The presence of the two serves as documents of giving historical evidence of significance in Venetian saint. In early literature, the cycle scholars identified these two canvases as the only works of ground cycle left unrecorded in the history of documents. However, in 1920, Rudolf Berliner published documents based on Sala Terrene cycle, which became the point of departure in the consideration of dating and documentation of paintings cycles. In contrast, the works of Berliner in the interpretation of the documents did not include any references of Mary Magdalene or Mary of Egypt, contributing to questions on the originality of the series by Hans Tietze. Therefore, the paintings’ cycle of documentations dates back in the times of Mary Magdalene and Mary of Egypt. Moreover, it is important to record documentations of history as it contributes to learning materials from the past times to the present periods with critical evidences as it depicted in the paintings’ cycles of Sala Terrena. Three paintings of Mary Magdalene and Mary of Egypt are undocumented. Valentina Sapienza suggests that the two documents from 1582 and 1583 comprise payment evidence of several canvases that completes in Sala Terrena. This was contrary to Berliner’s assumption that Mary Magdalene and Mary of Egypt were left undocumented. Sapienza suggests that the payment of sixteen-azurite pigment lead to the indirect documentation of these paintings. Therefore, the works of paintings in Caravaggio and religion was a vital operation that earned a lot of attention in the past. It enabled many people in the past to earn good money and even promote different ideas in paintings to different parts of the areas. The paintings’ created changes in counter- reformation theology have different people perceived the paintings differently in more broad and diverse ways considering the presence of Mary Magdalene and Mary of Egypt in the paintings. It also earned a
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The works of Caravaggio and religion entails the identification of Mary Magdalene and Mary of Egypt not only as Venetian saints, but also as having special relationship to incurably sick and extension of the confraternity of San Rocco. The actual documentation of the paintings…
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