:33,280 because it captures a definitive gesture... 586 00:45:34,160 --> 00:45:36,920 that conveys a sensation of absolute immobility... 587 00:45:38,560 --> 00:45:42,000 giving rise to a powerful contrast between deep shadow... 588 00:45:42,800 --> 00:45:43,960 and blinding light. 589 00:45:45,200 --> 00:45:47,640 [MUSIC CRESCENDO] 590 00:46:09,000 --> 00:46:12,400 Another work for public display, and another absolute masterpiece 591 00:46:13,160 --> 00:46:14,640 is The Deposition from the Cross... 592 00:46:15,360 --> 00:46:16,760 now in the Vatican Museums. 593 00:46:23,520 --> 00:46:27,240 Caravaggio immortalises the moment prior to Christ's burial... 594 00:46:28,040 --> 00:46:29,480 the descent to the tomb. 595 00:46:30,680 --> 00:46:33,320 His death is depicted with implacable realism. 596 00:46:34,840 --> 00:46:36,400 His body is cold and pale, 597 00:46:36,680 --> 00:46:39,720 his limp right arm hangs, lifeless, at his side. 598 00:46:42,720 --> 00:46:46,680 At this moment, Christ is the stone discarded by history. 599 00:46:47,200 --> 00:46:49,840 He is dead, defeated, lost. 600 00:46:53,800 --> 00:46:56,400 His disciples have abandoned and denied him. 601 00:46:58,880 --> 00:47:01,960 His promise of utopia seems to have ended on the cross... 602 00:47:03,400 --> 00:47:06,280 and will now be dissolved forever in the tomb. 603 00:47:14,720 --> 00:47:17,880 [DRIPPING WATER] 604 00:47:18,040 --> 00:47:22,320 [MELANCHOLIC MUSIC] 605 00:47:30,280 --> 00:47:31,800 [CARAVAGGIO] For the women I've met... 606 00:47:42,920 --> 00:47:44,280 For the women by my side... 607 00:47:55,800 --> 00:47:57,680 For the ones who got away... 608 00:48:01,160 --> 00:48:02,320 For the women I've loved... 609 00:48:06,640 --> 00:48:08,840 For those who have hated me... 610 00:48:11,160 --> 00:48:12,720 The ones I've exploited... 611 00:48:14,280 --> 00:48:15,800 For the women I've painted... 612 00:48:22,280 --> 00:48:24,240 For those I am yet to meet... 613 00:48:27,280 --> 00:48:29,400 and those still to come... 614 00:48:38,360 --> 00:48:41,240 For all these women do I live! 615 00:48:42,800 --> 00:48:47,000 [UPBEAT ORCHESTRAL MUSIC] 616 00:48:59,920 --> 00:49:02,920 [NARRATOR] An intense yellow drape falls across the legs 617 00:49:03,080 --> 00:49:04,240 of the Penitent Magdalene. 618 00:49:05,880 --> 00:49:08,040 An impalpable shawl, also yellow, 619 00:49:08,480 --> 00:49:10,600 covers the shoulders of The Madonna of Loreto. 620 00:49:15,400 --> 00:49:16,400 This is no coincidence. 621 00:49:17,760 --> 00:49:20,040 Prostitutes were forced to wear yellow garments 622 00:49:20,320 --> 00:49:21,920 in order to identify themselves. 623 00:49:24,880 --> 00:49:27,320 And Caravaggio's models were often prostitutes. 624 00:49:35,440 --> 00:49:37,080 The two he used most frequently 625 00:49:37,560 --> 00:49:40,240 were Anna Bianchini and Fillide Melandroni... 626 00:49:40,920 --> 00:49:43,800 who may well have posed as Martha and Mary Magdalene. 627 00:49:49,440 --> 00:49:53,000 Caravaggio wanted to highlight the difference between the two figures, 628 00:49:53,240 --> 00:49:55,800 the difference in their social status, I mean. 629 00:49:59,040 --> 00:50:01,960 Notice the simplicity of the woman on the left... 630 00:50:02,600 --> 00:50:05,240 and the luxury, the stunning clothes... 631 00:50:05,960 --> 00:50:08,520 and elaborate sleeve of the central figure. 632 00:50:15,560 --> 00:50:18,800 The painting is known as The Conversion of Mary Magdalene, 633 00:50:19,440 --> 00:50:22,040 who is about to mentally step away 634 00:50:22,400 --> 00:50:25,800 from her life of sin, luxury, and pleasure. 635 00:50:28,000 --> 00:50:30,560 She listens to the words of the woman next to her... 636 00:50:31,800 --> 00:50:33,800 and the position of her hands 637 00:50:34,280 --> 00:50:37,400 shows that she is trying to persuade her sophisticated 638 00:50:37,560 --> 00:50:40,160 young companion to change her ways. 639 00:50:45,160 --> 00:50:48,440 [NARRATOR] Anna Bianchini may also have lent her face to The Penitent Magdalene. 640 00:50:51,320 --> 00:50:53,280 Caravaggio must have thought it was opportune 641 00:50:53,440 --> 00:50:56,600 to portray a real-life "sinner" in the guise of the converted saint... 642 00:50:57,640 --> 00:51:01,160 a secular and simple way of interpreting the religious subject. 643 00:51:02,720 --> 00:51:04,840 Yet it turned out to be a very risky move... 644 00:51:05,880 --> 00:51:07,520 the first in a long series. 645 00:51:08,360 --> 00:51:11,480 [TENSE MUSIC] 646 00:51:13,960 --> 00:51:18,320 Fillide, meanwhile, is the model who poses in J udith Beheading Holofernes, 647 00:51:18,760 --> 00:51:22,600 a work of disconcerting violence, now in the Barberini Palace. 648 00:51:24,720 --> 00:51:27,720 The biblical subject is a parable of subjugated virtue 649 00:51:28,120 --> 00:51:29,880 triumphing over tyrannical power. 