built it up with a touch
    [1482]

    Figure studies, generally traffic sign semaphore quality about them. Even crooked and defeated those signposts persevere steadfast like School of Mantegna Michelangelo etcetera.

  • [1483]

    Signs, those letters and words suspended in void stars of night white of page blank of nothing.

    [1484]

    Down to ground meet definite terrestrial resistance simple as that no story told. Even defeated goal-keeper no story because defeat closed unto itself. Cf Christ lifting effortlessly like wreath of smoke or plummeting through vapor. Pontormo Michelangelo.

    [1485]

    Line from Pontormo to Caravaggio primitive example of person fettered to ground. At rest? peace defeat...

    [1486]

    Raised arm Lazarus no gesture, if one does not consider wings of windmill as gesture in wind. Lazarus raised arm rather moved by light falling in from where Christ is coming. Cf The Crookes radiometer, also known as a light mill, consists of an airtight glass bulb, containing a partial vacuum. Inside are a set of vanes which are mounted on a spindle. The vanes rotate when exposed to light (Wikipedia)

    [1487]

    Christ in Lazarus only shadow of mighty figure from Calling of St Matthew, head strangely lost in vague author obviously did not know what to do about it.

    Lazarus resurrected at all? Could be pietà mother taking leave ot her son rather than miraculous return-to-life of deceased or rather both. Characteristic of Caravaggio twisting and mixing of themes. Did he not portray Madonna and Child in his portrait of Magdalene?

    [1488]

    Linear vision explored and exploited 2D aspect of 3D space meaning scenes and sceneries explored in terms of horizontality and verticality. Michelangelo and Pontormo replaced that mapping with weight and weightlessness as basic parameters. No up and down or sideway spread but gravitation where falling not downwards but inwards, planetary understanding of bodies no matter how heavy the body hovers in mental space like that Pontormo drawing.

    [1489]

    In late paintings neat chiaroscuro dissolved in shaded cavernous 'corrosive' setting. Dominic Cutajar term in conversation. Caravaggio Resurrection of Lazarus perfect late maniera reiterating composition of Calling of Matthew, common theme of waking up from ignorance and death. Matthew spotted by light: Who? Me? and Lazarus greeting, or stopping, light of life.

    [1490]

    Caravaggio took over Michelangelo obsession with failure and defeat. When commissioned to paint victory over death he superimposed image of Death Victorious did he not?

    [1491]

    Caravaggio started out still life painter added figure or two as in genre painting, worked his way through provocation and drama only return to innocent beginnings end up in silence of still life but then soaked in sorrow of wasted relation.