SAN DAMIANO CRUCIFIX
St. Francis of Assisi, Frisco
San Damiano Crucifix |
One of the most distinctive features about our new church is the prominent crucifix behind the altar, inspired by the San Damiano cross of Assisi. As a young man in the midst of an experience of conversion, the young Francis knelt in front of this cross in a dilapidated church on the outskirts of town. In that moment of discernment and deep prayer, a voice came to him and said, “Rebuild my Church.” Ever the literalist, Francis immediately began his rebuilding of that little chapel. That rebuilding prefigured a much more profound spiritual renewal that would be the product of his hands, the renewal of the entire Church throughout Europe.
Obviously then any serious attempt to capture the spirituality of St. Francis must in some way incorporate this abiding symbol. In many ways, our crucifix in our new Church of St. Francis illustrates our guiding philosophy for our entire project. We did not intend to merely replicate that symbol, but instead, we wanted to re-envision it. As part of a living tradition, our task was not merely to ape spiritual forms of the past but to instead embrace them and allow them to transform us. In so doing, they evolve into new forms which in turn challenge our modern world. Francis’ message was and is radical but it remains our task to translate his wisdom into a language which speaks as forcefully to a twenty-first century audience as it did to a thirteenth century one. |
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To achieve our symbolic end, we spoke with an artist from Dallas, Nancy Rebal. Pictured right is an example of her work of a crucifix in St. Joseph Church in Richardson. Ms. Rebal researched the original San Damiano crucifix to fully understand its theology and spirituality. From that process of discernment, we spoke to her about what message the cross must convey in our own complex world. From that discussion, we found a way to create a crucifix which from a distance will be a worthy homage to the cross that inspired Francis. The work of art is our own; our own attempt to take Franciscan spirituality and symbolism.
In a way, this speaks to the principles that guided much of our deliberations of design on this new building. We are faithful to the wisdom of the past, inspired and fed by it, and desirous of bringing it into the future. Yet we also know that we did not want to build a museum, but a living place of worship for a lively people. To that end we built a church of the present. Our San Damiano cross is a great example of our way of bringing Francis to a new generation. |
St. Joseph Church, Richardson
Crucifix |
Meaning Behind the Crucifix
The San Damiano Crucifix
of St. Francis of Assisi Catholic Church
in Frisco, Texas
2013
by Nancy Rebal
of St. Francis of Assisi Catholic Church
in Frisco, Texas
2013
by Nancy Rebal
This new crucifix is modeled after the original 12th century Romanesque cross of the San Damiano Chapel in Assisi, Italy. The most widely familiar of all the Italian painted crosses, it has become the symbol of the spirituality of St. Francis, who lived from 1181to1226. When Francis first encountered the original in the year 1205, it was hanging in the ruins of the tiny Chapel of San Damiano, outside Assisi. As he knelt before the cross in deep prayer, a voice came to him saying, “Francis, rebuild my Church”. Not only did he take this as a reference to the ruined San Damiano structure, which he then did rebuild with his own hands, but to the larger whole of the Catholic Church. Through his simple piety and deep spirituality, he became a force of renewal that continues to bear fruit today. This twenty-first century newly made crucifix in Frisco, Texas is created with an intentional dedication to this spirit of St. Francis.
The painter of Francis’ crucifix is unknown. It is likely to have been an artist/monk who traveled across Umbria fulfilling commission for sacred art in the 1100s. Since 1257 it has been in the care of the Poor Clares, a contemplative order of Franciscan nuns based in Assisi. It is made of solid walnut and stands approximately 6’ 4” tall by 5’ wide. Elements such as the stylized eyes show a Syrian influence. The decorative outer border is likely a later addition. The cross was restored and repainted in 1938 and now hangs in the Basilica of Saint Clare in Assisi. A copy of it hangs in the restored chapel at San Damiano where Francis first saw it.
The San Damiano crucifix is a type of historiated crucifix. In Italy this type of cross is known as a croce dipinta (painted crucifix). Many of these were made throughout the Umbrian region of Italy in the 12th century. It could also be called an icon cross, one that portrays a number of scenes from the story of the life of Christ to communicate visually to the often-illiterate worshippers. The ability to read was not widespread then.
