Caravaggio's Bacchus, painted c. 1596–97 and held in the Uffizi Gallery in Florence, seats the Roman god of wine at the razor-edge between abundance and dissolution. Caravaggio pulling a Roman studio model — rumored to be his companion Mario Minniti — into the role of deity. Vine-leaf crown tilting slightly, wide coupe glass proffered with the practiced looseness of someone who has drunk from it already. Tenebrism sculpting ivory-cream flesh against an umber-brown ground, the chiaroscuro pressing each shoulder forward into nearly tactile relief. The off-white linen drape, knotted with a black ribbon, anchors the god's sensuality in something deliberately undone — half-clothed, half-revealed, the deep crimson wine inside the coupe glass held steady while everything else in the scene quietly ripens. The Italian Baroque still-life tradition remodelled as seduction.