650 00:51:33,680 --> 00:51:36,720 The Jewish heroine seduces the cruel Assyrian general, 651 00:51:37,200 --> 00:51:40,160 and then, with a sword she kills him. 652 00:51:40,320 --> 00:51:42,120 [DRAMATIC MUSIC] 653 00:51:49,040 --> 00:51:53,600 Holofernes, lying naked on the sheets, has made a terrible mistake. 654 00:51:54,840 --> 00:51:57,600 Judith brutally grips his hair and pulls back his head... 655 00:51:58,480 --> 00:52:00,600 so that the blade can cut his neck more easily. 656 00:52:03,200 --> 00:52:06,000 Concentrating ferociously, she knits her brow... 657 00:52:07,440 --> 00:52:13,560 while he, waking just in time to realise his fate, lets out a final atrocious cry. 658 00:52:15,440 --> 00:52:18,800 [MUSIC CRESCENDO] 659 00:52:29,480 --> 00:52:31,720 [ORCHESTRAL ADAGIO] 660 00:52:49,280 --> 00:52:50,680 And perhaps yet another prostitute, 661 00:52:51,200 --> 00:52:52,360 Maddalena Antognetti, 662 00:52:52,720 --> 00:52:55,880 described in many accounts as "Lena, Michelangelo's woman," 663 00:52:56,400 --> 00:52:58,400 is the model for The Madonna of Loreto... 664 00:52:59,360 --> 00:53:02,760 destined for the Cavalletti Chapel in the Basilica of Sant 'Agostino... 665 00:53:04,000 --> 00:53:06,560 where prostitutes, themselves, often went to pray. 666 00:53:09,760 --> 00:53:11,560 The work caused a real scandal. 667 00:53:12,600 --> 00:53:16,680 It was for public display and, therefore, merited greater "decorum." 668 00:53:19,080 --> 00:53:23,480 Two such filthy, wretched pilgrims had never been seen in painting before. 669 00:53:26,280 --> 00:53:28,760 Caravaggio focused his attention on base humanity. 670 00:53:30,720 --> 00:53:34,320 It was the conditions of the dregs of society, of the dispossessed, 671 00:53:34,720 --> 00:53:36,920 that he found the most worthy subject for painting, 672 00:53:37,280 --> 00:53:38,800 because it was the most real. 673 00:53:41,400 --> 00:53:44,840 [CHURCH BELL RINGING] 674 00:53:46,360 --> 00:53:50,280 [INSTRUMENTAL MUSIC] 675 00:53:59,160 --> 00:54:01,560 [NARRATOR] "And I will put enmity between you and the woman, 676 00:54:01,920 --> 00:54:03,840 and between your offspring and her offspring. 677 00:54:04,280 --> 00:54:05,720 He shall crush your head... 678 00:54:06,520 --> 00:54:08,160 and you shall strike his heel." 679 00:54:11,560 --> 00:54:12,680 This passage from Genesis 680 00:54:13,080 --> 00:54:15,120 inspired The Madonna and Child with St. Anne... 681 00:54:16,520 --> 00:54:19,600 a canvas measuring almost three metres high and two metres wide, 682 00:54:20,040 --> 00:54:22,920 commissioned by the Parafrenieri di Sant'Anna confraternity... 683 00:54:23,800 --> 00:54:26,400 as an altarpiece in St. Peter's Basilica. 684 00:54:30,480 --> 00:54:33,920 The Virgin, in whose face we can once again see the features of Lena, 685 00:54:34,200 --> 00:54:38,280 the Child and St. Anne are engaged in a battle against pure evil. 686 00:54:40,320 --> 00:54:42,240 Together, the Madonna and Christ Child 687 00:54:42,560 --> 00:54:44,880 crush the head of a serpent beneath their feet. 688 00:54:46,200 --> 00:54:48,280 While the heinous creature is twisting in agony... 689 00:54:49,040 --> 00:54:51,720 St. Anne watches the scene in solemn contemplation. 690 00:54:54,440 --> 00:54:56,560 The fascination of the Virgin is evident... 691 00:54:57,720 --> 00:54:59,240 especially if compared to the saint... 692 00:55:00,280 --> 00:55:02,680 who is portrayed as an old, fragile woman. 693 00:55:07,520 --> 00:55:10,760 Caravaggio delivered the work on the 8th of April, 1606... 694 00:55:11,520 --> 00:55:13,120 giving the Dean of the confraternity 695 00:55:13,280 --> 00:55:16,320 the only extant statement written in his own hand, 696 00:55:17,200 --> 00:55:21,120 in which he declares himself "happy and satisfied" with the painting. 697 00:55:25,600 --> 00:55:28,960 The Madonna and Child with St. Anne remained above the present-day altar 698 00:55:29,120 --> 00:55:33,160 in the chapel of St Michael the Archangel in St. Peter's for only a few days. 699 00:55:33,720 --> 00:55:35,920 The verdict came... rejected. 700 00:55:36,080 --> 00:55:40,120 There could be no appeal, and the painting was swiftly removed. 701 00:55:41,840 --> 00:55:43,000 Today, we can only imagine 702 00:55:43,160 --> 00:55:45,800 the great scenic impact the painting would have made... 703 00:55:46,680 --> 00:55:49,120 had it been allowed to remain in its original position. 704 00:55:49,280 --> 00:55:51,920 [MUSIC CRESCENDO] 705 00:56:00,240 --> 00:56:02,960 Rumours soon began to spread that Scipione Borghese, 706 00:56:03,400 --> 00:56:05,120 the nephew of Pope Paul V, 707 00:56:05,280 --> 00:56:08,240 had urged that The Madonna and Child with St. Anne should be rejected, 708 00:56:08,400 --> 00:56:10,120 so that he could buy it for a good price. 709 00:56:10,800 --> 00:56:13,960 Obsessed with art, the cardinal sought to gain possession of the finest works 710 00:56:14,120 --> 00:56:15,760 by any means available. 711 00:56:16,520 --> 00:56:18,880 As he formed what would become the collection now on display 712 00:56:19,000 --> 00:56:20,040 in the Borghese Gallery... 