Caravaggio’s “Conversion of St. Paul”

(in the Cerasi Chapel of the Church of Santa Maria del Popolo) 

Paul lies sprawled beneath his horse, 
arms opened, hands extended, upraised, 
creating a cup for his spilled head.
His face is half-hidden, turned aside.
His rich red robe is crumpled under him.
His helmet has rolled off to one side. 

Caravaggio knew well what the texts 
tell: that Saul became Paul, regained 
his sight and then began to write letters 
to the world. But in this small chapel 
in central Rome, he’s stopped the story 
here—leaving us to fill the future in.