There are two kinds of historiated crucifixes. The first type that arose is the CHRISTUS TRIUMPHANS, of which the Damiano is an example. In this version, we see a living Christ who stands erect, with open eyes that look at us. Addressing the Pascal mystery through the transfigured Christ, the viewer moves with him through death, resurrection, and ascension: the full story of God made Man.
The second type, the CHRISTUS PATIENS depicts the suffering Christ on the cross. His body hangs heavily in a sway, with eyes closed, and head hanging heavily downward. This type of crucifix is intended to evoke compelling emotion when contemplated.
The 12th century traveling artist left no written explanation for the meanings he attributed to the painted figures. However, as an icon, this painting is said to be ‘written”, using prescribed figures, styles, gestures, even colors. After centuries of contemplation, there is a general consensus of the meanings in the San Damiano images. This new Frisco crucifix is an interpretation of the same story using the historical visual language.
Properly scaled for this large sanctuary, the Frisco crucifix is fourteen feet in height. The Christ figure is nine feet tall. The darkness of the cross behind him can stand for the empty tomb, as well as the vastness of eternity. The red panels can stand for compassion and love. The gold leaf is real 23K gold, beaten into 3” x 3” tissue-thin square sheets and applied over a terracotta red underpainting. The gold becomes the eternal, pure, uncreated light of God glowing from within. Thirty-three gold half-spheres (bosses) decorate the border, symbolizing the thirty-three years of Jesus’ time on earth.
This is a living Christ and his wide-opened eyes look boldly into eternity. Above Jesus’ head are written the words that Pontius Pilate ordered to be posted on a sign on the cross: ‘Jesus the Nazarene, King of the Jews’. Jesus wears a white sacerdotal (priestly) loincloth. In Biblical times this is what the priest would wear when sacrificing a lamb. Here Jesus is both the priest and the willing victim. His gold-colored belt is knotted with three knots, standing for the Holy Trinity. His cruciform halo, encrusted with 7 symbolic gold bosses, is raised from the background so that his head is tipped forward. Various reasons have been discussed for this. It seems a way of symbolizing Jesus’ actual incarnation. Bending forward into relationship, he joins humanity in the temporal world. His strong arms are no longer hanging from a cross, but are raised in invitation. Angels gather around Jesus’ outstretched arms. The two angels below each of his elbows calmly discuss the drama, while a third on each end invites the viewer into the relationship. Though his hands, feet and side bear the bleeding wounds of sacrifice, his attitude is that of authority and transcendence. The blood from his wounds flows out to become the wine of the Eucharist.
The painter of Francis’ crucifix is unknown. It is likely to have been an artist/monk who traveled across Umbria fulfilling commission for sacred art in the 1100s. Since 1257 it has been in the care of the Poor Clares, a contemplative order of Franciscan nuns based in Assisi. It is made of solid walnut and stands approximately 6’ 4” tall by 5’ wide. Elements such as the stylized eyes show a Syrian influence. The decorative outer border is likely a later addition. The cross was restored and repainted in 1938 and now hangs in the Basilica of Saint Clare in Assisi. A copy of it hangs in the restored chapel at San Damiano where Francis first saw it.
The San Damiano crucifix is a type of historiated crucifix. In Italy this type of cross is known as a croce dipinta (painted crucifix). Many of these were made throughout the Umbrian region of Italy in the 12th century. It could also be called an icon cross, one that portrays a number of scenes from the story of the life of Christ to communicate visually to the often-illiterate worshippers. The ability to read was not widespread then.
There are two kinds of historiated crucifixes. The first type that arose is the CHRISTUS TRIUMPHANS, of which the Damiano is an example. In this version, we see a living Christ who stands erect, with open eyes that look at us. Addressing the Pascal mystery through the transfigured Christ, the viewer moves with him through death, resurrection, and ascension: the full story of God made Man.
The second type, the CHRISTUS PATIENS depicts the suffering Christ on the cross. His body hangs heavily in a sway, with eyes closed, and head hanging heavily downward. This type of crucifix is intended to evoke compelling emotion when contemplated.