713 00:56:20,720 --> 00:56:22,400 where you can still admire the work today. 714 00:56:26,160 --> 00:56:29,080 [SUSPENSE MUSIC] 715 00:56:36,840 --> 00:56:40,200 The artist's life, at the time of this painful rejection, 716 00:56:40,360 --> 00:56:41,840 became complicated again... 717 00:56:42,640 --> 00:56:45,320 and the courts were required to untangle another knot. 718 00:56:46,840 --> 00:56:51,000 Prudenzia Bruni, owner of the home in the Vicolo del Divino Amore, 719 00:56:51,440 --> 00:56:54,320 complained that the painter had not been paying his rent. 720 00:56:55,400 --> 00:57:00,000 After being summoned to court, all his assets in the house were seized. 721 00:57:01,080 --> 00:57:03,800 These were the objects that can be seen in his paintings... 722 00:57:05,600 --> 00:57:08,840 his "props"... which were listed in a sort of inventory. 723 00:57:12,840 --> 00:57:13,840 During this period, 724 00:57:14,000 --> 00:57:17,280 Caravaggio was working on one of his most controversial pieces, 725 00:57:17,880 --> 00:57:19,080 The Death of the Virgin. 726 00:57:19,240 --> 00:57:22,040 [MUSIC CRESCENDO] 727 00:57:26,680 --> 00:57:29,680 Caravaggio perhaps expected too much of himself. 728 00:57:30,680 --> 00:57:32,920 This happens when people are too successful. 729 00:57:33,800 --> 00:57:36,240 At a certain point, he must have thought that 730 00:57:36,520 --> 00:57:40,680 he was in a position to do things that no other artist had ever dared to do. 731 00:57:41,680 --> 00:57:44,360 That is, to go against his clients' instructions. 732 00:57:46,920 --> 00:57:49,320 Above all, in The Death of the Virgin 733 00:57:49,480 --> 00:57:50,720 he did something terrible, 734 00:57:51,000 --> 00:57:53,520 he omitted a detail that is key to the Church. 735 00:57:54,040 --> 00:57:58,240 On her death, the Virgin was raised up to Heaven, and this is illustrated 736 00:57:58,400 --> 00:58:00,360 in all depictions of the death of the Virgin 737 00:58:00,520 --> 00:58:02,320 produced over the previous centuries. 738 00:58:02,760 --> 00:58:05,320 We see the dead Virgin, the mourning apostles, 739 00:58:05,800 --> 00:58:07,640 and, above, in the Kingdom of Heaven, 740 00:58:07,960 --> 00:58:10,360 we see the Virgin who has entered Paradise, 741 00:58:10,840 --> 00:58:14,040 where she is welcomed by Christ and appointed Regina Caelorum. 742 00:58:16,080 --> 00:58:19,400 But here, the Regina Caelorum is missing from the painting. 743 00:58:20,000 --> 00:58:21,960 And Caravaggio's model for the Virgin, 744 00:58:22,120 --> 00:58:25,160 people rightly said, was the body of a dead woman, 745 00:58:25,760 --> 00:58:28,320 probably a prostitute who had drowned in the Tiber. 746 00:58:29,000 --> 00:58:32,840 In fact, she does look slightly puffy, as if still bloated with water. 747 00:58:33,480 --> 00:58:35,960 He just laid her out on that awful surface, 748 00:58:36,120 --> 00:58:40,160 a morgue slab, and did not add any religious connotations. 749 00:58:43,280 --> 00:58:46,640 And this immediately created a scandal, a real scandal. 750 00:58:54,200 --> 00:58:55,680 - [TENSE MUSIC] - [DRIPPING WATER] 751 00:59:03,040 --> 00:59:04,040 [CARAVAGGIO] I must stop. 752 00:59:04,120 --> 00:59:05,920 Stay thee, hand! 753 00:59:06,640 --> 00:59:07,680 Quell thee, anger! 754 00:59:10,680 --> 00:59:12,440 I cannot hold back the irrepressible 755 00:59:12,600 --> 00:59:14,800 and ever more impetuous forces inside me. 756 00:59:16,120 --> 00:59:18,520 Wrath swelling like waves on a stormy sea, 757 00:59:18,680 --> 00:59:20,360 from my guts to my sword 758 00:59:20,520 --> 00:59:22,080 where it is beyond control. 759 00:59:38,280 --> 00:59:40,000 A hair's breadth to the side, 760 00:59:41,080 --> 00:59:42,080 a less accurate blow, 761 00:59:43,440 --> 00:59:44,960 and my life would have been another. 762 00:59:53,280 --> 00:59:56,120 And now the eternal exile to which I condemn myself... 763 00:59:56,520 --> 00:59:58,240 all my own doing. 764 01:00:00,200 --> 01:00:01,880 [DRIPPING WATER] 765 01:00:07,080 --> 01:00:10,000 [SUSPENSE MUSIC] 766 01:00:17,320 --> 01:00:19,776 [NARRATOR] The rejection of The Madonna and Child with St. Anne 767 01:00:19,800 --> 01:00:22,120 and The Death of the Virgin were bitter blows 768 01:00:22,280 --> 01:00:24,360 to Caravaggio's already tormented mind. 769 01:00:25,800 --> 01:00:27,840 His life was growing ever darker. 770 01:00:32,120 --> 01:00:35,400 It is not difficult to imagine his melancholy state in the morning 771 01:00:35,560 --> 01:00:37,680 as he trained his black dog, Cornacchia, 772 01:00:37,920 --> 01:00:40,200 or painted frantically in the dark room, 773 01:00:40,800 --> 01:00:43,040 or walked from one royal tennis court to another. 774 01:00:44,680 --> 01:00:48,240 It was during a game that something irreversible happened. 775 01:00:49,840 --> 01:00:51,480 The most terrible of days, 776 01:00:51,640 --> 01:00:53,640 the 29th of May, 1606. 777 01:00:56,840 --> 01:00:58,520 In Campo Marzio, an argument, 778 01:00:58,680 --> 01:01:02,040 perhaps about the game itself, ended in tragedy. 