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July 6th, 2012 
FAKE NEWS for the Zionist agenda
“There are documents which attest to the fact that he spent four years in
the studio of Peterzano. It’s clear that he would have produced some works
in those years.” But other experts were dismissive of the claims.
Dr John T. Spike, a Caravaggio expert at the College of William and Mary in
Williamsburg, Virginia, said the quality of the sketches was better than
Caravaggio’s earliest known work, Boy Peeling Fruit, painted in 1592.
“The sketches from the collection show robust, competent drawing, yet in
Caravaggio’s earliest painting he was struggling to draw competently,”
he told The Daily Telegraph. “How could he have gone backwards in terms
of his artistic skill?”
He said one of the sketches acclaimed as the work of Caravaggio appeared to
have been based on a sculpture from 1601 – more than a decade after he was
working under Peterzano’s tutelage.
“These sketches could have been by anybody. Young artists studied in
groups and used the same artistic language,” he said.
The curators of the collection, which is kept in Milan’s Sforzesco Castle,
said it had been studied by many well-qualified scholars in the past and
none had claimed to have identified Caravaggios.
They said the two art historians who made the claim had only studied
photographic reproductions of the drawings, not the originals.
Francesca Rossi, the current curator of the collection, said: “We were in
contact with them a year ago when they asked for photographic reproductions
but I’ve never seen them here. “These are generic drawings, it is
impossible to be certain (that they are by Caravaggio). The attribution
seems overly ambitious and not very credible.”
“I’m very perplexed,” Maria Teresa Fiorio, the former director of
the castle’s collection, told Corriere della Sera. “A serious scholar
doesn’t produce an e-book – they would publish their findings in the
appropriate journals. Everyone who has studied the collection has asked
themselves – is it possible that some were drawn by Caravaggio? No one has
drawn that conclusion.” The director of the castle collection, Claudio
Salsi, also said the art historians’ conclusion was “without critical
foundation”.
Francesca Cappelletti, who a decade ago helped identify a painting owned by
the Jesuits in Dublin as a long-lost Caravaggio, said: “To me they
still look like typical drawings by Peterzano.” Other experts said they
would keep an open mind until further research was carried out.
“We must be very prudent,” said Cristina Terzaghi, an art historian
at the University of Rome III and the author of a book on Caravaggio.
“Their research must be carefully studied and verified by the scientific
community.” But the art historians stood by their claim.
They said they had set out to solve the “mystery” of Caravaggio’s
earliest artistic development.
When Caravaggio moved from Milan to Rome, where he was to achieve fame and
notoriety, he took with him a “sort of mental suitcase” of drawing
and painting techniques which he later refined into his famous chiaro-oscuro
technique of contrasting light and darkness, said Mr Bernadelli Curuz.
“If you go digging around in Italy’s incredibly rich cultural heritage,
it is still possible to find extraordinary things.”
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