The 12th century traveling artist left no written explanation for the meanings he attributed to the painted figures. However, as an icon, this painting is said to be ‘written”, using prescribed figures, styles, gestures, even colors. After centuries of contemplation, there is a general consensus of the meanings in the San Damiano images. This new Frisco crucifix is an interpretation of the same story using the historical visual language.
Properly scaled for this large sanctuary, the Frisco crucifix is fourteen feet in height. The Christ figure is nine feet tall. The darkness of the cross behind him can stand for the empty tomb, as well as the vastness of eternity. The red panels can stand for compassion and love. The gold leaf is real 23K gold, beaten into 3” x 3” tissue-thin square sheets and applied over a terracotta red underpainting. The gold becomes the eternal, pure, uncreated light of God glowing from within. Thirty-three gold half-spheres (bosses) decorate the border, symbolizing the thirty-three years of Jesus’ time on earth.
This is a living Christ and his wide-opened eyes look boldly into eternity. Above Jesus’ head are written the words that Pontius Pilate ordered to be posted on a sign on the cross: ‘Jesus the Nazarene, King of the Jews’. Jesus wears a white sacerdotal (priestly) loincloth. In Biblical times this is what the priest would wear when sacrificing a lamb. Here Jesus is both the priest and the willing victim. His gold-colored belt is knotted with three knots, standing for the Holy Trinity. His cruciform halo, encrusted with 7 symbolic gold bosses, is raised from the background so that his head is tipped forward. Various reasons have been discussed for this. It seems a way of symbolizing Jesus’ actual incarnation. Bending forward into relationship, he joins humanity in the temporal world. His strong arms are no longer hanging from a cross, but are raised in invitation. Angels gather around Jesus’ outstretched arms. The two angels below each of his elbows calmly discuss the drama, while a third on each end invites the viewer into the relationship. Though his hands, feet and side bear the bleeding wounds of sacrifice, his attitude is that of authority and transcendence. The blood from his wounds flows out to become the wine of the Eucharist.
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On either side of Jesus stand the people who are participants in the crucifixion drama. Christ’s blood falls on these witnesses and blesses them. On the far left is the Blessed Virgin Mary, his mother. Mary’s head is covered by a white mantle to denote her purity. Her gesture, with her cheek resting on her hand, is an ancient sign of mourning. Accompanying her is John, the beloved disciple. While he was hanging on the cross, Jesus directed John to care for Mary. Here John affirms this connection as he looks to Mary while gesturing to Jesus. His rose-colored garment has been called an attribute of holy wisdom, under which he wears a white garment of purity.
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At Jesus’ other side stand more witnesses to his crucifixion. Mary Magdalene is next to Jesus, wearing a red mantle of love and compassion. Next to her is Mary Clopas, the mother of James, wearing earth colors. To the far right stands the Centurion of Capernaum, featured in the story of John 4: 45-54. When Jesus healed his son, he promised to build a synagogue in gratitude. This building is signified by the piece of wood he holds in his hand. The cloth covering his hand honors the holiness of the building. The thumb and two raised fingers of his other hand make the symbol of the Trinity while the two lowered fingers demonstrate Christ’s dual nature. Over his shoulder we see the small figure of his healed son, behind whom are the tops of the heads of his household. He brings them all to worship God with him.
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Moving lower we find two smaller, therefore less significant, figures. On the far left is Longinus, the Roman soldier who pierced Jesus’ side to confirm his death. He holds the piercing lance. On the far right is Stephen, the name traditionally given to the man who offered Jesus a sponge soaked in vinegar when Jesus said ‘I thirst’. (John 19: 28-29)
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At about the level of Jesus’ knees, close inspection reveals a tiny rooster. This is the cock whose morning crowing would follow Peter’s three denials of Jesus on the night of his betrayal. This was Jesus prediction and was fulfilled, much to Peter’s shame. (Luke 22: 61-62)
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The next time frame of the story takes us to the very top of the crucifix. Here we move into the realm of the eternal. Above the whole drama, in a half circle at the very top, the right hand of God the Father bestows a benediction. With two fingers extended, he bestows the gift of the Holy Spirit. In the red circle directly below the hand of God, we see a second small figure of Jesus depicted in the next stage of his journey, stepping into eternity. The cross he carries has been transformed into a royal scepter and a red scarf of royalty flies around his shoulders. Welcoming Jesus to this heavenly realm is a host of ten angels. They all wear beatific smiles. Some of them seem to be discussing Jesus’ arrival as others extend hands of welcome to him.