779 01:01:03,920 --> 01:01:06,240 - [SWORDS CLINKING] - Caravaggio killed Ranuccio Tomassoni, 780 01:01:06,680 --> 01:01:08,960 with whom he had already argued fiercely in the past. 781 01:01:11,360 --> 01:01:13,160 The consequences would have been extreme: 782 01:01:14,200 --> 01:01:15,360 permanent exile... 783 01:01:16,640 --> 01:01:18,680 or indeed the death sentence and execution... 784 01:01:19,560 --> 01:01:20,560 by beheading. 785 01:01:20,920 --> 01:01:24,360 [RAPID DIGITAL MUSIC] 786 01:01:25,600 --> 01:01:26,880 Caravaggio had to get away. 787 01:01:27,480 --> 01:01:29,440 Costanza Sforza Colonna, 788 01:01:29,600 --> 01:01:32,440 the Marchioness of Caravaggio, came to his aid. 789 01:01:33,280 --> 01:01:34,480 She had already intervened 790 01:01:34,640 --> 01:01:37,480 to save the painter during the most troubled moments of his life... 791 01:01:38,360 --> 01:01:41,080 and now helped him find exile in her fiefdoms in Lazio. 792 01:01:43,360 --> 01:01:46,680 During this short period, the artist painted his second version 793 01:01:46,840 --> 01:01:48,040 of The Supper at Emmaus... 794 01:01:49,000 --> 01:01:50,160 now in the Brera Gallery. 795 01:01:52,400 --> 01:01:54,440 It is a much darker and simpler scene... 796 01:01:55,040 --> 01:01:57,680 with the few objects on the table casting long shadows. 797 01:02:01,920 --> 01:02:03,040 [MUSIC CRESCENDO] 798 01:02:11,120 --> 01:02:13,640 Hopeful of being absolved from capital punishment, 799 01:02:14,120 --> 01:02:15,680 Caravaggio headed for Naples. 800 01:02:17,560 --> 01:02:21,760 We are in the autumn of that fateful and inauspicious year, 1606. 801 01:02:22,800 --> 01:02:24,360 He is 35 years old. 802 01:02:24,520 --> 01:02:27,680 [EERIE MUSIC] 803 01:02:29,360 --> 01:02:32,400 [CARAVAGGIO] "For I was hungry and you gave me food... 804 01:03:09,840 --> 01:03:10,880 I was thirsty... 805 01:03:11,760 --> 01:03:12,840 and you gave me drink... 806 01:03:16,720 --> 01:03:19,360 [WATER DRIPPING] 807 01:03:19,800 --> 01:03:21,840 I was a stranger and you welcomed me... 808 01:03:24,720 --> 01:03:26,920 I was naked and you clothed me... 809 01:03:32,960 --> 01:03:35,040 I was sick and you visited me... 810 01:03:41,160 --> 01:03:44,360 I was in prison and you came to me." 811 01:03:48,680 --> 01:03:51,720 A lost man seeks refuge. He yearns for comfort, 812 01:03:52,320 --> 01:03:53,320 an embrace. 813 01:04:00,840 --> 01:04:02,880 I flee to find a new home. 814 01:04:08,680 --> 01:04:12,440 Do not call me murderer, ruffian or hot-head. 815 01:04:19,040 --> 01:04:22,360 I am a man. A man looking for help. 816 01:04:23,440 --> 01:04:25,920 An artist in search of mercy. 817 01:04:34,680 --> 01:04:36,880 [NARRATOR] Having left Rome as a dangerous delinquent... 818 01:04:37,800 --> 01:04:39,560 in Naples Caravaggio discovered how far 819 01:04:39,720 --> 01:04:42,320 his fame had spread outside the Papal State. 820 01:04:43,320 --> 01:04:45,320 Here, he was renowned as a great master. 821 01:04:47,320 --> 01:04:49,440 The Pio Monte della Misericordia, 822 01:04:49,760 --> 01:04:52,080 a charitable company that still exists today, 823 01:04:52,360 --> 01:04:53,360 commissioned him to paint 824 01:04:53,440 --> 01:04:55,680 an emblematic picture of the company itself: 825 01:04:56,080 --> 01:04:57,240 The Seven Works of Mercy, 826 01:04:58,040 --> 01:05:01,000 which Caravaggio was asked to illustrate in a single painting. 827 01:05:07,760 --> 01:05:10,640 Caravaggio had strong feelings about the issue of mercy 828 01:05:10,800 --> 01:05:11,920 at that particular time... 829 01:05:13,280 --> 01:05:15,200 as he himself was in great need of it. 830 01:05:19,720 --> 01:05:23,800 He was certainly well protected in Naples and no one would have dared touch him... 831 01:05:24,640 --> 01:05:27,040 but the painting he produced is, in effect, 832 01:05:27,200 --> 01:05:32,360 a grandiose elegy, a great epic poem in which he depicts the works of mercy. 833 01:05:33,280 --> 01:05:35,840 Caravaggio depicted the terrible inner rage 834 01:05:36,000 --> 01:05:37,360 he wanted to show the world, 835 01:05:37,760 --> 01:05:39,480 and he most certainly succeeded. 836 01:05:40,080 --> 01:05:43,520 [MELANCHOLIC MUSIC] 837 01:05:48,760 --> 01:05:51,360 Caravaggio used a completely new system 838 01:05:51,520 --> 01:05:53,000 to represent the works of mercy. 839 01:05:53,680 --> 01:05:57,160 Rather than illustrating individual or isolated events... 840 01:05:57,880 --> 01:06:00,080 he painted a group of ordinary people 841 01:06:00,240 --> 01:06:02,920 in the characteristically narrow streets of Naples... 842 01:06:04,040 --> 01:06:07,000 each of whom represents one of the works of mercy. 843 01:06:11,120 --> 01:06:12,360 "Feed the hungry... 844 01:06:15,120 --> 01:06:16,680 give drink to the thirsty... 845 01:06:18,640 --> 01:06:19,640 clothe the naked... 846 01:06:21,680 --> 01:06:22,920 house the pilgrims... 847 01:06:24,080 --> 01:06:25,240 cure the infirm... 