This is the third in the series for the Saint Luigi, and, I think, the most impressive. In the work featured on the altar, the angel belongs to an aerial and sublime dimension, enveloped in an encircling rippled sheet. The restless Matthew leans to work, as the angel enumerates for him the work to come. All is darkness but for the two large figures. Matthew appears to have rushed to his desk, his stool teetering into our space. His expression is sober, or even slightly annoyed. There is a sense of balanced tension in this work that runs through all of Caravaggio: the manner in which the robes of the angel form complimentary shapes, the tension of the angel’s fingers, and how Mathew turns up and towards the angel while still applying pressure to his book.