He is making a dramatic entrance into the scene, surrounded by a halo of light and a security detail of heavenly hosts.

[3] Surrounding Saul is a triangular composition of companions that attempt to aid him as he lies recumbent on the ground.

The downward sloping hills, the beam of radiant light, and the groupings of the figures surrounding Saul make it clear to the viewer that he is the most important person in this figure-heavy piece.

Further in the background is an outline of a city to contextualize the exact moment in which Saul is experiencing this divine intervention.

On a journey to this city of Damascus in which he originally intended to arrest Christ followers, Saul was converted to Christianity.

While Saul lies helpless on the ground, some of his companions begin to pull out weapons and shields as though they are evading an enemies attack.

As in most of his pieces, Michelangelo pays careful attention to anatomy, and gives great detail to the musculature and form of all the figures, whether clothed or nude.

In his later works such as the Last Judgement and also in his Conversion of Saul, the muscularity of his figures have more of a strain to them than previous pieces.

These poses and movements create a tension to the scene and highlight the miraculous nature of the event occurring.

A secco is a technique in which the artist painted on dry plaster and was able to work more quickly and correct mistakes as opposed to other methods.