Artwork

The Stigmatization of St. Francis, and Angel Crowning Saints Cecilia and Valerian

The Stigmatization of St. Francis, and Angel Crowning Saints Cecilia and Valerian is an unspecified painting by the Byzantine icon painting artist Unknown. It dates from 1330 and is held in the collection of the J. Paul Getty Museum. The work is a diptych composed of two adjoining panels.

About this work

Overview

Francis, standing before a rocky outcrop crowned by a modest church, his brown habit draped in soft folds and his arms uplifted, revealing a wound on his side.

The work is a diptych composed of two adjoining panels. The left side portrays a monk, likely representing St. Francis, standing before a rocky outcrop crowned by a modest church, his brown habit draped in soft folds and his arms uplifted, revealing a wound on his side. The right side shows two kneeling female figures, identified as Saints Cecilia and Valerian, each holding a book, while an angel hovers above, placing a crown on the figure on the right.

Subject & Meaning

The left panel emphasizes the stigmatic experience of St. Francis, a visual testament to his mystical wounds and devotion. The right panel juxtaposes the martyrdom of Cecilia and Valerian, underscored by the angelic coronation that signifies heavenly approval and sanctity, linking the two saints through shared themes of sacrifice and divine favor.

Technique & Style

Rendered in earthy pigments with gold highlights, the diptych employs delicate modeling of fabric, contrasting the monk’s simple, flowing habit with the more ornate attire of the female saints. The composition reflects medieval visual conventions, favoring symbolic clarity and devotional focus over naturalistic perspective.

History & Provenance

The painting’s origin, date, and ownership trail are not detailed in the available description, limiting precise historical placement. Its subject matter aligns with devotional artworks produced for monastic or ecclesiastical settings during the later medieval period.

Context

Depicting both a Franciscan figure and early Christian martyrs, the diptych illustrates the medieval practice of pairing contemporary saints with ancient ones to reinforce continuity of faith. The inclusion of an angelic crowning motif mirrors common iconographic devices used to convey sanctity and heavenly reward.