NEW YORK -- The 20th century was 100 years of amplitude. It overflowed with barbarous fighting faiths, wars enveloping continents, and graphic journalism assaulting global audiences with scenes of shocking immediacy. The Spanish Civil War, although small in terms of the number of combatants, was perhaps the century's emblematic conflict. As a rehearsal for the Second World War, Spain's agony became a proxy struggle between fascism and communism, with democracy crushed in the middle. And for perhaps the first time, pictures supplemented and sometimes supplanted words as primary shapers of opinion about a conflict.

According to Robert Hughes, author of "The Shock of the New" (1980), during World War I's nation-shattering and culture-shredding carnage, no photograph of a dead soldier appeared in a German, French or British newspaper. But the Sept. 23, 1936, issue of the French magazine Vu published (as did Life magazine 10 months later) what became perhaps the century's iconic photograph -- "Falling Soldier." It was taken by, and launched the remarkable career of, a 22-year-old Hungarian refugee from fascism, photographer Robert Capa.

It supposedly shows a single figure, a loyalist -- that is, anti-fascist -- soldier, at the instant of death from a bullet fired by one of Franco's soldiers. The soldier is falling backward on a hillside, arms outstretched, his rifle being flung from his right hand. This was, surely, stunning testimony to photography's consciousness-raising and history-shaping truth-telling, the camera's indisputable accuracy, its irreducibly factual rendering of reality, its refutation of epistemological pessimism about achieving certainty based on what our eyes tell us.

Probably not. A dispute that has flared intermittently for more than 30 years has been fueled afresh, and perhaps settled, by a Spanish professor who has established that the photo could not have been taken when and where it reportedly was -- Sept. 5, 1936, near Cerro Muriano.

The photo was taken about 35 miles from there. The precise place has been determined by identifying the mountain range in the photo's background. The professor says there was no fighting near there at that time, and concludes that Capa staged the photo.

Could an alternative explanation be that a single fascist sniper fired the fatal shot while some loyalists were at rest? No. What was once thought to be blood spurting from the falling soldier's skull is actually a tassel on his cap. And Capa several times said the soldier was felled by machine-gun fire. In a slightly less dramatic photo of another falling soldier, taken by Capa at the same time -- the cloud configuration is the same as in "Falling Soldier" -- the soldier falls on the same spot. Continued...