How to Buy Any of the eBooks of the series TEACHING ENGLISH WITH ART

To buy any of the eBooks of the series TEACHING ENGLISH WITH ART, please follow the steps below. Click on the image to be directed to the KINDLE STORE.

Click on the image above to be directed to the KINDLE STORE.

Click on the image above to be directed to the KINDLE STORE.






6 Myths about Art Most People Share

Art tends to be surrounded by awe and respect. Museums resemble cathedrals in the way people move around the halls speaking in hushed tones and looking humbly at the works on display. Art or Hight Art – as it’s sometimes called – should be regarded in a more natural and intimate way by the viewers. The lack of great museums in the region makes the contact with art a particularly formal  experience for us Latin Americans. But things are changing as more and more people go abroad, frequent museums, and substitute pleasure and fun for the old sense of respect infused in them when they stood in front of a famous painting or sculpture not many years ago. The myths we are outlining below concern more that kind of art you find in museums and galleries: the visual art produced by the great masters.

1. Art is usually spontaneous and organic. The legend says the talent lies dormant in the artist until it’s suddenly awaken by the muses. In fact, the development of artistic skills is a long and hard path, involving a lot of academic learning, Of course, there are more or less intuitive artists, and mentors may sometimes replace art schools. Formal learning, however, is integral to the process and only practice makes perfect.

2. The best art has idealized versions of  mythology, history or biblical themes as its subject matter. This tradition started being disputed around the time the pre-Impressionists, such as Manet with his mundane and realistic nudes, and the social art of Courbet. Their fight against tradition and academicism was taken to a whole new level by the Impressionists, especially by Monet, who understood art as the apprehension of fleeting moments in time such as the effects of light bouncing off trees, water and plain people in everyday situations. That was what mattered and deserved registering.Colors became bright and more vibrant.

Argenteuil, c. 1872-1875, by Monet.

Argenteuil, c. 1872-1875, by Monet.

3.  The best art is realistic. Fauvism, Cubism and Modern Art in general showed that there was not much point in replicating what film and photography had  started doing so well as of the XIX century. Art couldn’t and shouldn’t compete with them. So art needed to change. It should remain an expression of what is human, including reality, but as seen through the eyes, emotions, neuroses, and obsessions of the artistic self. Art was a personal way to express the artist’s inner world. Unlike previous painters,  the sense of perspective developed since the Renaissance and the concepts of beauty and balance taken as tenets by the artistic community underwent an earthquake which  shattered those ideals to pieces. This is still going on.

Young Girl Reading a Book on the Beach, by Picasso.

Young Girl Reading a Book on the Beach, by Picasso.

4. Art dealers and critics are the experts and they know it all about good and bad taste. We all know how the Impressionist group struggled to have their works exhibited in the tradition-dominated Salón in XIX century Paris. There are no absolutes in art and if you read Tom Wolf’s iconoclastic The Painted Word – which I strongly recommend – you will laugh widely and be infused by  a sense of liberation as he dissects and analyses ironically the American art of the XX century. There is also a hilarious chapter in  his latest book, Back to Blood,   which mocks merciless the Modern Art World of contemporary Miami, with its dealers, experts, artists and stupid billionaire clients. A must-read.

The Connoisseur: Rockwell's sarcastic take on Modern Art used as the cover for Tom Wolfe's THE PAINTED WORD.

The Connoisseur: Rockwell’s sarcastic take on Modern Art used as the cover for Tom Wolfe’s THE PAINTED WORD.

5. You have an innate predisposition to love, hate or be totally indifferent to art. Not so simple. Just like marmite – for those who have had a chance, like me, to live in he UK for a while and see this initially disgusting jam-like spread sitting on the breakfast table every morning,  or even Japanese food,  whose ever-present ripe odor coming out of restaurants may put you off getting in at first – art is an acquired taste. You don’t have to like it right away, but you may grow to love it by exposure. There is no need to enjoy every famous artist either.  Be selective. Art grows in people. And I strongly defend that by offering  history of art as a subject in the secondary and high school – not very common in most schools in South America –  or by parents exposing their kids to art books at home or visiting museums, young people’s taste will get more refined and we will see a growth in art appreciation over time.

