The Cross of San Damiano

The Icon of Christ in Glory

Origin

The cross was originally housed in the ancient church of San Damiano on the outskirts of Assisi.  Thomas of Celano (1 Cel 8) attests to the great age and dilapidated condition of the church.  It is first mentioned in documents in 1030 (Fortini) as an established building.  By the time Francesco Bernadone (ca 1206) came across the church, it had fallen into disrepair but had a resident priest.

The cross of San Damiano is twelfth century Byzantine icon style common in Italy at the time.  The style also shows Syrian influence.  The icon is painted on wood (walnut) to which cloth had been glued. It is about 190 cm high, 120 cm wide and 12 cm thick.  Its author (icons are written) is unknown but it is thought to be local because of the presence of Umbrian saints surrounding the Crucified.

It is believed that the cross probably hung above the altar in San Damiano. 

This cross follows the ancient icon tradition in which the icon has a mediating or ‘sacramental’ function in that it enabled the reader (one reads icons) to come face to face with the compassionate, wounded and glorified Christ.  Icons echo 1 Jn. 3:2 – ‘then we shall be like him for we shall see him face to face’. It was the power of this ‘sacramental’ function that opened St Francis to a profound and life-changing religious experience.

Connection with St. Francis and St Clare

During the early period in St. Francis’ life there were significant moments which were to shape him, his spirituality and the way of life for him and his followers.  His encounter with the lepers led him to those who were poor and on the margins of society (the minores).  His encounter with Christ crucified on the cross of San Damiano led him to ‘compassion for the crucified’ who is at the same time ‘the Lord of Glory who became our brother’.  This, in turn led him to the brotherhood and sisterhood of all people and all creation.

Around 1206 the restless young Francis frequented isolated places to pray and discern how he may live the Gospel.  The Legend of the Three Companions (L3C:13) says that the Spirit led Francis into the ruined church of San Damiano.  All the biographies concur that the crucifix responded to Francis’ prayer for discernment with the words, ‘Francis, don’t you see that my house is being destroyed?  Go, then, and rebuild my house.’  Francis replied, ‘I will do so gladly Lord.’ He had prayed to know God’s will for him and this was the commissioning.  He sold cloth from his father’s business, gave the money to the priest who refused to accept it; Francis refused to handle it and threw it on to a windowsill.  Francis put himself under the priest’s protection and lived there for some time.  It is believed that Francis became an oblate by this move.

Francis, ever the concrete thinker, set about a church restoration period of his life.  After repairing San Pietro, San Damiano and Santa Maria degli Angeles he came to understand that the Lord meant him to repair the house of the church - the living church of the people of God (Thomas of Celano).  This shaped the rest of his life and the mission of the three orders that he founded.

In 1212 St. Clare, joined by her sister Agnes came to live at the restored San Damiano after she left her family.  They became the nucleus of the Poor Ladies who followed Francis as contemplatives.  The community remained in San Damiano with the cross in their custody until 1257 when the sisters left San Damiano for the safer monastery of San Giorgio.  They took the crucifix with them where it is still housed in what is now the Basilica of Santa Chiara.

Much has been made in Franciscan hagiography about St Francis and this icon.  However, St. Clare and her community were custodians of the cross for forty-one years.  She read that icon daily.  In a letter to Agnes of Prague she invites Agnes to gaze upon the crucified Christ “…gaze upon him, consider him, contemplate him as you desire to imitate him’ (2Lag 20).  So Clare begins prayer by gazing at the book of the Crucified which leads to consideration of his meaning which in turn leads to prayer and finally imitation which brings delight.

Clare describes the crucified Christ as a mirror, a reflection of who we are.  Given the imagery of the icon which invites the reader to enter into who Christ is and therefore who the faithful Christian is, it is likely that Clare’s mystical theology was nurtured by reading this icon.

The final link to San Damiano, the cross and St. Clare came at Francis’ death when his funeral cortege stopped at San Damiano so Clare and the Poor Ladies could farewell him who had so influenced her life.

Significance of the imagery

When reading an icon, one must bear in mind that everything, including gesture, colour, stance etc. has a deeper symbolic significance.  The San Damiano cross is in the tradition of the Christus Triumphans – Christ is the perfect doxology.  For this reason, is it properly known as The Icon of Christ in Glory.

