s stretched and torn, while wounds are spewing blood out of the martyr. The realistic depiction of this story makes the work a true masterpiece. Caravaggios Death of St. Matthew is one of a pair of paintings that were done for the Contarelli Chapel in the late sixteenth century. On the right side of the altar hangs the more notable and popular Calling of St. Matthew, which depicts the Lord entering a room, asking Matthew to become an Apostle. Opposite to this painting, on the left side of the altar, hangs the Death of St. Matthew. This painting describes the story of his death, as explained in the Golden Legend. St. Matthew is shown, struck by the sword of the exicutioner, lying on the floor alive, but helpless. There is blood splattered on him from the initial wound. Matthew is dressed in priestly robes and grimaces in pain as the swordsman awaits to finish the deed. The swordsman is shown standing over the fallen Martyr, with little clothes on, showing off his athletic build. This pagan nudity, surrounded by many worshippers recalls the influence of Raphael, whose works contained such material. Also, much of the drama depicted here most likely came from the consultation of Titian, probably through works like his Death of St. Peter Martyr. The main action of Matthews death is the center point of the picture. It is framed by the reclining figures in the foreground and by those at the sides who recoil or flee in horror; all by which surround the naked swordsman, who acts like the axle of a flattened wheel-like composition of centrifugal energy. Not only does this strategy help bring focus to the painting, but it also helped take up some empty space around the action. In order to match his other painting, the Calling of St. Matthew, which was located directly next to this one, figures of the same size were needed. These extra onlookers give the painting much support, as it hangs next to one of Caravaggios most impressiv...