6. Art is for older people. The younger you are the more appealing iconoclastic  and unconventional art will look to you, especially if you have a rebel streak (who doesn’t?) in you. Therefore your initial interest for the drama and violence in Caravaggio,  as you grow more mature,  may be replaced by calmer Monets or a more contained Velàzquez later on in life.  Their beauty and absence of direct conflict can be refreshing as you grow more mature. I still love Janis Joplin, The Stones, Jim Morrison and Sid Vicious. Sometimes it was not even the quality of their music but their life style, perfomances and stage persona – some of them very short-lived, by the way – which captivated me. However,  as I grew more mature,  classical music started to show its charms and take over my musical taste.

We will be talking more about art in the next post. Watch this space.

If you are a language teacher and interested in art you may want to check out our new series of ebooks TEACHING ENGLISH WITH ART, available for download from the Kindle Store. We focus on vocabulary learning, speaking and writing skills in the series. Check it out by clicking here: :

Teaching English with Art, the series.

Teaching English with Art, the series.

Au revoir

Jorge Sette

Why are you afraid of teaching English through art?

As most of you know, we have launched a series of supplementary eBooks,  TEACHING ENGLISH WITH ART,  based on the works of famous artists, to help the students practice their English (for further info on the series, please click here

We have received an overwhelming response in terms of feedback. Sales fortunately are doing well too. However, we realized that some teachers are hesitating to use the materials for a number of reasons. Having gone through all the feedback we have been getting, we decided to write this post to answer some of the most frequently asked questions by teachers (or even students) about the materials.

I can't teach English through art!

I can’t teach English through art!

1. Do I need to be an art specialist to teach from these books? Of course not. The idea of these books is to extend vocabulary,  speaking and writing practice, providing more interesting and customizable topics that resonate better with the students and foster more engaging and genuine participation in the classroom. You are a language teacher, no one expects you to be an art connoisseur. Treat the topic as you would any other topic you find in more traditional course books. All the info you need  about the particular artist featured in the eBook (so far, we have Matisse, Picasso, Caravaggio, Monet and Norman Rockwell) can be found in the introduction to the book.

2. What should I teach the students about the artist? As I said before, you will find a quiz and a brief summary on the artist’s life and times in the introduction to the book and  some texts on more specific topics related to a certain painting after or before some exercises. Basically we should give the students some idea on why this artist gained so much popularity, what are the main characteristics of his/her style and the historical context he/she lived in. If possible, add an interesting anecdote about his/her life to lend  some color to your lesson: such as the fact the Caravaggio is allegedly the only great artist who committed murder; or that Monet dedicated his time to art as much as he did to gardening in his old age; or that Picasso did most of his work in a dark and damp studio at night using the feeble light of candles. A quick watch on a couple of videos on YouTube will give you a lot more info than you can possibly need, if you wish to expand your understanding of the artist. Alternatively, you can assign this pre-research to the students themselves, as part of the lesson: “get all the info you can on (artist’s name) and be prepared to talk about him/her at the beginning of the next class”

Artist's life and times. Guernica by Picasso.

Artist’s life and times. Guernica by Picasso.

3. I don’t know anything about topic/task based speaking activities or process writing. As these are the main methodological points used in the series you should familiarize yourself with them. These are important areas any language teacher should master. You need to study them. A good start with be to read the following posts in this blog: Topic-Based versus Task-Based Speaking Activities ( and Writing: Focus on the Process not on the Product (

4. I can’t deal with technology. These are eBooks, so I completely understand the resistance some teachers may feel towards them. Not many people read eBooks yet. However, believe me, this is the future and there’s no way back. You can check all the practicalities of ebooks in the following post 7 Reasons I prefer eBooks to Print ones: As for our series, all you and your students need to do is download the KINDLE app for free and install it on any device you can possibly have. It works in all systems, mobile or desktop. Get help from your students, they will know how to do it. And they will feel pleased to show the teacher how tech savvy they are. Then go to the KINDLE STORE on and download the eBook of your choice.

