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The Conversion of St Paul
1601 · Basilica di Santa Maria del Popolo, Roma (Ordine di Sant'Agostino — Provincia Agostiniana d'Italia)
For the Conversion of Saint Paul · 25 January
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image 16.5×21.7 in on a 18×24 in sheet
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All editionsAbout this painting
The horse lifts one hoof over a man lying on his back, and the man has opened his arms to something no one else can see. Saul's eyes are shut. Acts names no horse and no fall from one, as Halvor Moxnes notes; Caravaggio gives the animal most of the canvas. There is no Christ here, only light, and the light is the whole apparition. Tiberio Cerasi commissioned the painting for his chapel in Santa Maria del Popolo in September 1600, and Leo Steinberg saw it made to be read from the side. The hoof stays in the air.
Sources: the Cerasi Chapel, commissioned from Caravaggio in September 1600 by Tiberio Cerasi, with Annibale Carracci's Assumption on the altar; the basilica is held by the Augustinians · Acts 9:3–9, 22:6–11 and 26:12–18; and Halvor Moxnes, ‘Where Did the Horse Come From? Caravaggio and Paul's Conversion as a Bodily Experience’, in Recovering an Undomesticated Apostle (McGill-Queen's University Press, 2023), 227–244. DOI 10.1515/9780228017721-016 · Giovanni Baglione, Le vite de' pittori, scultori et architetti (Rome, 1642), Life of Caravaggio · Leo Steinberg, ‘Observations in the Cerasi Chapel’, The Art Bulletin 41, no. 2 (1959), 183–190. DOI 10.1080/00043079.1959.11408594 · Acts 9:3-8, Douay-Rheims (Challoner). · Università Ca' Foscari Venezia, Dipartimento di Scienze Ambientali, Informatica e Statistica (DAIS), 'What happened': Caravaggio, The Conversion of Saint Paul (1600/1601)
And falling on the ground, he heard a voice saying to him: Saul, Saul, why persecutest thou me?
Acts 9:4 · Douay-Rheims (Challoner)