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The painting is uneven artistically, scholars said, with some beautiful elements and some parts they didn't hesitate to call "very poor" and even "embarrassing." This suggested that two different people may have worked at it, though it is not certain. Vodret said the most interesting element is the position and perspective of the saint, who's shown on the grill, one arm extended, his figure lit up. Such unique iconography might have suggested the hand of Caravaggio, known for showing scenes as if shot from unusual angles. She said the hand of one of the executioners, holding a stick to keep the saint down, is also of good quality. But she and the other experts noted that elements were poor, such as the bodies of the executioners, the cloth covering Lawrence, and one of the saint's legs, which appears to be awkwardly attached to the torso. "The leg looks like a frog's leg. Caravaggio would never have made such a mistake," said Marco Bona Castellotti, an art historian. Even as he saw the painting for the first time at Tuesday's unveiling, he had no doubt it couldn't be Caravaggio.
Experts believed the work may have been done by a follower, likely in Naples, Sicily or Malta
-- all places where the painter spent time during his tumultuous life. Caravaggio died in a Tuscan coast town in 1610 in mysterious circumstances, and a group of Italian researchers said recently that they had identified his remains. The tests on the "Martyrdom of St. Lawrence" will begin in September, accompanied by research of archives and documents in order to trace the history of the painting and who commissioned it. The research will take several months.
[Associated
Press;
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