Print books versus eBooks

Print books versus eBooks

5. Which book shall I pick? At this point, we have 5 eBooks featuring a different artist each (Matisse, Picasso, Caravaggio, Monet and Norman Rockwell). They are all very popular and liked all over the world. But of course, you and your students will have your preferences. Each book has exercises at different levels (from beginner to advanced), so my recommendation would be for you to conduct a needs analysis with your class before choosing the first book. Show them the covers, show paintings (loads of pictures available on the Internet) by each artist and get them to vote for the first artist they wish to work with. I’m sure your lessons will become so succsessful you will cover the whole set of eBooks we have on offer eventually though :).

TeachingEnglish with Art: 5 artists to pick from. Matisse, Picasso, Caravaggio, Monet and Norman Rockwell.

TeachingEnglish with Art: 5 artists to pick from. Matisse, Picasso, Caravaggio, Monet and Norman Rockwell.

I hope we could answer some of your questions here. Good luck with the lessons and do not hesitate to contact me if you have more questions. We will be launching more eBooks of the series TEACHING ENGLISH WITH ART soon.

Au revoir

Jorge Sette



A Brief History of Caravaggio

Michelangelo Merise was born in Milan in 1571 and grew up in a town nearby called Caravaggio, hence his artistic name.

He grew up in times of severe religiosity, brought about by the Counter-Reformation, whose objective was to stop the advance of Protestantism, having Catholics return to a more austere and simpler form of Christianity, based on the cult of Jesus, Mary, the saints and martyrs of earlier times. They tried to accomplish these objectives through repression (the Inquisition) and propaganda (buildings and works of art). The austere values of the Counter-Reformation deeply impregnated and influenced Caravaggio’s paintings.




After a couple of years as an apprentice in Milan, Caravaggio moved to Rome in his early 20s, where, alone, hungry and penniless, he had to compete with a great number of other artists who flocked to what was considered the center of the world to make it as a famous painter. His career really took off when he fell under the protection of a very well-connected patron, Cardinal del Monte, who changed his life.

It didn’t take long for Caravaggio to acquire fame. Boosted by his patron’s connections, his network grew steadily. Endowed with a very original and unique artistic style, he was soon considered the best painter in Italy. He became famous mainly for his dramatic use of light and shadows, in a style known as tenebrism (chiaroscuro), in which he painted biblical, mythological and everyday scenes in a very naturalistic way. The mission of a painter, according to Caravaggio, was to represent real life with all its flaws, ugliness, and occasional beauty.

Conversion of Saint Paul on the Road to Damascus, 1601.

Conversion of Saint Paul on the Road to Damascus, 1601.


Caravaggio, however, had a very difficult personality. Short-tempered and with a violent streak, he was wild. Roaming the mean streets of Rome after nightfall, he would very often get into fights and brawls. He frequented taverns and brothels, always carrying his sword, which was illegal, and he did not hesitate to use it whenever provoked. Those were hard times and he was the object of much jealousy and envy.

Extremely volatile and abrasive, Caravaggio was eventually involved in murder. He got into a fight over a tennis match and ended up killing his opponent. This probably makes him the only great artist ever to commit murder. Banished from Rome, he fled to Naples, where he started a new life and was soon given commissions by important people to paint again.

From there, he moved to Malta, hoping to become one of the famous Knights of Malta, a combination of military and religious order which was formed to defend Christianity against its enemies. Difficult as it was for most people to enter the order, his powerful connections were at work again here and he managed to be accepted. This was meant to be the first step to get him a papal pardon, which would allow him to return to Rome.

