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The Italian art historian Giani Pappi has put forward the theory that this Cecco may be identical with Cecco del Caravaggio ('Caravaggio’s Cecco'), a notable Italian follower of Caravaggio who emerged in the decade after the master’s death.While this remains controversial, there is more widespread support for Pappi's further proposal that Cecco del Caravaggio should be identified as an artist known as Francesco Boneri.

Its style was thoroughly derivative of Caravaggio (who had recently emerged as a rival for Church commissions) and a clear challenge to the recent Amor, and the younger painter bitterly protested at what he saw as the plagiarism.

Taunted by one of Caravaggio’s friends, Baglione responded with a second version, in which the devil was given Caravaggio’s face.

Scattered around are the emblems of all human endeavours – violin and lute, armour, coronet, square and compasses, pen and manuscript, bay leaves, and flower, tangled and trampled under Cupid’s foot.

The painting illustrates the line from Virgil's Eclogues X.69, Omnia vincit amor et nos cedamus amori ("Love conquers all; let us all yield to love! A musical manuscript on the floor shows a large "V".

Giustiniani is said to have prized it above all other works in his collection. Caravaggio’s treatment is remarkable for the realism of his Cupid – where other depictions, such as a contemporary Sleeping Cupid by Battistello Caracciolo, show an idealised, almost generic, beautiful boy, Caravaggio’s Cupid is highly individual, charming but not at all beautiful, all crooked teeth and crooked grin: one feels that one would recognise him in the street.

The shock of the Caravaggio, quite apart from the dramatic chiaroscuro lighting and the photographic clarity, is the mingling of the allegorical and the real, this sense it gives of a child who is having a thoroughly good time dressing up in stage-prop wings with a bunch of arrows and having his picture painted.

Amor Vincit Omnia ("Love Conquers All", known in English by a variety of names including Amor Victorious, Victorious Cupid, Love Triumphant, Love Victorious, or Earthly Love) is a painting by the Italian early realist / post-Mannerist artist Caravaggio.

Amor Vincit Omnia shows Amor, the Roman Cupid, wearing dark eagle wings, half-sitting on or perhaps climbing down from what appears to be a table.

Inevitably, much scholarly and non-scholarly ink has been spilled over the alleged eroticism of the painting.

Yet the homoerotic content was perhaps not so apparent to Giustiniani’s generation as it has become today.

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