Abstract

Discussions of early Franciscan visual archives frequently center on questions of dates and source texts, historical considerations of conflicts within the Order, and an authorial eagerness to narrate stylistic development in the direction of representational realism. This article offers an analysis of an exemplary thirteenth-century vita panel—the Bardi Panel of Santa Croce, Florence—that resists the pull of textual hermeneutics and social context as explanatory foundations. It argues, instead, that the visual rhetoric of the painting works to install a specific style of theological seeing. The Bardi Panel does this by constructing the body—the glorified body of the saint and the social body of the Order—as sacramental objects. The Franciscan body, figured through the lens of sacramental visibility, is doubled, at once an image of itself and a medium for the presence of another; it is a cipher, a visible surface that renders legible sanctified interiority and divine confirmation. This textualized body, it is suggested here, comes complete with protocols for reading that aim to capture the desire of an imagined audience and train their seeing to a form of seeing beyond. This approach frames sacramental visibility in the Bardi Panel as both a way of seeing and a way of representing what is seen.

摘要

早期方济各会的视觉档案的讨论经常集中在日期和原始文本的问题，该教派内部冲突的历史考虑以及作者渴望在代表现实主义的方向上叙述风格发展的问题。本文对一个典型的十三世纪的维生素进行了分析小组-佛罗伦萨圣十字教堂的巴尔迪小组（Bardi Panel）-抵制文本解释学和社会背景作为解释基础的拉动。相反，它认为这幅画的视觉修辞作品具有特定的神学观看风格。巴尔迪小组通过将身体-圣人的荣耀身体和圣殿的社会身体-构建为圣物来实现这一目标。通过圣餐可见度的方济各会尸体被加倍，既是其本身的图像，又是存在另一个图像的媒介。它是一个密码，一个可见的表面，可清晰地显示成圣的内部和神圣的确认。在此建议，此文本化的主体随附完整的阅读协议，旨在捕捉想象中的观众的渴望，并将他们的视力训练成超越视线的形式。