on the ground in the lower right corner (profane love) from a Lucifer in the left corner. 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 plagiarism. Taunted by one of Caravaggio's friends, Baglione responded with a second version, in which the devil was given Caravaggio's face. Thus began a long and vicious quarrel which was to have unforeseeable ramifications for Caravaggio decades after his death when the unforgiving Baglione became his first biographer. Sandrart described Amor as "A life-size Cupid after a boy of about twelve...[who] has large brown eagle's wings, drawn so correctly and with such strong coloring, clarity and relief that it all comes to life." Richard Symonds, an English visitor to Rome about 1649/51, recorded the Cupid as being "ye body and face of his (Caravaggio's) own boy or servant that (sic) laid with him". 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. Cecco Boneri, if this is his name, appears in many of Caravaggio's paintings, as the juvenile angel supporting Christ in The Conversion of Saint Paul (1600–1601), possibly as the angel offering a martyr's palm to the saint in The Martyrdom of Saint Matthew (1599–1600) (although seen only as of the top of a curly head of hair), as the young Isaac about to have his throat cut in The Sacrifice of Isaac (1603), as an adolescent David in David with the Head of Goliath (Caravaggio, Rome) (ca. 1610 – the head is Caravaggio's), and as the John the Baptist now in the Capitoline Gallery in Rome. The picture remained in the Giustiniani collection until 1812, when it was purchased by the art dealer Féréol Bonnemaison, and sold to Frederick William III of Prussia in 1815 for the Berlin Museums. See also Master of the Gamblers, for a similar painting entitled Omnia Vincit Amor ("Victorious Cupid") List of paintings by Caravaggio Notes Further reading Jürgen Müller, Der Maler als Pasquino