San Damiano Crucifix
By
Brother James Cronly OFM Cap
History of the Cross:
An unknown artist painted this Crucifix Icon in the 12th Century. There is strong Syrian influence, and history tells us that there had been some Syrian monks in the area. It is painted on walnut wood to which cloth had been glued. It about 190 cm high,120 cm wide and 12 cm thick. It was most probably painted for San Damiano to hang over the Altar as the Blessed Sacrament was not reserved in non Parish Churches of those times.
In 1257 the Poor Clares left San Damiano for San Giorgio inside the town and took the Crucifix with them. They carefully kept the Cross for 700 years. In Holy Week of 1957, it was placed on public view for the first time over the new Altar in San Giorgio’s Chapel in the Basilica of St Clare of Assisi.
For Eastern Christians the ICON is a representation of the living God, and by coming into its presence it becomes a personal encounter with the sacred, through the grace of the Holy Spirit. The San Damiano Icon is then a personal encounter with the transfigured Christ - God man.
The Figure of Christ
The central figure of the icon is Christ not only because of the relative size, but Christ is a figure of light dominating the scene and giving light to the other figures “I am the light of the world. Whoever follows me will not walk in darkness, but will have the light of life.” (John 8:12). Christ stands upright, not nailed. His eyes are open: He looks out to the world, which He has saved. He is alive; the one who is eternal.
Jesus’ vestment is not a simple loincloth, but rather a sacrificial kilt - a symbol that he is both High Priest and Victim.
His chest, throat and neck are strong, showing that he gives the power of re-creation to His Disciples (John 22:23) as he breaths on them. “receive the Holy Spirit” (John 20:22) The Hebrew word for breath or spirit “ruah” that is used here recalls the moment of Creation (Gen 2:7).
The shadow over the face of Jesus is increased by the fact the halo and face are tilted forward on the original Icon. The humanity of Christ veils the true glory of the Word who lives in the super illuminous darkness of the Godhead.
The Medallion and Inscription
The Ascension is portrayed within this circle of red: Christ is breaking out of the circle, holding a golden cross which is now His Royal Sceptre. His garments are gold - a symbol of royalty and victory. His red scarf is a sign of His Dominion and Kingship, exercised in love. Angels welcome Him into Heaven. IHS are the first three letters of the name of Jesus. The little bracket above indicates it is shorthand. NAZARE is the Nazarene; REX is ‘king’ and IUDEORUM is ‘of the Jews’, which is reported in St John’s Gospel “Jesus the Nazarene, King of the Jews”
The Hand of the Father
From within the semi-circle at the very top of the Icon, He whom no eye has seen reveals Himself in a benediction. This blessing is given by the right hand of God with finger extended - the Holy Spirit. The Father gives the gift of the Holy Spirit to all because of the merits of the Christ’s Passion.
The Mystical Vine
Around the Cross are various white calligraphic scrolls which signify the mystical vine “I am the vine, you are the branches” (John 15). They are in fact prunings from the vine. See also the Treatise of St Bonaventure on the Mystical Vine.
At the base of the cross there seems to be a section that looks like a rock - the symbol of the Church.
The seashells around the edges of the cross are symbols of eternity - a mystery hidden in the vast and timeless sea of eternity is revealed.
Mary and John
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 gems on the mantle refer to the graces of the Holy Spirit.
The dark red worn under the mantle indicates intense love, while the inner dress is purple - 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 right hand points to John while her eyes proclaim acceptance of Christ’s words “Woman, behold your son...” (John 19:26). 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 points to Christ.
There is a sense of perspective in this cross, it is not two dimensional and flat. Mary is behind John yet her hand is in front of him. His foot steps out of the picture.
Mary Magdalene
Mary Magdalene is next to Christ’s left side making her very special; her hand is on her chin indicating a confided secret “He is risen". She wears scarlet, which is a symbol of love; her mantle of blue deepens this.
Mary - the Mother of James
Her name is written beneath her, so she is the mother of James, Jude and Joset and their two sisters. She is a cousin of The Blessed Mother. She wears garments of an earthen colour a symbol of humility, and her light green mantle - hope. Her admiration of Jesus is indicated by the gesture of her hand.
The Centurion of Capernaum
He holds a piece of wood in his left hand, indicating he built the Synagogue (Luke 7: 1 - 10). The little boy beyond 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). It may also be a picture of the artist monk who painted the Cross as sometimes artists put themselves in as minor characters. The Centurion has extended his thumb and two fingers, a symbol of the Trinity, while his two closed fingers symbolise the hidden mystery of the two natures of Jesus the Christ. “Truly He is the Son of God” (Mark 15:39).
Longinus (To Christ’s Right)
The Roman soldier who pierced Jesus’ side with a lance.
Stephen (To Christ’s Left)
Tradition gives this name to the soldier who offered Jesus a sponge soaked in vinegar wine after Jesus cried out “I thirst” (John 19: 28 - 30). It could also be a Jewish temple guard.
The Unknown Saints
At the bottom of the Icon are six unknown saints whom Scholars postulate are Sts 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. Another thought is that they are OT Patriarch awaiting a visit from the Risen Christ. There is too much damage of that area to make a proper identification.
The Astonished Angels
There are two groups of angels - animatedly discussing the scene unfolded before them. “Even the angels long to catch a glimpse of these things” (1 Peter 1:12). The blood of Christ drips on them too suggesting that in some way they also share in this salvation.
The Tomb
Behind Christ is the black open tomb; Christ is alive and standing over the tomb. The red of love overcomes the black of death. The gestures of the unknown angels at His finger tips indicate faith.
The Rooster
Firstly, the inclusion of the rooster recalls the denial of Peter who wept bitterly. Secondly, the rooster proclaims the new dawn of the risen Christ - the true light of the world (1 John 2:8). “But for you who revere my name, the Sun of Righteousness will rise with healing in its wings” (Malachi 4:2).
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. Note that the arms of the cross lift to Christ’s right indicating that the Good Thief (traditionally called Dismas) went to Heaven; while the left-hand dips - the other thief did not.
A Spirit Filled Cross
This Cross asks a question: “What are you going to do with your life?” As St Francis explained to Br Leo, the meaning of perfect joy is to share in the cross; to die to self and be transformed by love.