Judith beheading Holofernes, 1598/99

Judith beheading Holofernes, 1598/99

However, the circumstances and his harsh personality again hindered his plans. He got in trouble in Malta, and from then on, lived in the run for over 2 years, moving constantly to places such as Syracuse and Palermo in Sicily, and again back to Naples, where more trouble awaited. Finally he seems to have been stricken by a fever and died alone on a beach in Porto Ercole, supposedly on his way back to Rome. His body was never found.

If you are interested in Caravaggio, please check out our eBook series TEACHING ENGLISH WITH ART:

Check out the video on Caravaggio’s eBook below:

Au revoir

Jorge Sette






How to work with the eBooks of the series TEACHING ENGLISH WITH ART

Teaching English with art has many advantages: it provides an exciting context; it exposes the students to beautiful and powerful images, making the lesson more memorable; it can easily be linked to other subjects in the school curriculum: history, geography, science, philosophy etc; and, as the response of human beings to different artworks is always unique, teachers can tap into that by personalizing speaking and writing activities. Personalization and freer practice are the most important stages in the language acquisition process.

Our eBooks bring photos of paintings of famous artists such as Matisse, Picasso, Caravaggio, Monet, Norman Rockwell,  Vincent van Gogh and Winslow Homer. Based on these paintings, each book brings a series of vocabulary, speaking and writing activities, composing a set of 30 items altogether, each divided in a number of exercises. The students are encouraged to work on both topic-based and task-based types of speaking activities, and explore the steps of process writing. Teachers are free to decide how much time their students should spend on each writing activity. Notice that, while the speaking activities should take place in class, some of the steps of the process writing activities, such as drafting and publishing, can be assigned as homework. For further information on these approaches, please refer to the following articles previously posted on the blog LINGUAGEM:  Topic-Based versus Task-Based Speaking Activities ( and Writing: Focus on the Process not on the Product (

Click on the picture above for further info

Click on the picture above for further info

The activities in each book cater for different linguistic levels, ranging from beginner (A1) to  advanced (C2). They are correlated to the COMMON EUROPEAN FRAMEWORK OF REFERENCE, which makes it easy for the teacher to match the eBook exercises to whatever other teaching materials they are already using, providing, therefore, effective and interesting supplementary work on productive skills. These extra activities can be used as a warm-up; whenever the teacher feels the class needs a boost in their motivation during the lesson, through an energizing task; as a filler for a lesson which finished earlier; or as complement or extension to topics already covered in the main coursebook.

Our materials are not meant for self-study. It takes a teacher to monitor and lead the students through the activities, but the eBooks can be used both in traditional classrooms or on online courses. Ideally both teachers and students should have their own practice books – downloaded to the Kindle app on their desktops,  laptops, tablets or smartphones. Whenever the teacher wishes to provide heads-up exercises or have the students focus their attention more effectively, they can project the pages of the eBooks onto a blank wall, and ask the students to switch off their electronic devices.

Most of the speaking activities can be done in pairs or groups. Alternatively, the whole class can be involved. We suggest the teacher give the students some preparation time before they are ready to speak in front of the class. Another important technique would be to have the student repeat the same story, role plays or any other speaking activity with more than one partner, in sequence. He will invariably perform better the second or third time around.

As for the writing activities, we advocate the use of process writing techniques. The student should work on drafts that progressively get more sophisticated and accurate until they reach the final product. Students should be trained to self-correct or peer-correct these drafts. Teachers should establish how many drafts they expect for each activity. The final draft can then be corrected by the teacher before being displayed to the class in some form. Please remember that it’s during the drafting phase that students learn how to write. The final product is only a consequence. The longer they spend on the drafting phase, the better their writing is going to get.

In addition to the exercises, the eBooks bring short biographies of each of the artists featured, the historical context he lived in and the main characteristics of the artistic movement he participated in. The teacher should give the students a brief overview of the artist’s biography, his times, where he lived, and his style. Teachers will not need to go beyond what is written in the eBook, although there is a wealth of information freely available on the Internet if teachers or students wish a more in-depth introduction or to know more about the artist.

