The Taking of Christ
by Michelangelo Merisi da Caravaggio, 1602

caravaggio taking of christ
Once provenance is proved within the pale
through pentimenti yet beyond my ken,
the work, restored, becomes itself again,
a masterpiece of figures, each a male.

Anachronistic soldiers seize the Lord,
just kissed by Judas toward the left, with John
about to leave and Peter looking on
while holding up a lantern, not a sword.

The source of light, however, seems to be
outside of what exists in paint: the moon
which rose and shone, the timing opportune,
above the scene set in Gethsemane.

Who dares deny that Caravaggio
allowed himself a shameless cameo?

Jane Blanchard

If you have any thoughts about this poem,  Jane Blanchard   would be pleased to hear them