That was the trick really, he understood well that Caravaggio wanted a pardon so he could return to Rome, as well as the prestige that being a Knight of Malta would give him, and Wignacourt knew that once Caravaggio became a knight, he could not leave without his permission. Sensuality and religiosity are the two poles of Renaissance art. The Latin word fecit' means 'made' or 'did', and the word may well have been used with deliberate ambiguity in the present context. The only thing that compares is his beheading of Holofernes by Judith, which explores the pathos between sex and violence. Or is this, like so many other gestures in Caravaggio's oeuvre, kinesthetic - is she making us aware that if we can see, we can also hear? The same sense of the real-life model overwhelming the supposed subject was transferred to Mattei's John the Baptist.