Relationship with Fourth Gospel

The theology of the icon reflects the theology of the Fourth Gospel.  Christ’s crown of thorns is replaced by the crown of glory.  The people under the arms of Jesus all appear in John’s Gospel, the wound in Christ’s right side is significant and the colour black in contrast to the red and gold reflect Johannine theology of darkness and light.  The dark representing sin and death, and the red symbolising the victory of love over death.  Gold symbolised glory.

In this icon Jesus prayer, ‘Father, glorify your son’ is answered and the life of the Christian is revealed.

The Frame of the Cross

The scrolls design

The borders of the cross have scroll-like designs which may refer to John 15 ‘I am the vine, you are the branches... ‘

The Scallop shells

The Scallop shells of the border are the ancient Christian symbol of pilgrimage from its close association with the pilgrimage to St James of Compostela.  The scallop also symbolises the Christian’s journey towards heaven as in Hebrews 11:13 – we ‘are pilgrims and strangers on earth’.  This phrase became important to St Francis and in his Testament, he writes ‘as pilgrims and strangers let them always be guests here’.  So, the scallop shell is to remind the reader of pilgrimage and our final destination in the glory of the Trinity.

The scallop shell is often to be seen artistically represented in baptistries or on baptismal fonts to symbolise the Christian journey and our heavenly destination.

The Colours

Gold represents the glory of God and heaven.  Red speaks of Christ’s humanity and love which is victorious over sin and death.  The black square on which Jesus’ feet stand and the black of the cross and surrounds indicate the tomb, darkness and sin.  Jesus is risen from the tomb and death has been conquered.

Not a Closed Frame

The frame is not closed.  At the base of the icon the frame ends either side of what appears to be a block of stone which reminds the reader of the icon that Christ’s church is built on Peter the rock and the promise that God will prevail (Mt. 16:18).

The Figure of Christ

The figure of Christ is central as indicated by its size and luminosity.  He stands upright, not nailed; his eyes are open and his arms reach out to embrace the reader and the world. He looks out to the world, which He has saved. He is alive, the one who is eternal; the Tree of Life in the Holy City (Rev 22:14-19).  The Christ image dominates the icon and therefore all the other figures and symbols should be read in this context.  The crown of thorns had been replaced by the large crown of glory.  Christ’s sufferings are not forgotten but are seen in the light of his resurrection.  For this reason, the surrounding figures are smiling and joyous.  They live in the light of the Lord (Rev 22:5); ‘I am the light of the world.  Whoever follows me will not walk in darkness but will have the light of life’ (Jn 8:12). 

So, while this icon is Christ triumphant, it also tells us about the reign of God in which we live through baptism.

The Crown of Glory

The crown of glory points to how we need to understand the icon.  In the crown there is an outline of the cross, with all its suffering and humiliation but it is bathed in glory.  This crown is full of consolation and gives meaning to Christ’s suffering.

The Vestments of Jesus

The loincloth of linen with gold surrounds, represents the loincloth of the Jewish priests (Ex 28:42).  There is also a reference to King David who fulfilled his priestly function when making sacrifice and dancing before the Arc of the Covenant (2 Sam 6:13-20 cf. Mt 12:4).  So, Jesus is both priest and victim (Hb. 10:5-7) of the new covenant.

Jesus’ body

Jesus’ chest, throat and neck are depicted as strong. Jesus gives power of re-creation to his disciples (John 22:23). When he breathed on his disciples (John 20:22), the Greek word used recalls the moment of Creation (Gen 2:7).  The Divine Breath of Jesus brings about a new creation.

At the centre of the breast of Jesus there is a faint outline of a person’s head facing left.  This represents the Father of whom Jesus says ‘….as you Father are in me and I in you…’ (Jn 17:21).  Beneath this figure is a circle, the symbol of eternity, in which there is another profile.  That it is in a circle, indicates that it is eternal.  This is the Word of God – Divine and pre-existing. 

On Jesus’ forehead there is a ‘suggestion’ of a dove descending with outspread wings – the Holy Spirit. 

So, in a few strokes of the brush the Trinity is depicted as well as the human and divine nature of Christ – ‘In Christ, the fullness of divinity resides in bodily form’ (Col. 2:9)

The Trinity is also indicated by the three-fold circle made by the crown of glory, Jesus’ head and Jesus’ hair line.