848 01:06:26,080 --> 01:06:27,440 visit the imprisoned... 849 01:06:27,920 --> 01:06:28,920 bury the dead." 850 01:06:30,520 --> 01:06:33,360 [MUSIC CRESCENDO] 851 01:06:37,400 --> 01:06:39,520 Perhaps the most beautiful and moving image 852 01:06:40,200 --> 01:06:43,080 is of a woman who looks down from the top of a building. 853 01:06:43,760 --> 01:06:46,920 She looks down, and watches the life of the city 854 01:06:47,640 --> 01:06:49,240 as it unfolds below her. 855 01:06:50,160 --> 01:06:52,400 This is a life inspired by mercy. 856 01:06:54,880 --> 01:06:58,920 It is not clear that this is the Virgin Mary and the child Jesus Christ. 857 01:06:59,240 --> 01:07:03,920 They appear simply as mother and son, as he returns again to this great theme: 858 01:07:04,560 --> 01:07:06,920 mother and son and maternal love. 859 01:07:07,840 --> 01:07:09,800 Before her are two angels... 860 01:07:10,440 --> 01:07:13,280 two angelic figures of truly outstanding beauty... 861 01:07:14,080 --> 01:07:16,040 and above all of great significance. 862 01:07:23,080 --> 01:07:25,080 They represent good and evil... 863 01:07:25,720 --> 01:07:29,160 according to a wonderful interpretation which has emerged this century. 864 01:07:30,480 --> 01:07:31,640 They are combatants... 865 01:07:33,240 --> 01:07:36,280 two angels fighting for the life of humankind. 866 01:07:36,880 --> 01:07:40,120 The angel of evil wants to descend into the human world... 867 01:07:40,880 --> 01:07:43,600 while the angel of good wants to push him away. 868 01:07:47,840 --> 01:07:51,280 While this sublime metaphysical clash unfolds in the sky, 869 01:07:52,000 --> 01:07:55,040 the pulsating life of the city unfolds below. 870 01:08:02,960 --> 01:08:04,136 [NARRATOR] Caravaggio received 871 01:08:04,160 --> 01:08:06,360 the considerable sum of 400 scudi for the painting. 872 01:08:07,800 --> 01:08:11,240 The value of his public works had doubled over the previous six years, 873 01:08:11,840 --> 01:08:13,400 a clear sign of his growing fame. 874 01:08:14,920 --> 01:08:15,920 But there is more. 875 01:08:17,560 --> 01:08:20,200 The minutes of the Pio Monte meeting of the board of governors 876 01:08:20,360 --> 01:08:25,440 in 1613, state that the painting must not be removed for any reason... 877 01:08:26,120 --> 01:08:27,440 or sold for any sum. 878 01:08:30,840 --> 01:08:32,120 With this new success... 879 01:08:32,840 --> 01:08:36,920 it seems that Caravaggio's restless spirit could finally find some respite. 880 01:08:37,880 --> 01:08:40,600 [SOFT MUSIC] 881 01:08:40,760 --> 01:08:43,840 A few weeks after the installation of The Seven Works of Mercy, 882 01:08:44,400 --> 01:08:48,240 the artist was perhaps once again at work on The Flagellation of Christ, 883 01:08:48,640 --> 01:08:51,080 today at the Museo di Capodimonte in Naples. 884 01:08:56,520 --> 01:09:00,960 In this composition, the artist focuses on the sinister mechanisms of evil... 885 01:09:01,480 --> 01:09:03,440 highlighting the cruelty and suffering... 886 01:09:04,840 --> 01:09:08,040 and bringing the viewer much closer to the baleful act of torture. 887 01:09:10,640 --> 01:09:12,520 The tormentors who attack Christ 888 01:09:13,040 --> 01:09:14,960 are arranged in a circle around him, 889 01:09:15,480 --> 01:09:16,880 as in a macabre dance, 890 01:09:17,560 --> 01:09:20,120 an evocative and tension-filled choreography. 891 01:09:27,080 --> 01:09:32,440 Jesus is immersed in light, as if representing truth countering error, 892 01:09:32,920 --> 01:09:36,200 emphasised by the half-light that envelops his attackers. 893 01:09:37,000 --> 01:09:39,520 [MUSIC CRESCENDO] 894 01:09:42,600 --> 01:09:44,880 When this work was displayed to the public, 895 01:09:45,160 --> 01:09:47,600 it drew the eyes of all the onlookers to it. 896 01:09:48,840 --> 01:09:52,880 "The new manner of that terrible style of shading and the realism of those nudes 897 01:09:53,040 --> 01:09:54,280 left one in suspense," 898 01:09:55,600 --> 01:09:58,720 wrote the Neapolitan historian, Bernardo de Dominici. 899 01:10:00,240 --> 01:10:03,280 [MUSIC CRESCENDO] 900 01:10:12,320 --> 01:10:14,360 However, the apparent calm of his Neapolitan stay 901 01:10:14,520 --> 01:10:16,440 began to concern Caravaggio... 902 01:10:17,200 --> 01:10:19,560 who was worried that his rise was coming to an end. 903 01:10:20,960 --> 01:10:23,360 Just one year after his arrival in Naples, 904 01:10:23,520 --> 01:10:25,640 another great opportunity came his way... 905 01:10:26,560 --> 01:10:29,240 perhaps again due to the intercession of Costanza Colonna: 906 01:10:30,120 --> 01:10:31,480 the chance to go to Malta... 907 01:10:32,240 --> 01:10:34,360 a hotbed of art and culture at the time. 908 01:10:36,240 --> 01:10:38,760 He was welcomed to the island as a great master. 909 01:10:40,080 --> 01:10:41,920 But things did not stay quiet for long. 910 01:10:42,800 --> 01:10:44,920 [DRIPPING WATER] 911 01:10:45,080 --> 01:10:47,440 [UPBEAT MUSIC] 912 01:10:52,760 --> 01:10:54,040 [CARAVAGGIO] Since I killed him, 913 01:10:54,480 --> 01:10:56,280 no night can bring me sleep. 