The effete ephebes of his earlier Roman years had given way to the brooding, worldly youths of his later years in that city and his later treatments of St. John the Baptist. One painting from his later years in Rome asserts itself in a most disturbing manner. For the Marchese Vincenzo Giustiniani he painted the famed Amor Vincit Omnia (1602) (See below). It is a painting which many see as the capstone to Caravaggio’s homoerotic works and one which points to the artists polyvalent sexuality. However, Caravaggio’s sexuality is not the point--his sensibilities are. Sensuality and religiosity are the two aesthetic poles of Renaissance and High Renaissance art yet Caravaggio melded the opposites in his startling approach and technique. The sensuality of his later works are amplified by chiaroscuro and his use of radical naturalism.