Both Jesus’ face and the crown of glory are slightly in shadow as far as his neck.  As God was veiled by a cloud in the Exodus (Ex 24:16) so now his glory is veiled by his humanity (Hb. 10:20)

The Wounds of Jesus

The two angels look intently at the wounds of Jesus, the others under his hands seem to be expressing their astonishment at the blood shed by Jesus, the eternal Word.  1 Peter 1:12 – ‘Even the angels long to catch a glimpse of these things.’  The blood trickles down his arms and falls on the figures below.  He has become the fountain of life and the sacrifice of salvation (Hb. 9:11-14).

The wound on Jesus’ right side from which blood and water flowed recalls the vision of Ezekiel (47:12) of the water flowing from the Temple and bringing life, healing and flourishing.

The Eyes of Jesus

Jesus’ eyes are disproportionately large in this icon therefore it is saying he is ‘the all-seeing one’ – he is the only one who has seen the Father and shares with us his vision of the Father. (Jn 14:9).  He is the good shepherd who knows his sheep and calls each by name (Jn 10:3-14).

His eyes are focused between heaven and earth as he gazes towards the fulfilment of all creation.

The Medallion and Inscription.

In the top section of the icon, the ascending movement of Jesus’ leg indicates that this image is the ascension. Christ is breaking out of the circle of red – heaven is now open; he is holding a golden cross in his left hand.  The cross is now his royal sceptre, the sceptre of integrity (Ps 45:7). His garments are gold - a symbol of royalty and victory. His red scarf is a sign of his dominion and kingship which exercised in love. Angels, wearing gold and red garments like Jesus, welcome Him into Heaven.  Jesus is smiling, as are the angels.

This small section of the whole icon conveys a sense of joyous celebration of Jesus’ return to his Father (Jn 16:28).

Above Jesus is a semicircle with a hand held in blessing.  This blessing is given by the right hand of God the Father with the finger extended - the Holy Spirit. The Father gives the gift of the Holy Spirit to all because of Christ's passion.  The two fingers represent the two natures in Christ and the three fingers, the Trinity.

Below the medallion is the inscription on Jesus’ cross. It reads, in Latin: IHS NAZARE REX IUDEORUM, ‘Jesus the Nazarene, King of the Jews’ which is reported in St John's Gospel.

It is significant that the inscription is above the crown of glory.

The People of the Cross

There are thirty-three figures in the Icon - two Christ figures, one Hand of the Father, five major figures, two smaller figures, fourteen angels, two unknown at his hands, one small boy, six unknown at the bottom of the cross and one rooster. There are thirty-three nail heads along the frame just inside the shells and seven around the halo.

Given the symbolic nature of numbers, thirty-three represents the supposed years of Jesus’ life and seven is one of the most significant numbers in the Scriptures – the seventh day God rested after the six days of creation; seven as a number of completion and perfection.

The writer of the icon has placed the names of the people below their images so we are able to read who they are.

 All the figures are bathed in light in that they have become ‘children of the light’ (Jn. 12:36 cf. Rev. 22:35).  They resemble Jesus and one another with large eyes and oval shaped faces.  They have become ‘true images of his beloved Son’ (Rom 8:29) and represent restored humanity.  They are smiling.

Mary and John

Mary is at the extreme right of Jesus.  In the East, this is a place of honour.  ‘At your right stands the Queen in gold of Ophir’ (Ps 45:10).  She is the one who ‘has found favour with God’ (Lk 1:30).

As in John's Gospel, Mary and John are placed side by side. Mary's mantle is white meaning victory (Rev 3:5), purification (Rev 7:14); and good deeds (Rev 19:8). The jewels covering her mantle in rows refer to the gifts of the Holy Spirit – she is ‘full of grace’ (Lk.1:28).  The dark red worn under the mantle indicate intense love, while the inner dress is purple likening Mary to the Ark of the Covenant (Ex 26: 1-4).

Mary's left hand is raised to her cheek - her acceptance and love of John and her admiration before the mystery of Christ living in John.  Her right hand points to John while her eyes proclaim acceptance of Christ's words ‘Woman, behold your son... ‘(John 19:26).

Her gesture, and that of Mary Magdalene are written in outline so as not to hide their faces. This is a significant gesture in Scripture (cf. Wis. 8:12; Job 21:5; 29:9) as one is awed at the mystery.

