The activity of the Modenese painter Bartolomeo Schedoni, one of the leading exponents of Italian painting in the early 17th century, was confined to a period of some fifteen years, between 1600 and 1615. Within this very short period of time the artist succeeded, however, in developing a stylistic and poetical repertoire of extraordinary scope. The present article focuses on two particularly striking works – one on panel, the other on canvas, one unpublished, the other little known – that serve to reflect on the extent of his accomplishment. There is no doubt that Schedoni translated every influence with the utmost originality. His early work, however, exemplified by the new panel, was profoundly shaped by the example of Correggio and his sublime affetti, seen through their reinterpretation by a 'modern' artist like the young Annibale Carracci. His later work, on the other hand, of a quite different expressive substance, and attested by the canvas illustrated here, seems to show the influence of the other great exponent of that remarkable period, Michelangelo Merisi, not that this meant that Schedoni could in any way be identified among the ranks of Caravaggesque painters, since he always remained unequivocally true to himself.