these early biographies. De Dominici's biography has been called "barefaced lies" by one modern historian, and "a caricature" by another, although the later noted a critical examination of it can still provide some insights. Early life (1591–1616) Little information is available on Ribera's youth. It was as recent as 1923 that the year of his birth was positively established. He was baptized on February 17, 1591 in Játiva, Spain, about 60 km. (37 mi.) south of Valencia. His parents were identified as Simón and Margarita (née Curo) Ribera, married in 1588, and his father's occupation a shoemaker. Other baptismal records show the couple had two other sons, Jerónimo (b.1588) and Juan (b.1593). A gap of 20 years follows his baptism record, including information regarding his childhood, education, teachers, and when he left Spain. Ribera's move to the Italian Peninsula and his training as an artist have been subjects of interest to art historians in recent decades. His 18th century biographer Palomino wrote that he apprenticed with the Spanish painter Francisco Ribalta in Valencia, and this was generally accepted by historians into the mid to late 20th century, although no proof of this connection exists. Recently historians have begin to question this scenario. There is some evidence to suggest Ribera might have been in Italy as early as 1608-1609 (age 17 or 18), or even as early as 1605-1606 (age 14 or 15). Marriage records show that his father, Simón, married a second time in 1597 when Jusepe was six years old, and a third time in 1607 when he was 16, suggesting some disruption and lack of continuity in Ribera youth. Recent decades have also shed light on Ribera's presumed teacher Francisco Ribalta, whose early works exhibit a mannerist style, and is now known to have only reached his final and mature period, reflecting a realist and Caravaggesque current about 1614, at which point Ribera is already documented working in Italy. Some historians also believe Ribera's drawing technique shows a thoroughly Italian education and influences. Records show Ribera was in Parma, Italy in June 1611, where he received payment for a painting of Saint Martin Sharing His Cloak with a Beggar, for the Church of San Prospero. It is notable and some indication of Ribera's reputation that a foreigner, at the age 20, was given a commission for a public altarpiece. Lodovico Carracci wrote in 1618, that Ribera was under