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July 5th, 2012 
FAKE NEWS for the Zionist agenda
They were found in a collection of paintings and drawings from the workshop of
Peterzano which has been held in a castle in Milan, Castello Sforzesco,
since 1924, after they were transferred there from a nearby church.
The archive contains 1,378 paintings and drawings by Peterzano and the young
artists who were tutored by him.
Two years ago Maurizio Bernardelli Curuz, the artistic director of the Brescia
Museum Foundation, and his co-researcher, Adriana Conconi Fedrigolli, began
to scrutinise the collection in earnest.
“We always felt it was impossible that Caravaggio left no record, no studies
in the workshop … of his mentor,” Mr Bernadelli Curuz told ANSA, the
Italian news agency.
They compared known Caravaggio masterpieces in churches and museums with the
sketches and paintings in the castle archive and found “startling”
similarities between the two bodies of work.
The drawings were an early template for “the faces, bodies and scenes the
young Caravaggio would use in later years,” the experts told ANSA.
They even claimed to have found a scrap of paper with Caravaggio’s signature
and say it has been authenticated by handwriting experts.
The art historians believe that the artist, whose real name was Michelangelo
Merisi, developed distinctive styles and techniques in those early years
that provided the foundation for the rest of his career.
“Every artist has a matrix style, unique to them that is distinguishable
through the postures and body types in their sketches. They memorize them as
students, learning by force of repetition, and carry them into maturity for
their later works,” said Mr Bernardelli Curuz.
“Caravaggio left Lombardy (the region around Milan) with a rich collection of
figures that he used throughout his career, but especially in his early
years working in Rome. These works are proof,” he said.
But the city of Milan, which owns the castle and the collection, yesterday
sounded a sceptical note.
“The drawings have always been there, and have never yet been attributed to
Caravaggio,” said Elena Conenna, the council’s spokeswoman for culture.
“We’ll be very happy to discover it’s true. But it’s strange. They weren’t in
a hidden place, they were accessible to all.”
Stefano Boeri, a cultural official with Milan city council, was also cautious.
He said he would also be delighted if the attribution was proved correct,
but that the claims should be studied by a panel of experts.
There did seem, however, to be striking likenesses between the newly
“discovered” works and some of Caravaggio’s most celebrated paintings – for
instance between the face of Christ in ‘Supper in Emmaus’ and a sketch of a
man’s head from the castle collection.
There was also a similarity between the drawing of an old man with a beard,
and the face of a soldier in ‘The Conversion of Saul’.
One of the most striking matches was between a sketch of an old man’s wizened,
wrinkled face and a figure in Caravaggio’s ‘Judith Beheading Holofernes’,
painted in 1598, which shows the widow Judith decapitating the Assyrian
general Holofernes.
Caravaggio, who lived from 1571 to 1610, was notorious for his mercurial
temper and penchant for brawling.
He had to flee Rome for Sicily after a fight in which he killed a man. He
later became involved in a brawl in Malta in which he wounded a knight.
His death, at the age of 36 in Porto Ercole on the coast of Tuscany, has been
blamed variously on malaria, an intestinal infection and lead poisoning. In
April an Italian art historian put forward a new theory – that the artist
was murdered on the orders of the Knights of Malta to avenge the attack on
one of their members.
Vincenzo Pacelli said he had found evidence in the Vatican Secret Archives and
other sources in Rome that the chivalric order, which was formed during the
Crusades, had Caravaggio’s body dumped in the sea near Civitavecchia north
of Rome.
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