the Galleria Borghese ), while St. John's lying seized almost certainly Pedro Fernandez de Castro, VII Count of Lemos and viceroy of Naples from 1610 to 1616.Il painting He arrived in Spain in 1616, when the Count of Lemos, finished the vice-regal office, left for Madrid . Through the steps hereditary within the family went to Don Pedro Antonio, tenth Earl of Lemos, who was appointed viceroy of Peru in 1667 and was certainly responsible for the transfer of St. John lying in Latin America. After being in a private collection of El Salvador and then to Buenos Aires, the painting was brought in Bavaria following a lady of Argentina, just before the Second World War (Marini 2001, p. 574). The canvas was announced by Marini as autograph after the restoration carried out in Rome by Pico Cellini in 1977-78 and dated 1610 (Marini 1978, pp. 23–25, 41-42 illus. 3–5, figs. 15-25 ; Marini 1981, pp. 82 note 117, 45 fig. 10). The chronological position in the very last phase of life of the painter was confirmed not only by zeros (1998, pp. 28–45), in written communications from Stroughton (1987), Pico Cellini (1987), Pepper (1987), Spike ( 1988), Slatkes (1992) and Claudio Strinati (1997), but it should be noted also that Bologna (1992, p. 342) considered the work a copy of a lost original by the Neapolitan church of Sant'Anna dei Lombardi . The hypothesis of the scholar (later ricredutosi Caroli in 1992 where he explicitly identified the painting of Monaco in San Giovanni that the Merisi was carrying on the felucca) is still unfounded, not knowing the original prototype of the Chapel Fenaroli, destroyed in ' old fire of the church, which were destroyed in the other two paintings by Caravaggio: The resurrection of Christ and St. Francis in the act of receiving the stigmata. This painting can not be confused with any other of St. John of Merisi, who have an origin and a commission documented; therefore its connection with the mentioned in the letters of Deodato Gentile to Scipione Borghese is certainly to be welcomed. In the languid pose of St. John are discernible Venetian memories: the reference is specifically to the Venuses and Danae of Giorgione and Titian, but also to the ancient representations of river gods and paintings of the same subject in the Neapolitan area. Writer (Pacelli 1994, pp. 150–151) has pointed out the