in Rome about this time must have known of the painting. Its influence is to be seen in a work by José de Ribera, now in the Galleria Corsini, Rome, dated to ca. 1613–15. Lionello Spada also completed at least two autograph works based on the painting, one in a private collection, the other in the Galleria Nazionale, Parma. Spada returned to Bologna from Rome and Malta in 1614. Reni must have disposed of the painting some time within the next decade since it appears in Cardinal Paolo Savelli's inventory taken at the Ariccia palace in 1624. Savelli was a patron of Orazio Gentileschi, a contemporary of Caravaggio in Rome, of whom he owned at least twelve paintings. The cardinal died in 1632, leaving it to his brother, Federico Savelli (died 1649), who in his turn left it to his nephew Cardinal Fabrizio Savelli. In 1650 the Savelli collection was offered for sale to the Duke of Modena and the picture must have been sold soon thereafter. In 1798, Matthew Pilkington noted a painting in the Certosa di San Martino in Naples "by Caravaggio, representing the Denial of St. Peter, with figures at half-length and as large as life". A document of 28 September 1655 states it was sold to the Certosa by architect Cosimo Fanzago and was hung above the door to the sacristy. Bernardo de' Dominici described this painting in the third volume of his Vite dei Pittori, Scultori, ed Architetti Napolitani (1742) as "a miracle of art, executed with such power of truth that it triumphs over whatever work is near it". Battistello Caracciolo had made a copy of this painting, now lost. It is not known whether this painting is the same as the present; some time after Bernardo de' Dominici remarked on it, it was removed and presumably sold. Giovanni Pietro Bellori (1672) wrote "it depicts the serving maid pointing to Peter, who turns with open hands in the act of denying Christ; and it is painted in nocturnal light with other figures warming themselves at a fire ". Thus there appears to be a second version of Caravaggio's Denial of St Peter unaccounted for. Shortly after the Second World War the present painting was purchased by Vincenzo Imparato Caracciolo of Naples on the Neapolitan art market as an anonymous work from an antiques dealer. After its restoration in 1959–64, it came to be attributed