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A typical 'scandal' of this kind flared up round Caravaggio(1571-1610), a very bold and revolutionary Italian artist, who worked round about 1600. He was given the task of painting a picture of St Matthew for the alter of a church in Rome. The saint was to be represented writing the gospel, and, to show that the gospels were the word of God, an angel was to be represented inspiring his writings.
激起这种“公愤”的一个典型例子，是卡拉瓦乔惹出的乱子；卡拉瓦乔是一位有着大胆改革精神的意大利艺术家，从事艺术活动的时间大约在公元1600年左右。当时他受命给罗马一座教堂的祭坛画一幅圣马太的像。圣徒应该被画成正在那里写作福音，为了表现出福音是上帝的圣谕，还应该画一个天使正在为他的作品赋予超凡入圣的灵感。
Caravaggio, who was a very imaginative and uncompromising young artist, thought hard about what it must have been like when an elderly, poor, working man, a simple publican, suddenly had to sit down to write a book. And so he painted a picture of St matthew with a bald head and bare dusty feet, awkwardly gripping the huge volume, anxiously wrinkling his brow under the unaccustomed strain of writing. By his side he painted a youthful angel, who seems just to have arrived from on high, andwho gently guides the labourer's hand as a teacher may do to a child.
卡拉瓦乔是一个坚定不屈、富于想象的青年艺术家，他苦苦地思索那个年迈的贫苦劳动者，一个小收税人，突然不得不坐下来写书时，场面必然会是什么样子。于是他把圣马太画成这么一幅样子：秃顶，赤着泥脚，笨拙地抓着一个大本子，由于不习惯于写作而感到紧张，焦灼地皱起眉头。在圣马太旁边，他画了一个年轻的天使，仿佛刚从天外飞来，像老师教小孩子一样，温柔地把着这位劳动者的手。
