It would seem that his injuries were so severe that it took Caravaggio some time to recover. This was a common form of revenge for an insult to someone’s reputation. One of Caravaggio’s of injuries was a cut to the face. However, on 24 October Caravaggio paid a visit to a tavern and on leaving was ambushed by a group of men who were waiting for him outside. Negotiations for a Papal pardon were also underway which if granted would allow him to return to Rome. Two of his biographers suggest that he needed the protection of the Colonna family from various enemies who were pursuing him.

By September 1609 he had returned to Naples where he was given rooms by a branch of the Colonna family. Most people agree that it was painted in the last months he spent in Naples before he departed on his fateful voyage to Rome. This may be one of the two last works painted by Caravaggio. The tears are beginning to form in his eyes. The finest part of the painting is the face of St Peter. Are we meant to see ourselves reflected in the armour? The close up format has already drawn us in, connecting us with the scene and its reflection in our own lives. This reflection recalls a number of Caravaggio’s other scenes from the Passion, not least “The Taking of Christ”, which is now in Dublin the reflection is balanced against the light on St Peter’s face and hands. The soldier wears armour which reflects the light. This detail is not in the gospels but it conveys just how close St Peter came to being arrested. In fact, the particular helmet used is a contemporary one. Is this a gesture of denial or repentance?The bystander wears a helmet, strongly suggesting that he is a soldier. St Peter’s hands are closed on his chest. In this way all three denials are represented. The third figure also points a finger at St Peter. In fact both of her hands point at St Peter.

She looks back at the bystander but points towards Peter. The raking light from the right lights up the face of the young woman in the centre. But it is the hands of the three characters that tell the story and with great economy. The fire is suggested in the background with a few flecks of bright pigment. In this picture Caravaggio includes elements of all three denials and, indeed, St Peter’s tears. Then the cock crowed for the second time and St Peter remembered the words of Jesus, “Before the cock crows twice you will deny me three times.” Mark says that then St Peter broke down and wept (Mk 14:72). This time he swore, “I do not know this man of whom you speak” (Mk 14: 71). Finally, the bystanders said it to him as well and, for the third time, he denied knowing Jesus. A servant girl said to him, “You also were with the Nazarene, Jesus. When Jesus was arrested St Peter had followed at a distance and stood with others warming himself at a fire in the courtyard of the high priest.

The general shape of the story is as follows. Caravaggio manages to include much of the details given in these narratives in a single scene. For example, Matthew, Mark and Luke say that St Peter wept, whereas John doesn’t. Although the general shape of the story is there in each, the details vary slightly. The story of St Peter’s denial of Jesus is told in all four gospels. (Caravaggio)#/media/File:The_Denial_of_Saint_Peter-Caravaggio_(1610).jpg You can see this picture in higher resolution at “Denial of St Peter” 1601- 1607/10, Caravaggio, Metropolitan Museum of Art, New York.

Caravaggio reflection painting