{'fraction_non_alphanumeric': 0.01849217638691323, 'fraction_numerical': 0.0, 'mean_word_length': 5.834951456310679, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Visualizing Appearance and Disappearance: On Caravaggio's London Supper at Emmaus

In his first Supper at Emmaus (National Gallery, London), Caravaggio deftly manipulated the conventional techniques of Renaissance narration to create an unheard-of kind of pictorial narrative, one that structurally incorporates ambivalence and subjectivity. As a narrative text, it is interwoven with multiple references to a preexisting iconography, intrinsically informed by the reflection and inventiveness of Renaissance artists from Bellini and Titian to Paolo Veronese. One of the major problems that Caravaggio had to solve was how to convey the complex notion of a divinity simultaneously visible and invisible.