Some of the eBooks also contain short texts referring to specific artworks of that particular artist, either because they are prominent in his oeuvre or because they are based on historical or mythological events that, if explained in a more comprehensive way, will enhance the student’s understanding of the painting and help them with their English production.

We are certain these eBooks will prove invaluable in making your lessons stand out and help your students develop their English. For further info on the series TEACHING ENGLISH WITH ART, please click here and purchase the eBook about your favorite artist right now.

Check out this fun video clip on our CARAVAGGIO eBook:

Au revoir

Jorge Sette

Paintings in the Movies: Art within Art

I’m fascinated by the game of mirrors and metalinguistic reflections reverberating from the use of art inside art inside art inside art, and all the implications and possible interpretations that result from this spiraling labyrinth. More precisely, this post is about famous paintings that feature in movies either as a direct element of the plot, or, more subtly, as an aid to help compose the fabric of the subtext. I’ll cover 3 interesting instances of clever uses of famous works of art and artistic style in the movies, which always cause a jolt of pleasure in the viewer who recognizes them, and, as a consequence, is able to connect the dots and understand the references.

1. The Skin I live In, by Pedro Almodovar, 2011. Let’s start with this brilliant Almodovar classic, which was heavily criticized when it first came out for its alleged shift of style from what the director had been famous for. Well, if these critics meant the movie adds layers of complexity to Almodovar’s previous works, I couldn’t agree more. However, if they are implying the movie was not funny, I don’t think they got it. It’s hilarious, although in a somewhat dark way. In addition to the humor, one important aspect of the movie is the theme of the contrast between culture and nature, between what is innate and what is fabricated and handed down by civilization; how far can one go to change what is considered natural? Without going into too much detail about the plot of the movie, let’s just say it’s about a surgeon who thinks it’s OK to recreate the human skin in order to improve it. And he tests his theory on an unlikely guinea pig: the man who allegedly abused his daughter, and whom he has turned into a woman, through an unauthorized gender reassignment surgery! Too weird? Maybe. But the point here is to discuss the symbolic meaning of the painting that decorates the surgeon’s mansion in Toledo, and keeps popping up in the scenes where he goes up and down the elaborate staircase: The Venus of Urbino, by Titian, 1538. This painting summarizes the main theme of the movie: the idealization and beautification of the real world. In this case, a beautiful goddess, with flawless white skin, concocted by an artist, conveys the impossibility that she could be recreated outside of this imaginary world. She will not leap off the painting and exist in real life.

The Venus of Urbino, by Titian, 1538

The Venus of Urbino, by Titian, 1538

2. Skyfall, by Sam Mendes, 2012. By far my favorite 007 movie. Everything works perfectly to make this a classic: action-packed opening scene, dreamlike credit sequence showcasing Adele’s song, a lot of fighting and shooting throughout, stunning locations (London, Istanbul, Shanghai), sophisticated dialogue, superb acting. And, as the underlying theme, we are to led to confront the universal and always worrying issue of the inexorable passage of time and how human beings cope with it. The main theme is made explicit in an anthological scene (see video clip below) where an aging 007 meets his new and young quartermaster: Q. They are both at the National Gallery in London contemplating Turner’s The Fighting Temeraire, 1838, which depicts an old ship being tugged somewhere to be destroyed. These are the best lines of the blistering dialogue that ensues:

Q:    Old age is no guarantee of efficiency.

007: And youth is no guarantee of innovation.

Do I need to explain anything else?

Turner’s The Fighting Temeraire, 1838.

Turner’s The Fighting Temeraire, 1838.

