# The Contarelli Chapel paintings at San Luigi dei Francesi are installed as a completed public commission, 1599–1602

Date: 1600

## The fact

Britannica’s Contarelli chapter and the National Gallery life print the 1599 contract and 1600–02 installation of the Matthew cycle in San Luigi dei Francesi, del Monte in the received brokerage. Side walls and later altar replacements are one chapel, not cosmetic twins.

It is one event.

## Context

This is civic-church access to a new naturalism. Baglione’s later spite is reception and a 1603 legal neighbourhood, not this plaster-and-canvas job.

[Caravaggio](/people/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 Contarelli and National Gallery independently describe the chapel commission.

Official or archival record: Britannica — Contarelli Chapel and other church commissions (https://www.britannica.com/biography/Caravaggio/The-Contarelli-Chapel-and-other-church-commissions; Encyclopaedia Britannica).

## Significance

A completed public chapel cycle is a knowledge-and-cohesion path. It is not a unique conversion series.

## What is established and what is not

Established: Contarelli as a dated public commission. Not established: unique later-pilgrim 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.

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. Keep 1600 distinct from Cerasi. 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

- Digital Learning Access: https://factrail.ai/drivers/edu-digital-learning-access

## Sources

- https://www.nationalgallery.org.uk/artists/michelangelo-merisi-da-caravaggio
- https://www.britannica.com/biography/Caravaggio/The-Contarelli-Chapel-and-other-church-commissions

## Methodology

https://factrail.ai/methodology

Canonical: https://factrail.ai/facts/cv-contarelli-1600