At the point when Caravaggio fled Rome instead of face trial for the murder of adversary Ranuccio Tomassoni, he initially set off for the Colonna family homes outside of the city. He proceeded to Naples, where he scored major lucrative commissions on account of intercessions by the Colonna family. While on the run, Caravaggio was as yet the most famous cutting edge painter of the time, and his work was invited wherever he went. He may have stayed in Naples, however a companion, Fabrizio Sforza Colonna, was going to set off for Malta. Colonna was the general of the galleys of the Knights of Malta, a medieval Crusader arrange (the Hospitallers) populated with individuals from Europe’s finest families, and delighted in gigantic impact, especially at the Vatican. Caravaggio saw enrollment in the request as his most obvious opportunity for an exculpate, so he joined Colonna and cruised for Malta. There, he was quickly invited by Alof de Wignacourt, the Grand Master of the Knights of Malta, who was charmed that so well known a craftsman should shake up on the shores of his rough island.
While another knight, Malaspina, charged religious works — Caravaggio’s “Holy person Jerome” and “Decapitating of John the Baptist” — Wignacourt had his picture painted, as did some different distinguished knights. Things were solid for Caravaggio. Until, Caravaggio being Caravaggio, he got into inconvenience. The correct idea of the inconvenience is not clear, but rather it appears that it included him getting into a battle with another knight — a privileged person to boot — in which he separated an entryway and beat up his adversary. Having touched base in 1607, by mid-1608 he was thrown out of the request, alluded to as a “foul and offensive part,” and tossed behind bars. Oh dear, history does not record exactly how, but rather he figured out how to escape from the jail and advance toward Sicily.