Q meets James Bond:

3. Mean Streets, Martin Scorsese, 1973. In this movie the symbolism does not come from showing a specific artwork. However, you can tell the cinematography and art direction are heavily influenced by the style of Caravaggio. You seem to be watching the application in movies of Caravaggio’s artistic principles: Scorsese, just like his baroque predecessor, depicts the contemporary world (1973 New York) of the Italian Mob, shown in beautifully staged scenes where the technique of chiaroscuro or tenebrism predominates. Every scene seems to have the lighting coming from a single or, sometimes, two naked light bulbs carefully placed to focus on the foreground, where the action is taking place. The background is dimmed or blackened in shadows. The characters seem to behave as modern versions of Caravaggio and his mates themselves, rambling through the dark streets of VII century Rome (represented by 1973 New York) after nightfall, going to taverns (bars, and pool joints) and whorehouses (stripclubs). They are constantly gambling, getting involved in brawls and fights, some of those – in the movie – nicely choreographed to the Rolling Stones or the Beatles songs. In addition to that, you hardly ever see a shot without an element of the Catholic iconography featuring prominently in the setting: images of Christ, the Virgin Mary, crucifixes, photos of the pope and the interior of churches themselves. What would we call this? Post-modern baroque?

Caravaggio's Cardsharps, 1596.

Caravaggio’s Cardsharps, 1596.

Let us know what you thought of this post: write your feedback on the comments section of the blog.

NOTE: If you are into art, you may consider checking out our eBook series TEACHING ENGLISH WITH ART:

Au revoir

Jorge Sette.

Caravaggio Fun Quiz: how much do you know about the artist?

How much do you know about Caravaggio, the painter? Take the quiz and find out:


Caravaggio's The Fortune Teller

Caravaggio’s The Fortune Teller


  1. Where was he born? a. Rome, b. Naples, c. Milan


  1. What was he like? a. Volatile and abrasive, b. Calm and peaceful, c. Cold and calculating


  1. What kind of painting style is he famous for? a. Romantic, b. Baroque, c. Impressionist


  1. What was the most original trait of his paintings? a. Tenebrism (chiaroscuro), b. Idealization of reality, c. Emulation of the classical models


  1. How did he die? a. Not clear, b. Hanged in Rome, c. Of old age


  1. Was he famous while he was alive? a. Not at all, b. Only after he turned 70, c. Pretty much


  1. Was he ever married? a. Never, b. Twice,  c. Once, but he became a widower soon


  1. Did he have powerful patrons? a. No,   b. Only near his death,  c. Yes, especially Cardinal del Mondo


  1. What’s the historical context he lived in?  a. The Industrial Revolution, b. The Counter-Reformation,   c. The Renaissance


  1. Which one is not a Caravaggio painting: a. The Death of the Virgin, b. Las Meninas,  c. Young Sick Bacchus



Caravaggio's quiz. Answer key.

Answer key


Note: the quiz above is from the ebook: TEACHING ENGLISH WITH ART: CARAVAGGIO. For further info on the series please CLICK HERE:

Check out the video:

Au revoir

Jorge Sette

Caravaggio, Oscar Wilde, Salome…and the head of the Baptist!

One of the most famous versions of the myth of Salome is the play written by Oscar Wilde, originally in French, in 1891. In this version, Salome is the daughter of Herodias, wife of Herod Antipas, the tetrarch of Galilee and Peraea.

The prophet John the Baptist has been imprisoned by Herod for criticizing his marriage to Herodias, who had previously been Herod’s brother’s wife. John the Baptist claims the consortium is incestuous.

In Wilde’s play, the action takes place during a party thrown by Herod probably in celebration of his own birthday.

Caravaggio's Salome with the Head of John the Baptist, 1607.

Caravaggio’s Salome and the Head of John the Baptist, 1607

During the party, Salome tries to seduce the prisoner John the Baptist but does not succeed in her intent. A number of signs indicate that tragedy looms ahead: the moon looks strange and ominous; a soldier/servant has just committed suicide; Herod, coming out of the party, slips in a pool of the blood shed by the victim, and hears a sound like the one made by the flapping of giant wings…These are all bad omens. What is going to happen?

Soon afterwards, Herod, drunk on wine, and somewhat infatuated by his stepdaughter Salome, begs her to dance for him. Herodias, her mother, does not think this is appropriate and tries to forbid her, but Salome acquiesces when Herod promises she can have anything she wishes in return.

