Around 1597, Caravaggio realized The Fortune Teller. This painting, built on contrasts, has a moralizing aspect.
The composition of this painting is binary: it is built on oppositions between the two characters, a man and a woman, each occupying half of the picture.
The opposition is also marked by the difference in the characters' clothes: while the man is richly dressed, the woman wears a simpler outfit.
The balance of power seems equal at first glance, but appearances are misleading. Indeed, the rich young man does not seem intimidated by the gypsy: he looks straight in her eyes, his hand on his waist near his sword, symbol of strength.
But the latter already exercises its influence over him, who is too naive to realize it.
The young man's ungloved hand puts him in a position of weakness, especially since the gypsy seems to discreetly remove a ring from him, while diverting his attention. She clutches the young man's hand, dragging him into her part of the composition.
The young man, despite his apparent position of power, is in fact being subtly robbed, which is accentuated by the shadows descending on him.
This painting was perceived by Caravaggio's contemporaries as a condemnation of this rich naive man: he should not have called upon a "witch" to predict his future, this is against Christian dogmas.