The Death Of The Virgin was a sacred theme in the religious art. But Caravaggio ignored the scala's set pieces will, and created this work according to his own life experience and aesthetic principles of creation. What appeared in front of people was such a scene: in a dilapidated cottage on the table, a middle-aged ill woman who had no money to cure and was lying dead. She was very poor with unkempt hair, and haggard. She died without a pair of socks and shoes and was barefooted to lie on a small wooden bed. Half the body of the virgin was hung in the bed which realistically represented a poor family tragedy in Italy. In the prospect, the girl cried like losing the mother, who was the saint Magdalene. The apostles were depicted the co friends and neighbors with tears in their faces. The painter had no qualms to bring the common people in the sacred art. This painting neither had religious atmosphere nor fictional plot. It was as simple as the life itself. The only gorgeous curtain in the painting was based on the set pieces begged painted. No wonder the church and aristocracy scolded him as the "natural wild".

Allegedly set pieces refused to accept this work, because the greatness, lofty and glory of the virgin were not depicted. The school also accused him of the too indecent bare feet of the virgin. Caravaggio was too stubborn to compromise. Eventually Rubens advised Mandouya Duke to buy that painting. Realism in art creation of Caravaggio's was not personal, but the reflection of the critical thought at that time. Bruno once said that religion could not be counted as truth; everything should go to the bold suspicion and exploration. Caravaggio's paintings were the bold suspicion and criticism of religion situation.

For believers, owning sacred religious art, paintings is a way of enhancing, embracing, and strengthening faith. Religious paintings take many forms and have been a popular way of connecting with faith for thousands of years. In fact, religious images were painted by many of the renowned artists of the Renaissance period. Despite its age, religious themed artwork does not look dated. Instead, images representing Christ, angels, and scenes from the Old Testament are iconic images that still manage to enrapture and thrill modern art lovers.

Caravaggio was born September 28, 1573, in the Lombardy hill town of Caravaggio, as the son of a ducal architect. He may have spent four years as apprentice to Simone Peterzano in Milan before going to Rome in 1593, where he entered the employ of the Mannerist painter Giuseppe Cesari, the most popular painter and art dealer in Rome.

Huge new churches and palazzi were being built in Rome in the decades of the late 16th and early 17th centuries, and paintings were needed to fill them. The Counter-Reformation Church searched for authentic religious art with which to counter the threat of Protestantism, and for this task the artificial conventions of Mannerism, which had ruled art for almost a century, no longer seemed adequate. Caravaggio's novelty was a radical naturalism which combined close physical observation with a dramatic, even theatrical, approach to chiaroscuro, the use of light and shadow, which almost in all of Caravaggio's religious subjects emphasize sadness, suffering, and death.

Through the art business Caravaggio met his first patron Cardinal Francesco Maria Del Monte, who secured for him his first public commission. From then on he was flooded by public commissions. Yet because of his violent temper he was constantly in trouble with the law. Since 1600, he is regularly mentioned in police records, is constantly under accusations of assault, libel and other crimes. In 1606, he became involved in murder and had to flee, finding refuge on the estates of Prince Marzio Colonna.

Famous and extremely influential while he lived, Caravaggio was almost entirely forgotten in the centuries after his death, and it was only in the 20th century that his importance to the development of Western art was rediscovered. Yet despite this his influence on the common style which eventually emerged from the ruins of Mannerism, the new Baroque, was profound. Andre Berne-Joffroy, Paul Val©ry's secretary, said of him: "What begins in the work of Caravaggio is, quite simply, modern painting."

Few artists in history have exercised as extraordinary an influence as this tempestuous and short-lived painter. Caravaggio was destined to turn a large part of European art away from the ideal viewpoint of the Renaissance to the concept that simple reality was of primary importance. He was one of the first to paint people as ordinary looking.