(b. 1528, Verona, d. 1588, Venezia)

Conversion of Mary Magdalene

c. 1547
Oil on canvas, 118 x 164 cm
National Gallery, London

The interpretation of the subject is controversial. The Magdalene's usual attribute of a pot of ointment is missing, and therefore the crowded painting has been rather unconvincingly interpreted as Jesus and the Woman Taken in Adultery (St. John 8, 3 —11) or even The Healing of the Woman with the Issue of Blood {St. Mark 5, 25-34).