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THE CARAVAGGIO
R
ESEARCH COMMITTEE
Pioneers in Digital Research and Attributions

MICHELANGELO DA CARAVAGGIO
CATALOGUE RAISONNÉ

INTRODUCTION
If this is your first visit to the Caravaggio Committee Catalogue Raisonné, we ask you to kindly read the introduction. There is key information within the introduction that will assist you in understanding the Catalogue Raisonné and its importance.
   
DATA PRESENTATION
If you have not yet examined the explanation for the presentation of our data, we ask you to do so at this time. The button to the left as well as the link here will take you to the explanation. If you do not understand the method in which we present our findings, much of the implications of our findings will be lost to you. Unfortunately, these pages are graphic intensive, but this graphic approach is critically important to the understanding of our work.
   

THE CATALOGUE

    This volume contains the works considered by the Caravaggio Research Committee to be wholly authentic works by the hand of the master. Paintings contained within this volume may have very minor portions that were executed by a collaborator; however these works are on the whole considered to be by the hand of the master.
    Caravaggio scholars will note that there are far fewer works included in this volume than appear any any other comprehensive Caravaggio Catalogue Raisonné to date. This much smaller number of paintings is due to the sophisticated methods of analysis in use by the Committee.
   

CATALOGUE CONVENTIONS

A different organisational convention has been used than is commonly used in paper publishing. This choice was made due to the dynamic aspects of electronic publishing. Unlike conventional publishing, electronic publishing allows for immediate updates and/or corrections of important information. Electronic data also allows for efficient database searches. Loading times were also considered important because of limited bandwidth availability in many reference libraries. Therefore, the catalogue is organised alphabetically by painting title. The paintings are then presented in chapters that consist of eight to ten paintings per chapter.
    This format allows for fast loading times for the bandwidth challenged, for easy database searches by the scholar and for possible later additions.
   

INDEX
VOLUME I

Chapter 1
    8 paintings

   

Beginning with :
    Abraham's Sacrifice

Ending with :
    Conversion of Saul
   

Chapter 2
    9 paintings
Beginning with :
    Crucifixion of Saint Peter

Ending with :
    Entombment of Christ
   

Chapter 3
   8 paintings
Beginning with :
    Holy Family with Saint John the Baptist

Ending with :
    Mary Magdalene
   

Chapter 4
    8 paintings
Beginning with :
    Martha Condems Mary Magdalene's Vanity
   
Ending with :
    Salome with the Head of Saint John the Baptist
   
Chapter 5
    8 paintings
Beginning with :
    Saint Catherine

Ending with :
    Saint John the Baptist
   

Chapter 6
    7 paintings
Beginning with :
    Saint John the Baptist with a Ram

Ending with :
    The Burial of Saint Lucia
   

Chapter 7
    8 paintings
Beginning with :
    The Calling of Saint Mathew

Ending with :
    The Flagellation of Christ
   

Chapter 8
    9 paintings
Beginning with :
    The Flagellation of Christ

Ending with :
    The Resurrection of Lazarus
   

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