Stigmata and sense memory: St Francis and the affective image

Art History

Volumn 24, Issue 1, 2001, Pages 1-16

  Bennett, Jill ^a  

^a UNIVERSITY OF NEW SOUTH WALES   (Australia)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60950514071     PISSN: 01416790     EISSN: None     Source Type: Journal    
DOI: 10.1111/1467-8365.00247     Document Type: Review

References (20)

1. N. Bryson, Vision and Painting: the Logic of the Gaze, London, 1983, p. 108.
2. D. Arasse 'Fonctions de l'image religieuse au XVe siècle' in Faire Croire: modalités de la diffusion et de la reception des messages réligieux di XIIe au XVe siècle, Collection de L'école Francaise de Rome: 51, Rome, 1981, pp. 132-46.
3. Quoted in M. Baxandall, Painting and Experience in Fifteenth-Century Italy, trans. Baxandall, Oxford, 1972, p. 41.
4. G. Didi-Huberman, Fra Angelico: Dissemblance and Figuration, trans. J.M. Todd, Chicago, 1995 (1990), p. 26.
5. M. Carruthers, The Book of Memory: A Study of Memory in Medieval Culture, Cambridge and New York, 1990.
6. see F. Yates, The Art of Memory, Harmondsworth, 1966, p. 81.
7. H. Belting, 'The New Role of Narrative in Public Painting of the Trecento: Historia and Allegory', Pictorial Narrative in Antiquity and the Middle Ages, National Gallery of Art: Studies in the History of art, 16, eds H. Kessler and M.S. Simpson, Hanover and London, 1985, pp. 151-68, p. 152.
8. The Meditations is the first known source to describe three nails (one each for the hands and a single large nail for both feet) and may have influenced visual iconography in this regard. The contemporaneous pulpit by Nicola Pisano in the baptistry in Pisa contains the first artistic representation of a crucifixion with three nails, an iconographic convention that was to replace the older style of Crucifixion image with four nails. See C. Frugoni, 'Female Mystics, visions, and Iconography', in D. Bonstein and R. Rusconi (eds), women and Religion in Medieval and Renaissance Italy, trans. M.J. Schneider, Chicago and London, 1996 (1992), p. 134.
9. Meditations on the Life of Christ, trans. I Ragusa, completed from the Latin and edited by I. Ragusa and R.B. Green, New Jersey, 1961 (Paris Bib. Nat. MS. Ital. 115), p. 334.
10. For a contemporary theorization of painting as sensation, opposed to standard 'expressionistic' accounts, see Gilles Deleuze Francis Bacon: Logique de la sensation, Paris: Editions de la différence, 1981.
11. On theories of vision as 'transformative' in relation to Bacon and Aquinas, and for a useful theoretically informed discussion of medieval vision in general, see S. Biernoff, 'Ocular, Desires: Sight and Embodiment in the Middle Ages', PhD Thesis, University of Technology, Sydney, 1998.
12. St Bonaventure, Legenda Maggiore in Opera Omnia, Quaracchi, 1898, vol. 8, chap. 13.3.
13. C. Walker-Bynum, Holy Feast and Holy Fast: the Religious Significance of Food to Medieval Women, Berkeley and Los Angeles, 1987.
14. R. Barthes, Camera Lucida: Reflections on Photography, trans. R. Howard, New York, 1981, pp. 27-7.
15. Bonaventura, Opera Omnia (10 vols in-folio), ed. College of St Bonaventura, Quaracchi, 1882-1902, vol. 8, p. 120;
16. Holiness of Life, Being St Bonaventure's Treatise De Perfectione Vitae ad Sorores, trans. L. Costello, St Louis, Mo., 1928, pp. 63-4.
17. Cf also the metaphorical construction of the body as 'figurative edifice'; see J. Wogan-Browne, 'Chaste bodies: Frames and Experiences', Framing Medieval Bodies, eds S. Kay and P. Rubin, Manchester, 1994, p. 28.
18. quoted in J. Fleming, An Introduction to the Franciscan Literature of the Middle Ages, trans. Fleming, Chicago, 1977, p. 215.
19. The Letters of Catherine of Siena, trans. S. Noffke, vol. 1, Binghampton, 1988, p. 198.
20. See J. Bennett, 'The Aesthetics of Sense-Memory: Theorising Trauma Through the Visual Arts', in P. Weibel and F. Kaltenbeck (eds), Trauma and Memory, Vienna: Passagen Verlag, 2000, pp. 75-89.