914 01:11:00,640 --> 01:11:02,720 Every night I am preyed on by worry. 915 01:11:03,320 --> 01:11:05,120 Every night, I'm on the alert. 916 01:11:10,240 --> 01:11:13,720 An image sears itself into my mind's eye: 917 01:11:14,480 --> 01:11:17,040 my head, detached from my body... 918 01:11:17,960 --> 01:11:19,880 borne on a tray like a trophy. 919 01:11:26,920 --> 01:11:28,400 My own future, perhaps? 920 01:11:47,600 --> 01:11:49,520 Fear is worse than death. 921 01:11:53,280 --> 01:11:55,080 [DRIPPING WATER] 922 01:12:06,800 --> 01:12:10,440 Caravaggio arrived in Malta on the 12th of July, 1607. 923 01:12:11,960 --> 01:12:15,400 The Marquise Costanza had already made arrangements with Alof de Wignacourt... 924 01:12:16,240 --> 01:12:18,560 Grand Master of the Order of the Knights of Malta. 925 01:12:20,160 --> 01:12:22,120 He had been looking for an artist to decorate 926 01:12:22,280 --> 01:12:23,880 the new cathedral under construction... 927 01:12:24,720 --> 01:12:27,240 and Caravaggio seemed the perfect choice. 928 01:12:36,600 --> 01:12:39,040 Caravaggio is welcomed with great honour. 929 01:12:39,680 --> 01:12:41,440 The Grand Master of the Order of Malta, 930 01:12:41,600 --> 01:12:45,520 Alof de Wignacourt, receives him as a man of great merit, 931 01:12:45,880 --> 01:12:47,720 as clearly indicated in the decree 932 01:12:47,880 --> 01:12:50,240 in which Caravaggio is knighted for his merits. 933 01:12:52,320 --> 01:12:54,840 Caravaggio did not have friends in high places, 934 01:12:55,160 --> 01:12:57,480 he is one of the most deserving men of his time, 935 01:12:57,920 --> 01:13:02,360 and paints a portrait of the Grand Master, now conserved in the Louvre in Paris. 936 01:13:02,920 --> 01:13:05,080 Alof de Wignacourt was thrilled. 937 01:13:08,320 --> 01:13:09,576 [NARRATOR] Caravaggio also painted 938 01:13:09,600 --> 01:13:11,640 a likeness of the Grand Master in another work, 939 01:13:11,800 --> 01:13:13,040 St. Jerome Writing... 940 01:13:14,320 --> 01:13:16,440 still conserved today in the Co-Cathedral of St. John. 941 01:13:18,520 --> 01:13:21,200 But the work is destined to leave an eternal mark on Malta 942 01:13:21,360 --> 01:13:24,520 and on the history of art was another. 943 01:13:27,800 --> 01:13:30,440 Caravaggio painted his absolute masterpiece in Malta, 944 01:13:31,320 --> 01:13:33,000 The Beheading of St. John the Baptist. 945 01:13:33,760 --> 01:13:37,280 [RAPID STRINGS MUSIC] 946 01:13:45,600 --> 01:13:49,640 Caravaggio depicts the most terrible moment in the tragedy of John the Baptist, 947 01:13:50,120 --> 01:13:51,120 who is beheaded... 948 01:13:52,760 --> 01:13:56,840 although in the artist's imagination, the executioner's first strike 949 01:13:57,000 --> 01:13:59,760 fails to sever his head completely from his body, 950 01:14:00,440 --> 01:14:02,120 and so he takes up a short-bladed knife, 951 01:14:02,840 --> 01:14:03,840 known as a misericorde, 952 01:14:05,920 --> 01:14:07,200 to deliver the "mercy stroke"... 953 01:14:08,120 --> 01:14:10,720 and ensure that the condemned man did not suffer 954 01:14:10,880 --> 01:14:11,880 any more than necessary. 955 01:14:14,080 --> 01:14:16,800 He uses it to inflict the final mortal blow, 956 01:14:17,120 --> 01:14:20,120 which freed the victim from further torment, from pain. 957 01:14:24,480 --> 01:14:26,480 The Beheading of St. John the Baptist 958 01:14:26,640 --> 01:14:28,160 was a resounding success, 959 01:14:28,320 --> 01:14:31,680 and was considered one of the greatest artworks of all time, 960 01:14:32,120 --> 01:14:33,120 which it is. 961 01:14:33,560 --> 01:14:36,360 But his life was about to change dramatically. 962 01:14:40,160 --> 01:14:43,920 Sources indicate there was a fight between the painter and another Knight. 963 01:14:44,520 --> 01:14:47,400 A Knight of Justice, that is, a rank above his own. 964 01:15:04,200 --> 01:15:07,320 [NARRATOR] Caravaggio was arrested and imprisoned in a guva... 965 01:15:10,600 --> 01:15:13,400 one of the underground cells in Forte St. Angelo... 966 01:15:15,960 --> 01:15:20,120 a claustrophobic, dark frightening place. 967 01:15:29,760 --> 01:15:34,000 In this most terrible moment of his life, he was stripped of everything. 968 01:15:34,400 --> 01:15:38,800 His knighthood was revoked, and a decree was issued that described him as 969 01:15:38,960 --> 01:15:42,480 a "putrid and fetid man," a gross insult... 970 01:15:43,160 --> 01:15:44,600 especially when levied at a man 971 01:15:44,760 --> 01:15:47,680 who had just been placed on the altars of fame and glory. 972 01:15:49,720 --> 01:15:51,456 [NARRATOR] Alof de Wignacourt placed his seal 973 01:15:51,480 --> 01:15:52,920 on the order the revoke his honours. 974 01:15:53,960 --> 01:15:56,400 Caravaggio was no longer a Knight of Malta. 975 01:15:56,840 --> 01:15:58,360 [RUNNING FOOTSTEPS] 976 01:15:58,520 --> 01:16:03,360 But he was already far away. Someone had helped him escape to Sicily. 