The blood drips on to John at this moment. John's mantle is rose colour indicating eternal wisdom, while his tunic is white - purity. His position is between Jesus and Mary as is fitting for the disciple loved by both of them. He looks at Mary ‘Son, behold your Mother’, but his hand like Mary’s points to Jesus in adoration and tenderness.

He is close to Christ as befits the ‘beloved disciple’ (Jn 13:23).  John represents us – the believers.

Mary Magdalene

Mary Magdalene is next to Christ.  This position indicates that she is special. She is ‘the apostle to the apostles’; the first witness to the resurrection (Jn 20:18).  Her hand is on her chin indicating a confided secret that ‘He is risen’. She wears scarlet, which is a symbol of love; her mantle of blue deepens this.

Mary’s head inclines towards Mary Clopas’ head.  They are not simply conversing, they are sharing a secret.  Mary’s hand to her mouth indicates she is in a state of wonder and admiration.

Mary Clopas

Some authorities make her the mother of James. She wears garments of an earthen colour a symbol of humility, and her light green mantle indicate hope. Her admiration of Jesus is indicated by the gesture of her hand.  She listens intently to Mary Magdalene.

The Centurion of Capernaum

The centurion is a gentile who ‘is a friend of Israel’. He holds a piece of wood in his left hand, indicating his building of the Synagogue (Luke 7: 1 - 10). The little boy behind his shoulder is his son healed by Jesus. The three heads behind the boy show ‘he and his whole household believed’ (John 4: 45 - 54). The centurion has extended his thumb and two fingers, a symbol of the Trinity, while his two closed fingers symbolize the hidden mystery of the two natures of Jesus the Christ. ‘Truly He is the Son of God’ (Mark 15:39).

The Smaller Figures

In front of Mary and the centurion are two similar figures standing in similar poses – knee flexed, hand on hip and eyes towards Jesus.  The one of the left is wearing a uniform similar to that worn by the centurion so it can be assumed he is a Roman.  The one on the right, in similar uniform is not Roman.  It is possible that these two represent the Roman cohort and the Jewish guards who came to arrest Jesus (Jn. 18:3).  The responsibility for Jesus’ death rests on both pagans and Jews.

However, they are both looking towards Jesus – ‘they will look on the one whom they have pierced’ (Jn. 19:37).  Their eyes are opened and they arrive at faith.

There is a legend that one is Longinus, the Roman soldier who pierced Jesus' side with a lance, while the other is Stephen, the name to the soldier who offered Jesus a sponge soaked in vinegar wine after Jesus cried out ‘I thirst’ (John 19: 28 -30).  There is no evidence to support this.

The Unknown Saints.

At the foot of the icon are six unknown saints.  We know they are saints because they are depicted within the scallop shell border of the icon.  Scholars suggest they are Saints Damian, Rufinus, Michael, John the Baptist, Peter and Paul, all patrons of churches in the Assisi area. St Damian was the Patron of the Church that housed the Cross and St Rufinus was the Patron Saint of Assisi.

There is too much damage of that area to make a proper identification.

The Rooster

Firstly, the inclusion of the rooster recalls the denial of Peter who wept bitterly after he denied Jesus. Secondly, the rooster proclaims the new dawn of the Risen Christ who is the true light (1 Jn. 2:8).   2 Peter 1:19 exhorts the community to ‘hold fast to prophecy until the dawn comes and the morning star rises in your heart’. ‘But for you who revere my name, the Sun of Righteousness will rise with healing in its wings’ (Malachi 4:2 or 3:20 depending on your translation).

The rooster proclaims that Jesus is the true light (Jn. 11:10).

The Shape of the Cross.

The shape of the Cross has changed to enable the artist to include all who participated in the drama of the passion.  The right arm of the cross lifts to the right, a symbol of Christ’s resurrection and victory over death and evil.

Conclusion

This icon is acknowledged as a world standard piece of art as well as a profound icon.  Without its role in the Franciscan story, it would be revered.  However, its association with St. Francis at a crucial time in his life adds to its spiritual power.  The icon became the medium through which the Spirit of God led Francis to a life of love for the Crucified and his creation, particularly those who suffered.

These connections affirm the significance of religious art that is able to mediate the unbounded love of God for us and the world revealed in Christ and at the same time reveal our identity and dignity as beloved of Christ.

Pax et bonum.