This winter I had the opportunity to observe a Caravaggio painting upclose and often: his Supper at Emmaus (1601) was on loan to the Art Institute of Chicago from its permanent home in London’s National Gallery. From the Century offices, it was only a few steps across Michigan Avenue to see this vibrant, dramatic painting.
A funny thing happened to a pastor friend of mine. His congregation was baptizing a family in a river that ran not far from the Hispanic church that he served. As the newly baptized members came out of the water he handed them their baptismal certificates. Afterward, in true Latino fashion, they celebrated a fiesta.
The storyteller weaves it all together—an unknown traveler named Cleopas and his companion; the resurrected Jesus, who is present but in an unrecognized, mysterious fashion; the travelers’ sudden recognition of Jesus; and his sudden disappearance.