977 01:16:16,200 --> 01:16:19,920 A chronicler of the time records Caravaggio's arrival in Syracuse. 978 01:16:22,920 --> 01:16:25,320 He was commissioned to paint a new great work of art 979 01:16:25,640 --> 01:16:28,960 worthy of the masterpiece he had so recently produced in Malta. 980 01:16:30,920 --> 01:16:34,640 The commission was to celebrate the patron saint of the city, St. Lucy, 981 01:16:34,920 --> 01:16:36,200 an early Christian martyr. 982 01:16:37,880 --> 01:16:41,560 After she converted to Christianity she refused to give herself 983 01:16:41,720 --> 01:16:42,720 to her betrothed, 984 01:16:42,880 --> 01:16:46,080 and he, made nervous to say the least by this situation, 985 01:16:46,640 --> 01:16:48,200 still longed to possess her. 986 01:16:48,840 --> 01:16:52,400 And, when unable to do so, killed her or had her killed. 987 01:16:55,880 --> 01:16:58,440 The work, once again, is a titanic feat, 988 01:16:58,720 --> 01:17:01,080 on a canvas over four metres high. 989 01:17:01,840 --> 01:17:06,320 In reality, Caravaggio's final works all focus on this dream, 990 01:17:06,760 --> 01:17:09,800 one could say, of breaking away from normal proportions 991 01:17:10,480 --> 01:17:13,080 to produce immense works that give the viewer 992 01:17:13,240 --> 01:17:15,760 a sensation of infinite space and time. 993 01:17:22,000 --> 01:17:23,000 Most of the painting, 994 01:17:23,040 --> 01:17:26,040 The Burial of St. Lucy, is practically empty, 995 01:17:26,480 --> 01:17:27,560 there's nothing there. 996 01:17:28,280 --> 01:17:29,560 Her body is on the ground, 997 01:17:29,720 --> 01:17:32,920 with the bishop behind her, blessing crucial moment... 998 01:17:34,400 --> 01:17:37,720 and the people around her are looking on with abject horror 999 01:17:37,880 --> 01:17:39,800 and total desperation. 1000 01:17:40,960 --> 01:17:44,280 But the interesting thing is that he probably drew inspiration 1001 01:17:44,440 --> 01:17:46,560 from certain monuments in Syracuse, 1002 01:17:47,000 --> 01:17:50,960 archaeological monuments a bit like catacombs, called "latomie." 1003 01:17:53,960 --> 01:17:57,000 Caravaggio seems to have depicted one of these places. 1004 01:17:57,360 --> 01:18:01,080 Above the heads of the figures is a very tall, dark wall, 1005 01:18:01,360 --> 01:18:03,160 totally impenetrable to the eye... 1006 01:18:03,440 --> 01:18:05,640 as if Caravaggio had in some way 1007 01:18:06,120 --> 01:18:09,080 already understood the fact that, as an art form, 1008 01:18:09,440 --> 01:18:13,160 painting does not necessarily have to represent what we see. 1009 01:18:13,960 --> 01:18:16,480 It can capture the visible world, yes... 1010 01:18:17,280 --> 01:18:19,680 but it can also show what we cannot see. 1011 01:18:31,200 --> 01:18:34,360 [NARRATOR] But his restlessness and desire for freedom were still too strong. 1012 01:18:35,320 --> 01:18:36,800 It was time to leave Sicily. 1013 01:18:37,800 --> 01:18:40,160 His next stop was, once again, Naples. 1014 01:18:41,720 --> 01:18:44,880 [DRUM HIT AND EERIE MUSIC] 1015 01:18:50,800 --> 01:18:52,920 [CARAVAGGIO] For those whose wounds lie deep within... 1016 01:18:53,480 --> 01:18:55,440 bodily wounds are easy to bear. 1017 01:19:06,000 --> 01:19:07,640 There is no logic to rage. 1018 01:19:12,440 --> 01:19:14,880 There is no logic, perhaps, to hope either. 1019 01:19:16,040 --> 01:19:18,680 And yet, the power of both dwells in my breast. 1020 01:19:19,760 --> 01:19:22,640 [TENSE MUSIC] 1021 01:19:26,760 --> 01:19:28,480 The time has come to seek peace. 1022 01:19:29,600 --> 01:19:30,760 To regain my liberty. 1023 01:19:32,920 --> 01:19:35,560 The time, perhaps, to die. 1024 01:19:48,640 --> 01:19:50,560 Caravaggio returns to Naples. 1025 01:19:51,680 --> 01:19:54,480 It seems he has found a refuge, a safe harbour. 1026 01:19:55,040 --> 01:19:57,680 Finally, life is moving along smoothly. 1027 01:19:58,320 --> 01:20:01,720 He goes to Chiaia, to live in Costanza Colonna's palace. 1028 01:20:04,240 --> 01:20:07,240 He is honoured, revered and treated very well. 1029 01:20:08,520 --> 01:20:10,280 Illustrious collectors contact him 1030 01:20:10,440 --> 01:20:13,480 and he seems to be experiencing something of a renaissance. 1031 01:20:13,960 --> 01:20:15,920 Life flows pleasantly by. 1032 01:20:16,920 --> 01:20:20,600 What's more, there is a tavern popular with the intellectuals of the time, 1033 01:20:20,760 --> 01:20:23,360 the so-called Locanda del Cerriglio. 1034 01:20:24,000 --> 01:20:26,480 Caravaggio frequented this place which was, 1035 01:20:26,960 --> 01:20:30,160 one could say, very fashionable, to use a modern term. 1036 01:20:30,480 --> 01:20:34,840 And there, something happens, yet again, that should not have happened. 1037 01:20:38,360 --> 01:20:39,600 A fight breaks out. 1038 01:20:40,120 --> 01:20:41,480 [CROWD HOWLING] 1039 01:20:42,040 --> 01:20:43,640 We don't know how or why, 1040 01:20:43,800 --> 01:20:45,080 but we do know for certain 1041 01:20:45,240 --> 01:20:46,600 that Caravaggio was involved 1042 01:20:46,760 --> 01:20:47,760 in a real attack... 