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Now look at the figures in the lowest area of the cross. Below Jesus’ feet, the original Damiano crucifix is damaged and truncated. The heads of several figures can be made out in the faded fragment. In an icon, this is traditionally the area in which the patron saints of the particular church are depicted. In the new St. Francis of Assisi of Frisco crucifix, the figures at the bottom are, fittingly, St. Francis himself accompanied by St. Clare. Francis holds a small reproduction of the Damiano crucifix while Clare carries the monstrance that she raised to turn back a Saracen attack.
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As is the custom in sacred Christian art, this new original art is a rendition of the earlier historical icons, keeping the tradition alive and always renewed. The visual language is prescribed, the artist is simply the ‘writer’ of the icon. It has been said that new sacred art is like a fresh young branch on a very old tree, laden with meanings through which the Spirit lives.
Journal of the creation of this original Crucifix based on the San Damiano crucifix of Assisi, Italy by Nancy Rebal |
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August 3, 2011
I visited the workshop of Tim Coursey, the carpenter who is building the crucifix. We compared notes and are drawing dimensions, clarified some details. Tim showed me the wood it will be made from: a beautiful harwood maple clad, soft wood core plywood. This is one grade up from the usual Baltic birch plywood.
We have worked out a plan to fabricate it in three separate manageable structures:
1. The top section extending down behind the corpus’ halo
2. The corpus itself from the top of the angled halo to the bottom of his feet. This section includes the horizontal members.
3. The bottom section depicting St. Francis and St. Clare
Tim will build scaffolding in my studio to hold each of the sections securely so I can work on them.
My studio has been completely cleared and is ready for the delivery.
I visited the workshop of Tim Coursey, the carpenter who is building the crucifix. We compared notes and are drawing dimensions, clarified some details. Tim showed me the wood it will be made from: a beautiful harwood maple clad, soft wood core plywood. This is one grade up from the usual Baltic birch plywood.
We have worked out a plan to fabricate it in three separate manageable structures:
1. The top section extending down behind the corpus’ halo
2. The corpus itself from the top of the angled halo to the bottom of his feet. This section includes the horizontal members.
3. The bottom section depicting St. Francis and St. Clare
Tim will build scaffolding in my studio to hold each of the sections securely so I can work on them.
My studio has been completely cleared and is ready for the delivery.
August 4, 2011
I consolidated the research I have done about the historical San Damiano crucifix into a simple essay to explain the iconography. Dr. Anne Driscoll whose area of expertise is the Croce Dipinta (painted crucifixes) of 12c Italy has been my enthusiastic consultant and resource. I will send the essay to her for verification of my facts and attributions.
I consolidated the research I have done about the historical San Damiano crucifix into a simple essay to explain the iconography. Dr. Anne Driscoll whose area of expertise is the Croce Dipinta (painted crucifixes) of 12c Italy has been my enthusiastic consultant and resource. I will send the essay to her for verification of my facts and attributions.
August 8, 2011
To Tim Coursey’s workshop again to see the skeletal framework for the crucifix. It is huge and a beautiful piece of carpentry. We measure and discuss transportation to, and a fit into, my studio. Though we have solved the problem of the height, we find that it is still too wide to legally transport safely. Neither will it fit through my studio door. The solution is to make one arm removable and reattach/remove it as necessary. The box-like construction makes the form surprisingly lightweight.
To Tim Coursey’s workshop again to see the skeletal framework for the crucifix. It is huge and a beautiful piece of carpentry. We measure and discuss transportation to, and a fit into, my studio. Though we have solved the problem of the height, we find that it is still too wide to legally transport safely. Neither will it fit through my studio door. The solution is to make one arm removable and reattach/remove it as necessary. The box-like construction makes the form surprisingly lightweight.
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August 9, 2011
Tim and I measure my studio to assure ourselves that the crucifix will fit inside and be workable. When we remove the ceiling fan everything looks like a perfect fit.
Tim tells me that the face of the crucifix has been glued on and that it is lying perfectly flat. The next step will to be sanding and applying a finish that I will be able to paint on.
