In Terms of Dramatic Presentation,

In terms of dramatic presentation, it is abundantly clear that Michelangelo's rendering of the CONVERSION OF SAUL is far superior to that of Caravaggio's rendering of the same painting. This superiority is based upon several facts. First, Michelangelo has long been considered as the quintessential genius of the Renaissance, whether in painting, sculpture or architecture. Second, it was well-known during his lifetime that Caravaggio cared little for the classical masters as compared to Michelangelo. Thus, he drew bitter criticism from many of his contemporaries. One unknown critic even went so far as to called Caravaggio "the Anti-Christ of painting" (Horst de la Croix, 594). This view of Michelangelo's superiority related to the CONVERSION OF SAUL can be supported by comparing several artistic qualities of both artists. With Caravaggio, his rendering of the CONVERSION OF SAUL was refused on the grounds that it lacked propriety, meaning that the overall presentation of Saul's conversion is more of an accident than a great miracle. The young man who has obviously drunk too has fallen from his horse, yet Caravaggio provides no indication as to who he might be. In essence, the horse in this painting appears to be the centerpiece for our eyes rather than Saul and his conversion. In addition, Caravaggio has "paid no attention to the usual dignity appointed to scenes from the holy scriptures" (Linda Murray, 156). In contrast, the rendering of the CONVERSION OF SAUL by Michelangelo demonstrates his tremendous sense of emotion which is presented through his use of light and shadow. The image of Saul, unlike that in Caravaggio's rendering, serves as the focus point and clearly defines Michelangelo's great respect and admiration for classical motifs and the true representation of biblical events. Thus, the superiority of Michelangelo's CONVERSION OF SAUL is due to his mastery of Renaissance form and style and his adherence to the use of light and shadow which seems to be a natural prerequisite to presenting biblical images and events as they were meant to be viewed. BIBLIOGRAPHY de la Croix, Horst and Richard Tansey, Revs. Gardner's Art Through the Ages. New York: Harcourt-Brace-Jovanovich, 1975. Murray, Linda. The High Renaissance. New York: Random House, 1967.