The Capture of Christ Caravaggio School, 17th century oil on canvas 134 x 172 cm The painting re-proposes with remarkable compositional fidelity Caravaggio's famous invention of the Capture of Christ, dated 1602 and now in the National Gallery of Ireland (oil on canvas, 133.5 × 169.5 cm). The near coincidence in size between the present exemplar (134 × 172 cm) and the Dublin version is an important element, distinguishing it from many known copies in reduced size or with adaptations to the layout. The scale close to the original in fact allows the close and theatrical impact conceived by Caravaggio to be effectively rendered, while maintaining the spatial compression and psychological tension of the tight group of figures.The scene depicts the Gospel episode of Christ's arrest in Gethsemane: Christ is in the centre left, illuminated by a grazing light that moulds his absorbed and resigned face; Judas, wrapped in his red cloak, holds him in an embrace that is both treacherous and violent; from the right, the group of soldiers bursts in, among whom the armoured arm in the foreground stands out, rendered with particular attention to the metallic rendering and reflections. The figures are leaning against each other in a contracted, nocturnal space, according to a close cut that accentuates the dramatic nature of the action.Compared to other known replicas, the work stands out for its painterly quality and expressive intensity: the modelling of the faces and hands appears accurate, with soft and coherent tonal transitions; the rendering of the materials, particularly the armour and drapery, presents a convincing luminous vibration; the chiaroscuro system maintains an effective narrative tension, avoiding the mechanical stiffening often found in serial copies. These characteristics suggest a version of a high level, most probably attributable to Caravaggio, conceived with the intention of restoring not only the composition but also the dramatic force of the original.In terms of its dimensional proximity, quality of execution and dramatic rendering, the painting is therefore one of the most significant versions derived from the original Caravaggio in Dublin, deserving critical and technical study for a more precise attributional definition.