Vincenzo Carducci

When finished, he was employed for four years by the monks of the Chartreuse of el Paular to decorate their monastery with 54 canvases of historical figures in the great cloister.

[3][4] He worked a great deal for the subsequent monarch, Philip IV of Spain and his best pictures are those he executed for him as decorations, now preserved in the Prado.

For many years he labored in Madrid as a teacher of his art, and among his pupils were Juan Rizi, Pedro de Obregón, Vela, Francisco Collantes, and other distinguished representatives of the Spanish school during the 17th century.

They do not stop to reflect of the fire of his talent which is so forceful, nor whether they are able to digest such an impetuous, unheard of, and incompatible technique, nor whether they possess Caravaggio's nimbleness of painting without preparation.

I heard a zealot of our profession say that the appearance of this man mean a foreboding of ruin and end of painting, and how at the close of this visible world the Antichrist, pretending to be the real Christ with false and strange miracles and monstrous deeds would carry with him to damnation a very large number of people moved by his works which seemed so admirable (although they were in themselves deceptive, false, and without truth or permanence).