Question

You are going to read a text on art. Choose a word from the list to complete each gap (1-20).
Change its form where necessary to make a word/a group of words that fits in the gap.
Different aspects of form change are possible: active or passive voice; indicative, imperative or subjunctive mood; finite or non-finite forms (infinitive, gerund, participle); tense for finite forms or aspect for non-finite forms; full or bare infinitive, etc.

USE EACH WORD ONLY ONCE.

accuse
bear
come
condemn
confuse
draw
envy
fascinate
find
flank
flee
give
imprison
involve
project
recognise
scorn
sit
watch
wound
At the centre of The Supper at Emmaus by Caravaggio we see Christ 1.by two of his apostles and 2.over by a servant.
This is the day of the Resurrection. That morning the apostles 3.the empty tomb and, 4., many of them left the city. On the road to Emmaus, these two apostles encountered a stranger and walked with him and told him of their day. And it was only at dinner, and only when Christ blessed the bread in his traditional way, that they recognised who he was. Unusually, Caravaggio depicts Jesus without a beard and that’s why, of course, they don’t recognise him immediately. And we 5.him immediately and this is Caravaggio’s way of 6.the viewer in this mystery.
Caravaggio has used light very effectively: having this great shaft of light 7.in from the side, itself a metaphor for their realisation at this moment. Both the basket that 8.on the edge of the table and the outthrust arm of the apostle seem 9.into our space and 10.us in so that we feel a part of this realisation as well. Caravaggio had very recently become famous for his realism, particularly in using ordinary people as his models. He was making religion more personally relevant, returning the Gospels to the ordinary folk, not grand exalted folk.
11.the traditional idealized interpretation of religious subjects, Caravaggio took his models from the streets and painted them realistically. Artists, men of learning, and enlightened prelates 12.by the robust and bewildering art of Caravaggio, but the negative reaction of church officials reflected the self-protective irritation of academic painters and the instinctive resistance of the more conservative clergy and much of the populace. The more brutal aspects of Caravaggio's paintings 13.vehemently by the public partly because Caravaggio's common people 14.no relation to the graceful suppliants popular in much of Counter-Reformation art. They are plain working men, muscular, stubborn, and tenacious.
Criticism did not cloud Caravaggio's success, however. His reputation and income increased, and he began 15.by many. The despairing bohemian of the early Roman years had disappeared, but, although he moved in the society of cardinals and princes, the spirit was the same, still 16.to wrath and riot. In 1603 he 17.on the complaint of another painter and released only through the intercession of the French ambassador. In April 1604 he 18.of throwing a plate of artichokes in the face of a waiter, and in October he was arrested for throwing stones at the Roman Guards. In May 1605 he was seized for misuse of arms, and on July 29 he had 19.Rome for a time because he 20.a man.