Like the Michaelangelo "Last Judgment" in the Chapel, Caravaggio's "Judith" is seen in various close ups, sometimes blocked form view by Artemisia and Orazio. The same is true of Artemisia finishing her Judith. In this scene with Caravaggio's "Judith," Orazio sets up Caravaggio as a rival for Artemisia, someone whose work she may surpass. The film thus articulates Griselda Pollock's Harold Bloomian view (in Differencing the Canon) of Artemisia's paintings fueled by artistic rivalries, though for Pollock the rivals are Orazio and Tassi. This Oedipal rivalry with male rivals hardly seems feminist, however. Given that Orazio and Artemisia were Caravaggiste and Carvaggiesta, respectively, Merlet's version of the rivalry makes more sense. Note: Caravaggio's "Judith" is also seen in the openly sado-masochistic romance, The King's Whore (dir. Axel Corti, 1990).