1043 01:20:48,880 --> 01:20:51,560 with his face black and blue, beaten to the point 1044 01:20:51,960 --> 01:20:55,200 that a rumour began to spread across the city that he was dead. 1045 01:20:56,840 --> 01:20:58,680 In fact, he hadn't been killed. 1046 01:20:59,720 --> 01:21:02,840 But, to judge from a painting with an Old Testament theme, 1047 01:21:03,360 --> 01:21:05,480 namely David with the Head of Goliath, 1048 01:21:06,320 --> 01:21:07,880 we can get an idea of what happened. 1049 01:21:09,120 --> 01:21:12,840 In this memorable painting, perhaps his final masterpiece... 1050 01:21:14,480 --> 01:21:18,520 he portrays himself in the decapitated head of the giant Goliath. 1051 01:21:25,520 --> 01:21:28,680 The young David holds the decapitated head of Goliath... 1052 01:21:30,040 --> 01:21:31,520 and he shows it to the public... 1053 01:21:32,840 --> 01:21:33,840 to us. 1054 01:21:34,440 --> 01:21:36,160 It is the gesture of a victor. 1055 01:21:40,720 --> 01:21:44,720 But he looks at it with an expression of, how can I put it... 1056 01:21:45,640 --> 01:21:46,720 melancholy... 1057 01:21:47,120 --> 01:21:48,160 of compassion. 1058 01:21:52,600 --> 01:21:53,440 In effect, 1059 01:21:53,600 --> 01:21:57,080 Caravaggio still had a capital sentence hanging over him... 1060 01:21:58,200 --> 01:22:00,480 and this could have led to his own decapitation. 1061 01:22:02,640 --> 01:22:05,080 by showing himself in the head of Goliath, 1062 01:22:05,240 --> 01:22:09,200 it is as if he is imagining the execution of his own death sentence... 1063 01:22:09,880 --> 01:22:12,360 as if he himself had been decapitated. 1064 01:22:17,480 --> 01:22:20,160 Should we inflict the death sentence on others? 1065 01:22:20,640 --> 01:22:23,240 Is it worthy of man, of human nature? 1066 01:22:24,120 --> 01:22:28,280 It's as if Caravaggio's painting is an answer to this eternal dilemma. 1067 01:22:29,200 --> 01:22:33,240 And the answer is that we cannot condemn others to death... 1068 01:22:33,960 --> 01:22:35,800 because death is not a punishment. 1069 01:22:36,480 --> 01:22:38,400 The real punishment is life. 1070 01:22:38,840 --> 01:22:41,880 [DRAMATIC ORCHESTRAL MUSIC] 1071 01:22:47,840 --> 01:22:49,640 [DRIPPING WATER] 1072 01:22:57,600 --> 01:23:01,000 [NARRATOR] The artist, disfigured and partially blind after the attack, 1073 01:23:01,360 --> 01:23:02,440 felt under siege. 1074 01:23:02,960 --> 01:23:07,360 The thought of death haunted his every waking moment and gave him no peace. 1075 01:23:12,600 --> 01:23:14,040 In Caravaggio's life 1076 01:23:14,200 --> 01:23:16,400 something significant and wonderful happened. 1077 01:23:17,360 --> 01:23:20,440 He received a message suggesting that his capital sentence 1078 01:23:20,600 --> 01:23:21,920 was about to be lifted. 1079 01:23:24,560 --> 01:23:28,240 Finally, Caravaggio could return to the dominions of the Church. 1080 01:23:31,280 --> 01:23:35,120 He boarded a felucca, a small boat that would take him to Rome. 1081 01:23:36,840 --> 01:23:39,960 But in fact, the real tragedy began here. 1082 01:23:40,120 --> 01:23:43,200 [MELANCHOLIC MUSIC] 1083 01:23:44,120 --> 01:23:46,320 The master loaded some paintings onto the boat... 1084 01:23:46,920 --> 01:23:48,320 his most recent ones. 1085 01:23:51,760 --> 01:23:53,520 But when he got to Porto Ercole, 1086 01:23:54,200 --> 01:23:56,880 he was stopped and detained, and the felucca left. 1087 01:23:57,040 --> 01:23:59,720 [WATER GURGLING] 1088 01:24:01,120 --> 01:24:02,120 Legend has it 1089 01:24:02,200 --> 01:24:04,640 that the desperate master, abandoned on the beach, 1090 01:24:04,800 --> 01:24:07,760 tried to follow this boat, which he could never reach. 1091 01:24:08,000 --> 01:24:10,800 [WATER GURGLING] 1092 01:24:13,000 --> 01:24:16,000 Then, historians tell us, he was ravaged by malaria. 1093 01:24:17,560 --> 01:24:21,000 His body disappeared without a trace, and he has no grave. 1094 01:24:21,880 --> 01:24:26,040 His life ended suddenly on the 18th of July, 1610. 1095 01:24:27,920 --> 01:24:31,920 - [WIND HOWLING] - [PAINT DRIPPING] 1096 01:25:03,160 --> 01:25:04,320 [CARAVAGGIO] I see the light. 1097 01:25:22,200 --> 01:25:25,120 The light, reawakening after a long sleep. 1098 01:25:37,120 --> 01:25:39,040 I understand, at last. 1099 01:25:46,520 --> 01:25:47,520 Resist. 1100 01:25:49,280 --> 01:25:50,280 Risk. 1101 01:25:51,360 --> 01:25:52,360 Live. 1102 01:25:53,000 --> 01:25:54,000 Die. 1103 01:25:54,920 --> 01:25:55,920 Fight. 1104 01:25:57,440 --> 01:25:58,440 Seek peace. 1105 01:26:16,480 --> 01:26:19,040 I know now the shadows conceal nothing... 1106 01:26:20,200 --> 01:26:22,200 that everything lives in the light. 1107 01:26:25,440 --> 01:26:26,960 This light I choose. 1108 01:26:28,840 --> 01:26:31,640 [MELANCHOLIC MUSIC] 1109 01:26:39,800 --> 01:26:42,080 [SOFT INSTRUMENTAL MUSIC] 91082

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