Tim and I measure my studio to assure ourselves that the crucifix will fit inside and be workable. When we remove the ceiling fan everything looks like a perfect fit.
Tim tells me that the face of the crucifix has been glued on and that it is lying perfectly flat. The next step will to be sanding and applying a finish that I will be able to paint on.
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August 15, 2011
Tim and his crew deliver the crucifix to my studio. The crucifix is big and my studio is small, so we had to be creative. Tim designed it so that I, and then the gold leafer Laura Pate, can work on it in three sections. Tim built a huge easel structure to set the central section securely at a workable angle. It is finished in a beautiful terra cotta underpainting. This is traditional, and will glow through when the 23K gold leaf is rubbed at the very last step. |
Nancy Rebal's studio in Kessler Park
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Central Section of Crucifix
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Bottom Section of Crucifix, Inverted
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Top Section of Crucifix
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August 22, 2011
Today I finished the geometric layout of the whole piece, drawing directly on the terra cotta underpainting. The original Damiano is a very nonlinear structure, with decorative additions around it and I have to even it out. I have considered different relationships in the size and placement of the gold border, the red and black grounds, and the figures themselves. Working on the actual piece, I find that the figures will all be comfortable sizes to work with.
Today I finished the geometric layout of the whole piece, drawing directly on the terra cotta underpainting. The original Damiano is a very nonlinear structure, with decorative additions around it and I have to even it out. I have considered different relationships in the size and placement of the gold border, the red and black grounds, and the figures themselves. Working on the actual piece, I find that the figures will all be comfortable sizes to work with.
September 29, 2011
I have made full size paper models of all the figures and am finally placing them on the crucifix. I place and adjust the Christ figure, then all the rest are sized and positioned in relationship to this.
I have made full size paper models of all the figures and am finally placing them on the crucifix. I place and adjust the Christ figure, then all the rest are sized and positioned in relationship to this.
Full size drawings are adjusted in position and size
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The Christ figure is drawn directly on the gessoed wood
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Week beginning October 24, 2011
Today the painting begins. I start with the underpainting of Jesus limbs, torso and face. This layer will approximate the final color, and lay down textural body and directional stroke in the oil paint itself. I have made a mixture of titanium white, raw sienna (instead of yellow ochre which is very dry) and viridian green (to tone down the sienna) and a touch of New Mexico earth color. Blocking in Jesus’ body will allow me to evaluate proportional relationships of the full composition by starting with the most important elements. Now I can adjust accordingly.
Continuing to paint all the flesh tone areas of Jesus and all the surrounding figures. This is surprisingly satisfying. The isolated abstract forms are beautiful, as I carefully note the concave and convex curves, the straight passages and the graceful transitions from one part to another. The color is beautiful on the terracotta gesso.
Today the painting begins. I start with the underpainting of Jesus limbs, torso and face. This layer will approximate the final color, and lay down textural body and directional stroke in the oil paint itself. I have made a mixture of titanium white, raw sienna (instead of yellow ochre which is very dry) and viridian green (to tone down the sienna) and a touch of New Mexico earth color. Blocking in Jesus’ body will allow me to evaluate proportional relationships of the full composition by starting with the most important elements. Now I can adjust accordingly.
Continuing to paint all the flesh tone areas of Jesus and all the surrounding figures. This is surprisingly satisfying. The isolated abstract forms are beautiful, as I carefully note the concave and convex curves, the straight passages and the graceful transitions from one part to another. The color is beautiful on the terracotta gesso.
Laying in the first areas of flesh tones
November 1, 2011
Having made adjustments in size and placement, I am satisfied that the elements are properly placed. Having painted the masses of the flesh tones my next step is to draw again, this time in a raw umber oil paint, to clarify the edges of the forms and the flow from one shape to another. Studying the original San Damiano in fine detail I am filled with admiration for the artist. The figures and spaces are reduced to very clean simplified visual language. And yet, the flow of the design, in the simplified curves of the bodies, is elegant. Each form is a considered piece of an orderly system of positive and negatives that make up a complex and intelligent whole. Only in this slow careful study as I work is such an appreciation possible. This new sacred art will be a new branch growing within a living tradition.
