Early Franciscan painted panels as a response to the Italian Cathars
Rebecca Ruppar
The wood-panel paintings created by the Franciscan order in thirteenth century present a dramatic transition from static, stoic Byzantine style to increasing degrees of naturalistic, realistic, emotional, and corporeal representations. As driving force behind iconographic stylistic shifts evident these paintings, this study presents parallel relationship between Francis Assisi his mendicant brothers heterodox Christian community known as Cathars, religious sect that competed directly with Order Friars Minor Catholic Church duecento Italy. Using portable monumental artwork cultivate orthodox beliefs among laity, early positioned itself one most prolific innovative patrons arts nearly order's inception, despite their devotion material poverty--a position mirrored ascetic Cathars. Focusing on three compositional models, specifically, large full-length icons Francis, vita dossals saint surrounded hagiographic scenes, outsized crucifixes poverello depicted at foot cross, analyzes light Franciscans' Cathars' shared historical context, divergent theological beliefs, intersecting cultures. Iconographic examinations are informed writings friars scarce textual remnants persecuted heretics. Evidence indicates images were set foil Cathar leaders preachers, presenting alter Christus, confirmed wounds stigmata. Painted representations Francis' life reported miracles further provided opportunities for catechize doctrines had recently reaffirmed its Fourth Lateran Council. imagery icons, dossals, highlights teachings such Jesus Christ's Incarnation Real Presence Eucharist physical suffering Crucifixion, well intrinsic goodness natural world--all which repudiated dualist docetist beliefs. While Cathars has long been discounted, rich artistic reaction refute makes clear two groups should be recognized explored.