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One painting is often reproduced in practically all guidebooks of any language on Assisi – one that little attention has been paid, and is usually outshadowed by the San Damiano Cross. It is the altar panel on the right transept of the Basilica of St. Clare. It shows St. Clare holding a cross and flanked by 8 small pictures depicting episodes of her life.
It was painted by an unknown artist in the 13th century, and the artist is simply referred to as “the master of St. Clare”. It is the first, and perhaps the only representation of St. Clare and the most important events in her life by an artist who was fascinated by the sanctity of Clare and the profound sentiments of her new life in pursuit of Christ. Anyone who spends time studying and contemplating this picture is bound to be enlightened by the spirituality of St. Clare so vividly retold in pictures. It is a lesson on Franciscan poverty.
This picture of Clare was painted only some 30 years after her death, when the memory of the saint was still quite alive. It is perhaps the earliest image we have of Clare today. At the bottom of the figure of Clare is a barely visible inscription in Latin dating the painting to 1283 in the pon
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Picture 6 Clare is now in San Damiano with her new family of sisters.
It should be noted that later pictures of Clare would depict her holding a lily representing chastity, or a book symbolizing her Rule of Life, or the monstrance which recalls Clare’s protection against the invading Saracens.
Let us now consider the 8 smaller pictures surrounding Clare. This panel uniquely shows Clare holding the Cross, the core of her spirituality. Note that Clare’s halo is partially blocked by the Benedictine Abbess just as Francis’ halo was in picture 2. Mary and the virgins descend and carry a white shroud of virginity to cover Clare. The friar in the forefront holds a bowl of incense and a very long cross which is barely visible as its top reaches into the clouds.
Flanking the figure of Clare are two slender columns, beautifully ornate and topped by blue Corinthian capitals. Both sisters look lovingly into each other’s faces.
The central figure of Clare is represented in a full frontal stance typical of Byzantine art. Ironically Clare is now draped with a gold shroud exquisitely embroidered. It is like a pictorial catechesis of Clare’s life. Clare now stretches her hands out to Francis for acceptance, while Francis’ hands remain clasped in prayer.
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