The affair has been discussed and the debate now closed : in nearly six years, none of the Caravaggio specialists has considered or published the two paintings from Loches as originals despite their prestigious pedigree, a logical consequence of their mediocre quality.
A visit to the Cathedral of San Salvador in Jérez de la Frontera in Andalusia enabled us to examine, over the sacristy door, another very interesting copy of The Incredulity of Saint Thomas in Potsdam, no doubt from the first third of the 17th century, with an added number of truculent figures. The rather awkward style, not far removed from the coarseness of the Loches canvases, reminded us of another local Andalusian painter (someone like Pablo Legot ?), however, the presence of this copy of a model located in Rome until about 1815 so close to the port of Cadiz raises the question of the success, which in Spain was precocious, of Caravaggio’s compositions and the importation of copies or originals by the Lombard master.
Whatever the case, it would be interesting to have a complete study of… READ MORE ON THE ARTTRIBUNENEWS
Spain, First Third of the XVIIth Century, after Caravage
The Incredulity of Saint Thomas
Oil on Canvas (The painting hangs too high up to be measured)
Jérez de la Frontera, Cathedral of San Salvador
Photo : Pierre Curie