page_title: Conversion on the Way to Damascus
section_title: Description
hierarchical_section_title: Conversion on the Way to Damascus / Description
caption_attribution_description: English: Santa Maria del Popolo (Rome) - Cappella Cerasi
context_page_description: The Conversion on the Way to Damascus is a work by Caravaggio, painted in 1601 for the Cerasi Chapel of the church of Santa Maria del Popolo, in Rome. Across the chapel is a second Caravaggio depicting the Crucifixion of Saint Peter. On the altar between the two is the Assumption of the Virgin Mary by Annibale Carracci.
context_section_description: The conversion of Paul from persecutor to apostle is a well-known biblical story. According to the New Testament, Saul of Tarsus was a zealous Pharisee, who intensely persecuted the followers of Jesus, even participating in the stoning of Stephen. He was on his way from Jerusalem to Damascus to arrest the Christians of the city.
  As he went he drew near Damascus, and suddenly a light from heaven shone around him. He fell to the ground and heard a voice saying to him, “Saul, Saul, why do you persecute Me?" He said, “Who are You, Lord?” The Lord said, “I am Jesus, whom you are persecuting.”
  The painting depicts this moment recounted in the Acts of the Apostles, when Saul fell off his horse on the road to Damascus, seeing a blinding light and hearing the voice of Jesus. For Saul this is a moment of intense religious ecstasy: he is lying on the ground, supine, eyes shut, with his legs spread and his arms raised upward as if embracing his vision. The saint is a muscular young man, and his garment looks like a Renaissance version of a Roman soldier's attire: orange and green muscle cuirass, pteruges, tunic and boots. His plumed helmet fell off his head and his sword is lying by his side. The red cape almost looks like a blanket under his body. The horse is passing over him led by an old groom, who points his finger at the ground. He had calmed down the animal, and now prevents it treading upon Saul. The huge steed has a mottled brown and cream fur; it is still foaming at the mouth, and its hoof is hanging in the air.
  The scene is lit by a strong light but the three figures are engulfed by an almost impenetrable darkness. A few faint rays on the right evoke Jesus' epiphany but these are not the real source of the lighting, and the groom remains seemingly oblivious to the presence of the divine. Because the skewbald horse is unsaddled, it is suggested that the scene takes place in a stable instead of an open landscape.
caption: Saul is almost embracing his vision
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