# The Cerasi Chapel laterals at Santa Maria del Popolo are a completed 1600–01 public commission beside Carracci’s altar Date: 1601 ## The fact Britannica prints the 24 September 1600 Cerasi contract and the Conversion of Saul and Crucifixion of Peter as completed public laterals. Annibale Carracci’s Assumption on the altar is shared church space, not a twin Fact of [Caravaggio](/people/caravaggio)’s canvases. It is one event. ## Context Public Passion pictures in a Roman parish-and-pilgrim church are a cohesion path. First versions replaced are one commission family, not extra rows. Caravaggio’s documented role is bounded by other offices and collaborators named in the sources below. Sharing a field with them is not a reason to drop a documented act, and it is not a reason to assign later consequences done in the name after death. Lived 1571–1610. Patrons, chapel rectors, the Order of St John, and later museum pages share the file. Legal incidents are stored as documented process, not as later legend. Ranuccio Tomassoni is not affiliated_with. Complex contribution is required except where the killing is direct. Named person as heading of the dated public instrument. Later editors, museums, printers, or offices share publication. Complex where later carriers are the surviving public file. ## Evidence and sources Britannica and Met Heilbrunn independently describe the Cerasi laterals. Official or archival record: Britannica — Caravaggio (https://www.britannica.com/biography/Caravaggio; Encyclopaedia Britannica). ## Significance A completed public pair of conversion-and-martyrdom canvases is a civic-church path. It is not [Raphael](/people/raphael)’s stanze as a copy. ## What is established and what is not Established: 1600–01 Cerasi commission as dated. Not established: unique later-restoration coefficients. What would change the picture: a contradictory original with a different date or name, or a measured series that can be argued, with lag and alternatives, as a consequence of this instrument rather than of later institutions. The date is the date of this instrument, not a licence to back-date every later harm or benefit. Established here: a sourced, dated public instrument with a named contribution by Caravaggio. They are not a public rating. The driver `social-cohesion` is attached because the mechanism named in Significance follows from this instrument, not because a standing list of welfare headings needed another tick. Caravaggio did not file a later UNESCO form, a later Loeb colophon, or a later museum label as a personal act. A portrait or conventional bust is not this mechanism. Allegation, reconstruction, and established occurrence stay distinct. Do not merge with Contarelli. Keep the carrier date of later English distinct from the received historical year stored in the date field. Do not read a later English edition as a recovered autograph of Caravaggio. ## People - Caravaggio: https://factrail.ai/people/caravaggio ## Drivers - Social Cohesion: https://factrail.ai/drivers/social-cohesion ## Sources - https://www.britannica.com/biography/Caravaggio - https://www.metmuseum.org/toah/hd/crvg/hd_crvg.htm ## Methodology https://factrail.ai/methodology Canonical: https://factrail.ai/facts/cv-cerasi-1601