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                <text>Scene, Liturgical: Celebration of Mass, Ringing of Bell -- Youth pulling rope attached to bell in bell tower. Scene, Liturgical: Celebration of Mass, Elevation of Host -- To right, group of veiled, wimpled woman with hand raised, and five men, three with hands raised, two with joined hands raised, all kneeling behind tonsured acolyte in white vestment, kneeling, holding lighted candle, behind tonsured priest, wearing vestments, elevating wafer, decorated with image of half figure of Christ nude to waist with arms folded (Christ: of Sorrows), above draped altar on which is chalice covered with corporale; on the altar, Christ, nimbed, eyes closed, head inclined, wearing long loin cloth, affixed with three nails to cross (Christ: Crucifixion), His blood flowing from wounds in hands and feet, and His side wound spouting blood and water to the elevated wafer and to the chalice.</text>
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                <text>© 2021 The Trustees of Princeton University</text>
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                <text>Saint Martin of Tours Elevation of the Host</text>
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                <text>Nimbed vested St. Martin of Tours standing on step stool before altar, elevating host; two angels hovering before saint, supporting his arms; acolyte kneeling behind saint, holding up saint's chasuble with left hand, holding tall candle in right hand; altar covered with richly embroidered altar cloth, on it stand candelabra, cross, missal.Van Marle describes the scene which portrays a moment in the legend of St. Martin. The saint gave his tunic to a poor man and was obliged to wear instead a skimpy one which came only to his knees and elbows under his cape to celebrate mass. At the moment of elevation his sleeves slipped back exposing his arms. Two angels descended and covered his arms with precious stones while a fiery globe appeared over his head. The expression of the saint is ecstatic while his acolyte gazes in awe at the supernatural light which streams down from above.</text>
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                <text>Death of Saint Francis</text>
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                <text>Paris, Bibliothèque nationale de France, Département des manuscrits, MS. Français 2093, Folio 81V.</text>
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                <text>14th Century.</text>
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                <text>Saint Francis Receiving the Stigmata Upper South Wall</text>
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                <text>Giotto di Bondone (c.1266-1337)</text>
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                <text>S. Francesco, Upper south wall S. Francis Receiving the Stigmata&#13;
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                <text>c. 1290</text>
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                <text>Data from: University of California, San Diego&#13;
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                <text>Scenes from life of St. Francis of Assisi; a) above, nimbed bearded tonsured St. Francis kneeling on one knee, hands raised at shoulders looking at vision of cross-nimbed bearded crucified Christ within seraph hovering in sky, receiving stigmata from Christ; behind saint, mountain with five foliated trees; two small buildings (chapels?), one above and behind saint, one below and before saint; below, left, Pope Innocent III lying in bed, dreaming of St. Francis supporting toppling Lateran Basilica upon shoulders; below center, Pope Innocent III sitting on throne, surrounded by cardinals, holding document of approval of Franciscan Order in left hand, raising right hand in gesture of blessing; nimbed bearded St. Francis kneeling before Pope with members of Order, receiving approval of Order from hand of Pope; below right, nimbed bearded tonsured St. Francis attended by member of Order, preaching to group of birds standing beneath foliated tree, two birds flying down from tree; b) detail of St. Francis preaching to birds.The life of St. Francis is known to us through his biographer St. Bonaventura. The biography, begun about 1260, was the source for the famous series of Franciscan frescoes in the Upper Church of Assisi, by Giotto. The climax of the legend of St. Francis is his reception of the stigmata. The saint undertook 40 days of fasting and prayer in his mountain retreat. During this time he had a vision of a seraph which filled the sky, two of its wings above the head of the crucified Christ, two of its wings behind the arms of the cross, two of its wings covering the body of Christ from whom St. Francis received the stigmata He is said to have carried the marks to the end of his life indicating spiritual identity with Christ. A doubter is said to have been converted to Christianity by touching the holy marks on the body of the saint at his death. [--Ferguson]The first small scene below shows the dream of Pope Innocent III who had refused to approve the Order of St. Francis because the rules were considered too severe for human strength. In a dream the Pope saw the Lateran Basilica ready to crumble and a poor miserable looking little man supporting it with his shoulders to prevent it from collapsing. Soon after this dream St. Francis received confirmation of the Franciscan Order with permission to preach, shown in the second small scene. The third scene depicts St. Francis preaching to the birds. Near Bevagna the saint came upon a large gathering of birds whom he greeted as if they could understand. At his approach all the birds turned toward him and those in the lower branches lowered their heads and looked toward him. The saint preached to the birds urging them to hear the word of God.</text>
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                <text>Giotto di Bondone (c.1266-1337)</text>
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                <text>Paris: Mus. Louvre.&#13;
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                <text>Late 13th Century</text>
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                <text>Archive for Research on Archetypal Symbolism&#13;
aras.org</text>
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                <text>Scenes from the Life of Saint Francis: Receiving the Stigmata</text>
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                <text>The scene of the stigmata was chosen as the most relevant episode in the life of the saint and painted in a large square above the entrance arch. The scene resumes that of Assisi, with some iconographic differences ( Friar Leone has disappeared ) and, above all, with a mastery of the composition and movement of the much more complex and mature protagonists. Francesco, to better understand the scene, has his torso completely rotated towards the viewer, including his hands, while his feet are spread apart as if to probe the surrounding space. The crucifix appears closer, with the golden rays that hit the saint from Christ's wounds, the landscape is more arid, with crevasses in the cliff, which represents the mountain of La Verna. High up, on the top of the mountain, there is a falcon.</text>
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                <text>Giotto di Bondone (c.1266-1337)</text>
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                <text>Cappella Bardi (Santa Croce (Florence, Italy))&#13;
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                <text>c. 1320&#13;
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                <text>St. Francis Receiving the Stigmata Rimini</text>
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                <text>Pietro da Rimini (fl. 1315-1335)</text>
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                <text>Indianapolis Museum of Art at Newfields&#13;
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                <text>c. 1330</text>
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                <text>Indianapolis Museum of Art at Newfields&#13;
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                <text>Saint Francis Receiving the Stigmata Paris</text>
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              <elementText elementTextId="70488">
                <text>On the feast of blessed Francis entrance. "missale ad usum fratrum minorum."</text>
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                <text>Paris, Bibliothèque nationale de France, MS. 757, Folio 360V&#13;
&#13;
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                <text>14th Century&#13;
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                <text>Saint Anthony Blessing</text>
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