Bacchus (c. 1596) is an oil painting by Italian Baroque master Michelangelo Merisi da Caravaggio (1571–1610) commissioned by Cardinal Del Monte. The painting shows a youthful Bacchus reclining in classical fashion with grapes and vine leaves in his hair, fingering the drawstring of his loosely draped robe. On a stone table in front of him is a bowl of fruit and a large carafe of red wine. He holds out a shallow goblet of the same wine, inviting the viewer to join him. The painting is currently held in the Uffizi Gallery in Florence. Subject matter Bacchus, also known as Dionysus was the Greek god of wine, inebriation, fertility and theater. He is known to be joyous and kind to those who admire him, yet cruel and mischievous to those who cross him. Scenes from Greek mythology were often found in the private spaces of aristocrats. Classical images were used to depict the patrons interests or triumphs. The patron may have valued the finer things in life and saw Bacchus as the perfect allegory for wealth and excess. Interpretation Caravaggio is not only attempting to depict Bacchus, but also a boy dressed up as Bacchus. It Is a sensual scene inviting the viewer to succumb to their carnal desires. The boy is youthful and handsome, round yet muscular. He barely makes an attempt to keep his robes on as he coaxes the viewer to join him with a suggestive look in his eye. In the basket there is a bursting pomegranate as well as a rotting apple. Caravaggio uses these elements together to hint at the Vanitas theme. Youth and pleasure are fleeting. Everything must succumb to death and rot. It is also possible that the rotting apple simply represents fermentation, suggesting not only that fermentation is literally rot, but also that improper methods of fermentation lead to the personification of rot. The homoeroticism felt in the painting could be Caravaggio alluding to his own romantic feelings for the young model in the painting. In the sixteenth century, having homosexual relationships with young boys was not condemned. Many of Caravaggio's patrons and fellow artists turned a blind eye to his behavior and continued to support his work. Art historian, Donald Posner, felt that the homoeroticism in the painting was actually alluding to Cardinal Del Monte's sexuality and his relationships with the young boys that ran in his inner circle. Commission