Wednesday, September 25, 2013

The San Damiano Cross


The original crucifix was painted by an unknown Umbrian artist in the twelfth century. As we can see below, it is strikingly iconographic in character; because of this, many identify the artist as a Syrian monk, since there were known to have been Syrian monks in the area at that time. In 1257 the Poor Clares left San Damiano for San Gorgio, taking the crucifix with them. It was placed on public view for the first time in modern times in Holy Week of 1957, over the new altar in San Giorgio's Chapel in the Basilica of St. Clare of Assisi.
 

WHEN THE IMAGE OF CHRIST in the crucifix at San Damiano miraculously spoke to St. Francis, saying, "Go repair my Church, which as you see is falling completely in ruin", he was awakened to new zeal. He first concentrated on repairing the church buildings of San Damiano and nearby churches. But his great "repair" to the Church was the founding of the Franciscan Order, which began with the followers that Christ began to send to him shortly after the vision.

The most striking element of the San Damiano Crucifix is the figure of Christ. It is not the body of a corpse, but of God Himself, incorruptible unto eternity and the source of life, radiating the hope of the Resurrection. The Savior looks directly at us with a compassionate gaze, regal, triumphant, and strong. He does not hang on the Cross, but rather seems to be supporting it, standing in His full stature. His hands are not cramped from being nailed to the wood, but rather spread out serenely in an attitude of both supplication and blessing, which our iconographer has further emphasized by Jesus' tranquil and gentle expression. This iconographic Crucifix does not express the brute horror of death by crucifixion, but rather the nobility and gentleness of eternal life.
The eyes of Jesus are open: He looks out to the world, which He has saved. He is alive, the one who is eternal.
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 Ascension is portrayed within this circle of red: Christ is breaking out of the circle, holding a golden cross which is now His Royal Scepter. 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" 


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 the 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.


 Around the Cross are various calligraphic scrolls which may signify the mystical vine "I am the vine, you are the branches... " (John 15), which also contain the words "Greater love has no one than this, that one lays down one 's life for one friends ". 

    Around the crossbar of the cross we see a company of holy angels, looking in awe upon the Divine Sacrifice. Their hand gestures indicate their animated discussion of this wondrous event.



Christ is behind the open tomb; Christ is alive and standing over the tomb. The red of love overcomes the black of death. The gestures of the unknown saints at His hands indicate faith. The saints at each end are Peter and John at the empty tomb (John 20: 3 - 9). 


Jesus' vestment is a simple loin cloth - a symbol of both High Priest and Victim.
The knot in front is the inspiration of how St. Francis turned it into a mnemonic device by tying three knots in one of the loose ends to remind him of his three vows of poverty, chastity and obedience.
The next largest figures are the five witnesses of the crucifixion and witnesses of Jesus as Lord. On the left side are the Virgin Mary and St. John the Evangelist, to whom Jesus entrusted his mother. On the right side are Mary Magdalene, Mary, Mother of James, and the centurion who in Matthew's Gospel account asks Christ to heal his servant, who is also depicted on the cross on the shoulder of the centurion (Matthew 8:5-13).

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 mantic indicate 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 color 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.
 
 
Below and to the right of Jesus are Mary Magdalene, Mary Clopas, the mother of James, and the centurion who in Mark's Gospel (MK 15:39) proclaims, "Truly this man was the Son of God". There is a long standing tradition that this centurion is the same centurion who said to Jesus, "Lord , do not trouble yourself, for I am not worthy to have you come under my roof....But say the word, and let my servant be healed." (LK 7:6-7). 

 
Mary Magdalene is next to Christ 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 Clopas, Some authorities make her the mother of James. She wears garments of an earthen color 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 his building of the Synagogue (Luke 7: 1 - 10). He has extended his thumb and two fingers, a symbol of the Trinity, while his two closed fingers symbolize the hidden mystery of the two natures of Jesus the Christ. "Truly He is the Son of God" (Mark 15:39).
 


Peering over the left shoulder of the centurion is a small face. A close look reveals the tops of the heads of three others beside him. This represents the centurion's son who was healed by Jesus and the rest of his family to show that "he and his whole household believed" (John 4:45-54).
The Roman soldier who pierced Jesus' side with a lance. The name of the Roman soldier is Longinus. We know his name from the writings of the early church fathers. One of the Gospel accounts (which was not included in the bible) written by the pharisee, Nicodemus, mentions the roman soldier by name. Nicodemus is the one who asks Jesus in John's Gospel (JN 3:5) "How can a man be born when he is old? Can he enter a second time into his mother's womb and be born?"
In the lower right is Stephaton, the traditional name for the soldier who offered Jesus the sponge soaked in vinegar wine. From his posture, one can see that he holds the staff and sponge in the same way that Longinus holds the lance.

On the right side of the picture next to the left calf of Jesus, there is a small rooster. Remember Jesus said to Peter before his arrest: "Truly I say to you, this very night, before the cock crows, you will deny me three times." (MT 26:34) This rooster represents the sign of Peter's betrayal of Jesus and is placed there as a warning to all of us not to be presumptuous of our strength or complacent in our faith. We need to turn to the Crucified Lord continually and seek the grace we need for our lives. (See John 18:25-27)
At the base of the cross there seems to be a section that looks like a rock - the symbol of the Church. The seashells are symbols of eternity - a mystery hidden in the vast and timeless sea of eternity is revealed.
At the foot of the cross there is a damaged picture of six figures, two of whom we clearly see with halos. In accordance with the tradition of the day, these six are the patrons of Umbria: St John, St. Michael, St. Rufino, St. John the Baptist, St peter and St. Paul.

There are 33 figures in the Icon - Two Christ figures, 1 Hand of the Father, 5 major figures, 2 smaller figures, 14 angels, 2 unknown at His hands, 1 small boy, 6 unknown at the bottom of the Cross and one rooster. There are 33 nail heads along the frame just inside the shells and seven around the halo. 
So the next time you walk into St. Clare of Assisi Church, take a minute and reflect upon the beauty and story of the San Damiano Cross.



PRAYER BEFORE A CRUCIFIX

St. Francis of Assisi
We adore you,
Lord Jesus Christ,
here and in all your
churches in the whole world,
and we bless you,
because by your holy cross
you have redeemed the world.
 

References:
http://www.franciscanfriarstor.com/archive/stfrancis/stf_san_damiano_cross.htm
http://en.wikipedia.org/wiki/San_Damiano_cross
http://www.squidoo.com/san-damiano-cross
http://jimgracey.net/san_damiano.html
http://www.saintmichaelparishbedford.org/crossfr.htm