The act of painting itself is an act of contemplation.
Once I have finished outlining it all I turn again to filling in masses. I use New Mexico red again for the underpainting of Jesus’ hair. I fill in areas by their approximate final colors. First all the white clothes then those of different colors.
All the while I am considering the new figures that will ground this crucifix of St Francis of Assisi in Frisco. The figures of St. Francis and St. Clare have been chosen for the lowest third. Their size, proportion and gesture will come into focus as I become more familiar with each of the present figures that they will accompany.
Having made adjustments in size and placement, I am satisfied that the elements are properly placed. Having painted the masses of the flesh tones my next step is to draw again, this time in a raw umber oil paint, to clarify the edges of the forms and the flow from one shape to another. Studying the original San Damiano in fine detail I am filled with admiration for the artist. The figures and spaces are reduced to very clean simplified visual language. And yet, the flow of the design, in the simplified curves of the bodies, is elegant. Each form is a considered piece of an orderly system of positive and negatives that make up a complex and intelligent whole. Only in this slow careful study as I work is such an appreciation possible. This new sacred art will be a new branch growing within a living tradition.
The act of painting itself is an act of contemplation.
Once I have finished outlining it all I turn again to filling in masses. I use New Mexico red again for the underpainting of Jesus’ hair. I fill in areas by their approximate final colors. First all the white clothes then those of different colors.
All the while I am considering the new figures that will ground this crucifix of St Francis of Assisi in Frisco. The figures of St. Francis and St. Clare have been chosen for the lowest third. Their size, proportion and gesture will come into focus as I become more familiar with each of the present figures that they will accompany.
Underpainting to indicate color masses and stroke directions
April 17, 2012
Although I have been constantly painting on the crucifix, I have not been adding to the journal online. During Holy Week, as I concentrated on the Christ face, it became clear to me why I have been so hesitant to post updates: I have moved into a very personal phase of painting.
In the last few months the figures have begun to develop into specific people instead of just line, mass and color. Yet none of them is in finished form yet. I’m at point in the project at which I would like to stop posting photos from the studio for a while. The proper time to photograph will be when the people and angels all look the way they are intended to be seen.
This is especially true about the Christ figure of course. The expression on his face, and in his eyes will carry the soul of the whole crucifix. Right now it is delicate work, each small adjustment changing the whole impression. It’s satisfying, slow-moving work, standing on a ladder.
I have been corresponding with two art historians to confirm my choices when I need to make decisions on how to best represent the San Damiano crucifix, be authentic to its original appearance when St. Francis knelt in front of it, and yet create a new work of art in the lineage that can be related to comfortably in the 21st century. It all goes very well.
I am attaching one last photo from the studio in early April. Since I am painting every day, progress has been good. Longer spring daylight makes every day easier. Spending much time painting the Christ face during Lent has made it a wonderful contemplation time.
Although I have been constantly painting on the crucifix, I have not been adding to the journal online. During Holy Week, as I concentrated on the Christ face, it became clear to me why I have been so hesitant to post updates: I have moved into a very personal phase of painting.
In the last few months the figures have begun to develop into specific people instead of just line, mass and color. Yet none of them is in finished form yet. I’m at point in the project at which I would like to stop posting photos from the studio for a while. The proper time to photograph will be when the people and angels all look the way they are intended to be seen.
This is especially true about the Christ figure of course. The expression on his face, and in his eyes will carry the soul of the whole crucifix. Right now it is delicate work, each small adjustment changing the whole impression. It’s satisfying, slow-moving work, standing on a ladder.
I have been corresponding with two art historians to confirm my choices when I need to make decisions on how to best represent the San Damiano crucifix, be authentic to its original appearance when St. Francis knelt in front of it, and yet create a new work of art in the lineage that can be related to comfortably in the 21st century. It all goes very well.
I am attaching one last photo from the studio in early April. Since I am painting every day, progress has been good. Longer spring daylight makes every day easier. Spending much time painting the Christ face during Lent has made it a wonderful contemplation time.
Partially painted central panel of the crucifix in early April
September 12, 2012
Fr. Larry viewing the progress of the cross
September 9, 2013
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September 24, 2013 - Installation
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