Salome then dances the famous “dance of the seven veils”, which mesmerizes Herod. Time has come now for her to ask for her reward: she wants it to come on a silver platter. Herod laughs: “sure, she can have it on a silver platter…but what is it that she wants?” Salome demands: “The head of the Baptist”, catching Herod completely off guard. He is horrified by the request.

Her demand is fully appreciated by Herodias, who hates the prophet. She insists that her daughter should get what she wants. Herod tries to make Salome change her mind by offering her lots of alternative gifts, such as jewels and beautiful birds, but she is adamant: all she wants is the prophet’s head on a silver platter.

Her wish is granted: John the Baptist is decapitated. Caravaggio painted in gory detail a gruesome scene based on the myth, almost 300 years before the play was written.

Note: the text above is from the ebook: TEACHING ENGLISH WITH ART: CARAVAGGIO. For further info on the series please CLICK HERE:

Check out the video:

Au revoir

Jorge Sette

Caravaggio and the Myth of Medusa

Medusa was a beautiful priestess serving at the temple of Athena. Her beauty attracted a number of suitors, but she had to turn them down, as, according to her vows, she was supposed to remain a virgin.

However, Poseidon, God of the Sea, fell in love with Medusa and appeared to her in the shape of a bird. Being a god, it was easy for him to have his way with the poor maid and sleep with her.

As customary in mythological tales, the victim takes the blame for this sort of incident, and Athena, in a fury, turned Medusa into a horrific monster with the skin of a corpse and poisonous snakes for hair. Besides, anyone who dared to look her in the eyes would immediately turn to stone.

Caravaggio's Medusa

Caravaggio’s Medusa

Perseus, son of Jupiter with the mortal Danae, grew up on the Island of Seriphus. For many years he longed to receive a visit from his father, but it did not happen. His mother would tell him to be patient, as time did not work in the same way for gods.

Danae attracted the attention of Polydectes, king of the island, who tried to force her to marry him. She refused, but the King imposed one condition not to marry her: Perseus must bring him the head of Medusa as a gift.

Perseus, although unprepared and young, did not hesitate to accept the challenge. He knew he had first to find the Grey Sisters, horrible old hags who lived in the forest and shared one eye between them. They kept taking turns at using the eye ball. In a moment of distraction, while one of them was passing the eye to another, Perseus snatched it and told them that he would keep the eye unless they told him where the nymphs lived. The nymphs would tell him where to find Medusa and would give him the necessary weapons to fight her. The old hags acquiesced.

Perseus set out to meet the nymphs, who gave him three weapons: the sword of Jupiter, his father; the shield of Athena, the Goddess of Wisdom; and the winged sandals of Hermes, the Messenger of the Olympic Gods. He was also told not to look Medusa in the eye or he’d be turned to stone.

As he approached the lair of the monster, Perseus noticed a number of statues of men scattered in the garden. These were probably men who had tried to get to Medusa before him and were dully petrified. All was rock and desolation around the cave of the monster.

Perseus turned his back to the entrance and walked backwards towards the inner chambers of the cave, looking into the reflection on his polished shield for orientation. This way he would not have to look Medusa in the eyes directly. As he located her, he turned around with his eyes shut and struck her neck with the powerful sword of Jupiter, decapitating the creature.

Using Hermes’ sandals, he flew back to the Island of Seriphus, arriving right at the moment when the wedding between his mother and King Polydectes was about to take place. He shouted: Here’s your gift! And held the head of Medusa in front of the king. The King looked into the eyes of the dead monster and, as a result, was turned immediately to stone. And so Danae was free to go and live with her son again.

Caravaggio’s work, inspired by the myth of Medusa, was painted on an actual shield. It was not meant to be hung, but passed from hand to hand when viewed.

Note: the text above is from the ebook: TEACHING ENGLISH WITH ART: CARAVAGGIO. For further info on the series please CLICK HERE:

Check out the video:

Au revoir

Jorge Sette