Artwork

Copy after the painting St Francis appearing to the brethren in a chariot of fire by the Master of the St Francis cycle in the Upper Church, San Francesco, Assisi

Copy after the painting St Francis appearing to the brethren in a chariot of fire by the Master of the St Francis cycle in the Upper Church, San Francesco, Assisi is a watercolor work on paper by the Impressionist artist Edward Kaiser. It dates from 1874 and is held in the collection of the Victoria and Albert Museum.

About this work

Overview

Kaiser’s version was commissioned by the Arundel Society to document medieval religious art, though it was never published.

Edward Kaiser created a watercolour copy in 1874 of a fresco from the Upper Church of San Francesco in Assisi. The original, attributed to the Master of the St Francis cycle, depicts a visionary moment involving St Francis. Kaiser’s version was commissioned by the Arundel Society to document medieval religious art, though it was never published. His inscription confirms his authorship and the work’s role as a faithful transcription of a deteriorating fresco.

Subject & Meaning

The scene portrays St Francis ascending in a fiery chariot, surrounded by kneeling friars who witness his divine elevation. The chariot, drawn by a single horse and wreathed in flame, suggests a spiritual translation rather than a physical departure. The figures’ solemn postures and upward gazes convey reverence and awe, aligning with Franciscan hagiography that emphasized Francis’s mystical connection to the divine.

Technique & Style

Kaiser employed transparent watercolour to replicate the fresco’s luminous tones and linear clarity. His brushwork is precise, with delicate shading to define drapery and form, yet retains a restrained palette consistent with 19th-century documentary practices. The background’s flat blue sky and simplified architecture reflect his focus on structural accuracy over atmospheric depth, prioritizing fidelity to the source over artistic embellishment.

History & Provenance

Commissioned by the Arundel Society in the 1870s, the watercolour was part of a broader effort to preserve deteriorating medieval murals through reproduction. Though intended for publication, it remained in the Society’s archives. Kaiser’s copy is now held by the Victoria and Albert Museum, where it serves as a record of the Assisi fresco’s condition before later restorations altered its appearance.

Context

In the 19th century, European institutions increasingly sought to document and disseminate medieval art, especially in Italy, where frescoes were vulnerable to decay and neglect. The Arundel Society’s projects, including Kaiser’s, reflected a scholarly impulse to preserve visual heritage. This work emerged amid growing interest in Gothic and early Christian iconography, positioning religious imagery as culturally significant rather than merely devotional.

Legacy

Kaiser’s watercolour remains a valuable historical document, offering insight into the appearance of the Assisi fresco before 20th-century interventions. It exemplifies the role of reproductive art in academic preservation, bridging medieval original and modern scholarship. While not an artistic innovation, its careful execution ensures its continued relevance to the study of Franciscan visual culture.