# The Seven Works of Mercy is installed for the Pio Monte della Misericordia in Naples as a completed public charity-altar

Date: 1607

## The fact

Britannica prints the Neapolitan Pio Monte commission of the Seven Works of Mercy as a completed public altar after the 1606 arrival. Shared work with the Monte’s officers remains named. Later tourist viewing is not 1607.

It is one event.

## Context

A public mercy altar by a fugitive is a humanitarian-and-cohesion path. It does not rebate the homicide.

[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 and Met Heilbrunn independently describe the Naples mercy altar.

Official or archival record: Britannica — Naples, Malta, Sicily, Porto Ercole, 1606–10 (https://www.britannica.com/biography/Caravaggio/Naples-Malta-Sicily-Naples-Porto-Ercole-1606-10; Encyclopaedia Britannica).

## Significance

A completed confraternity altar on the works of mercy is a humanitarian-visibility path. It is not a unique poor-relief series.

## What is established and what is not

Established: 1606–07 Pio Monte picture as a public commission. Not established: unique later-charity 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 `humanitarian-access` 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 Malta’s Beheading. 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

- Humanitarian Access: https://factrail.ai/drivers/humanitarian-access

## Sources

- https://www.britannica.com/biography/Caravaggio/Naples-Malta-Sicily-Naples-Porto-Ercole-1606-10
- https://www.metmuseum.org/toah/hd/crvg/hd_crvg.htm

## Methodology

https://factrail.ai/methodology

Canonical: https://factrail.ai/facts/cv-seven-works-1607