There is a phenomenal growth of artistic and conceptual appreciation evinced in the artistic representations present in the Basilica constructed on behalf of the revolutionary Saint Francis of Assisi (San Francesco di Assisi). The true significance of this growth is immeasurable. The record present in this basilica is much akin to the fossil records present in the grand canyon; almost as if you can see the ancient Cambrian period-esque under belly of the church with their sparse and un-lively fossils contrasted against the grandiosity of the Jurassic period with its huge, life like fossils. It is truly fascinating to see how the effects of the humanism and love of people spread and affected the intellectual class as it spilled from the lips of pre-Renaissance sage, San Francesco. His revolutionary understanding of the creation story from Genesis has an opposite effect to what many conservatives fear theories of evolution perpetrates. Whereas evolution based world views are often opposed for their capability to lower the view of humanity down to the lowly state of just another version of an animal, Saint Francis saw a familial connection between all of creation in a way that led to birds, water, moon, and sun all to be seen as his brothers and sisters. Therefor Francis elevated all of creation up to the level of humanity. What are the consequences of such thoughts? War, hatred, violence, against humanity and creation are nearly entirely removed from society as necessities, for who wars against members of the same family?! This sort of infectious humanism served as a gateway for many early Renaissance thinkers to slip into our world of Rebirth without running contrary to the church. It may in fact be due to the humanist and nature loving thoughts of Francis that so many artists were able to shake the Eastern Orthodox-esque limitations on the depiction of reality in art. "Only pagans depict reality. We are Christians and therefore must not artistically depict reality! We can only depict saints the highest subject matter of theology" soon became "God has created all of the world in beauty and all of it pertains to God since they are all our brothers!" Just as Saint Francis brought Jesus once more out of the church and to the people, his thoughts made it possible once more for the outside world, sister nature in all her grandeur, to once more fill the church. And what a church it is! In the photograph it is in the upper middlin section peaking out from amongst the buildings of Assisi.
What did Francis' thoughts, his humanistic tendencies make possible? In contrasting the lower church depictions of Francis' life with the upper church here in Assisi, we can see (si, ha I love word play) a fantastic contrast. In just a few short decades (about 35 years) Giotto's depictions of Francis' life are completely altered, carrying the feel and tendencies for perspective, reality, and distance that suggest some kind of appreciation for the education of the past, a sort of Grecian/Roman appreciation for reality's depiction in art. One is reminded of the papal-death bed vision of Assisi in contrast between above and below. The under-church's image while beautiful and divine in its own sense conveys a kind of brown blob for a bed, with a man that may be laying down or sitting up, but is entirely 2d, without and kind of potent depiction of reality. yet Giotto's work above shows a very real bed, with a mattress and INCREDIBLE detail. It jumps off the wall and into your eyes; no longer a simple sticker on the wall!
Likewise the under-church conveys imagery of Saint Francis ripping his clothes off in the street, giving his father his clothes back while the bishop covers his naked body. But his naked feet bear no toes! His ribs are absent and one can scarcely decipher where the cartoon ends and the religious paraphernalia begins! yet it's upper-church counter part depicts a man with toes, ribs displayed, and a sort of shocking realism. This painting of Giotto's proves so inspirational that the form of the infuriated father lunging to strike is imitated for years to come, even on the fountain in the Perugia square! What then can we say about the incredible acts of Saint Francis that is a hyperbole? This single man, the gateway to the Renaissance, a man ahead of his times, the Jesus after Jesus, the first possessor of the stigmata, the inspiration of an order, the husband of Lady poverty, the brother to all creation, the Saint that saved the Catholic Church. It sounds as if we are in dire need of another Saint Francis even today.
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