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Abstract: This work presents a critical analysis, together with new findings on a series of paintings included in the exhibition Caravaggio a Roma. Una Vita dal Vero, held in Rome in 2011.The discovery, connected to that exhibition, of a signature and date (1606) on the Ecce Homo by Giovanni Baglione has conclusively dismantled the hypothesis proposed by some scholars that this well-known antagonist of Caravaggio had previously seen the latter’s portrait of San Giovannino Borghese. This finding make it likely that the compositional and iconographic analogies which the two paintings share derive from a common prototype, which we believe can be found in a picture which has long been attributed to Michelangelo Buonarroti. The discovery, in a private collection in Rome, of a second version of the enigmatic painting on wood of a Wicker flask with flowers from Forlì has, nonetheless, stimulated fresh speculation about connections between Forlì’s painting and the two aforementioned canvases, as well as a renewed interest in this little-known picture. Some additional considerations concern the Portrait of Clement VIII from Senigallia and the Portrait of Prospero Farinacci by Cavalier D’Arpino.