The Crucifix of San Francesco

This is the crucifix before which Saint Francis of Assisi prayed at the beginning of his conversion, in the small, somewhat dilapidated church of San Damiano. It was there, around the year 1205-1206, that while gazing at it, Francis heard the Lord's invitation to «repair his House». Initially, he interpreted this invitation literally, taking care of restoring the walls of the small chapel with the help of other friends and friars; it would later become the home of the first Poor Clares for as long as Saint Clare lived. We all know how his vocation subsequently matured, along with his understanding of that invitation which would involve his entire life and his very body in the radical following of Christ and in love for his Church, leading also to the foundation of the Franciscan Order. An icon that stands as a witness to him, not only for all Franciscans but for all Christians in Italy and around the world who have come to know his life.

It is also a masterpiece from an artistic point of view. Dating back to the years between 1000 and 1050, it was created by an anonymous artist, probably a monk, possibly of Syrian origin, though this is not confirmed. He certainly drew inspiration from the Gospels for its creation, in particular from the Passion as told by John. In fact, what distinguishes it most is that it is a glorious cross, where Christ is not dead and is not “hanging” from it, but stands upright with open eyes and a serene face, his arms outstretched as if in a voluntary gesture, a welcoming embrace directed at all humanity. He does not wear the crown of thorns, but the cruciform halo that belongs to him in all icons. A Christ who does not “endure” the cross but chooses it, loves it, and makes it his throne of glory—the path to conquering death, opening the gates of Heaven, and saving all people through his suffering, the offering of all himself, of his own life and blood. A cross that therefore highlights the great love of Christ, which conquers death and saves. At the top, we see his ascension into heaven, regally clothed, toward the Father, surrounded by angels. At the sides of his hands, we find two saints, unidentifiable because they lack names, while beneath his hands and the drops of blood dripping from them, there are two pairs of angels.

In the central part, on either side of Jesus' body, are the figures narrated in the Gospel of John, each with their own name according to iconographic customs: beneath the wound in his side, we find Mary the mother of Jesus, John himself, and—smaller—the soldier who pierced Jesus' heart with a spear, whom tradition calls Longinus. On the other side, we find Mary Magdalene, Mary the mother of James the Less, and the centurion, with other people behind him, perhaps the crowd or future Christians.

At the bottom, near the right leg, we find a small rooster, which indicates the dawn of new life. Meanwhile, beneath Jesus' feet, washed in his blood, there are six figures of saints who remain unknown because the image is highly worn, probably due to the kisses and devotion of the faithful. A wonderful icon to love and contemplate, before which we can join Francis's gaze of love to immerse ourselves with him in the contemplation of Christ's Passion as a message of great hope.

Chiara Dal Corso
NP February 2026