Stitches and Patches: The Franciscan Habit in an Engraving by Lucas Vorsterman

Cordelia Warr
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Abstract

The National Gallery of Victoria holds a number of prints from the sixteenth and seventeenth centuries that show Saint Francis of Assisi (d. 1226) as the main subject or protagonist, or as one of a number of saints. One of these is an early seventeenth-century engraving by Lucas Vorsterman (1595–1675) catalogued as The Death of Saint Francis, after a painting by the Antwerp Italianist painter Gerard Seghers (1591–1651) (fig. 1). The painting on which the engraving is based is now in the collection of the Louvre and has been dated to between 1620 and 1624. A pen-and-ink drawing by Seghers, related to the engraving, is in the Fondation Custodia in Paris. Other prints are held by the Wellcome Trust Collection (London), the Kaluga Regional Art Museum (Russia), and the Albertina (Vienna) among others. The dedicatory inscription at the bottom of the engraving is to Paul van Halmalus (c. 1562–1648), an Antwerp senator (‘Nobili vivo D. Paulo Halmalio Senatori Antuerpensi, sculptoriae artis amatori summo, Adfectissimus sui Lucas Vorsterman consecrabat’), a portrait of whom was included in Anthony van Dyck’s ‘Iconography’. The wording of the dedication shows that Vorsterman held Halmalus in great esteem as a connoisseur of engravings. Below this, the origin of the composition is given: ‘G. Seghers invent.’. In larger lettering directly below the image is the text ‘Vivo autem, iam non ego, vivit vero in me Christus’ (I no longer live, but Christ lives in me), from Paul’s letter to the Galatians 2:20 immediately following ‘Christo confixus sum cruci’ (I have been crucified in Christ). Francis had been represented with this text from the thirteenth century. It drew attention to him as one who suffered with and as Christ, as well as one who had received, miraculously, the wounds of Christ on the cross—the stigmata. However, the miraculous nature of Francis’s wounds is not the main focus of the composition. Only one of the five wounds is visible, that on the saint’s left hand. Rather, our attention is drawn to Francis’s state of collapse. The saint, who appears to have been kneeling, falls backward and is supported by two angels, while a third
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卢卡斯·沃斯特曼的《缝线与补丁:方济各会的雕刻习惯》
维多利亚国家美术馆收藏了一些十六世纪和十七世纪的版画,将阿西西的圣方济各(公元1226年)作为主要主题或主角,或作为众多圣徒之一。其中之一是17世纪早期卢卡斯·沃斯特曼(1595-1675)的版画,以安特卫普意大利画家杰拉德·塞格斯(1591-1651)的一幅画作命名,被编目为《圣方济各之死》(图1)。雕刻所依据的这幅画现在被卢浮宫收藏,年代可以追溯到1620年至1624年之间。Seghers的一幅与版画有关的水墨画存放在巴黎的Custodia基金会。其他版画由威康信托收藏馆(伦敦)、卡卢加地区美术馆(俄罗斯)和阿尔贝蒂娜美术馆(维也纳)等收藏。雕刻底部的题词是献给安特卫普参议员Paul van Halmalus(约1562–1648年)(“Nobili vivo D.Paulo Halmalio Senatori Antuerpensi,雕刻家artis amatori summo,Adfectissimus sui Lucas Vorsterman consecrabat”),他的肖像被收录在Anthony van Dyck的“图像学”中。献词的措辞表明,Vorsterman非常尊重Halmalus作为版画鉴赏家。在这下面,给出了组成的来源:“G。Seghers发明了。在图像正下方的较大字体中,有文字“Vivo autem,iam non-ego,vivit vero In me Christus”(我不再活着,但基督住在我里面),这是保罗在“Christo confixus sum-craci”(我在基督里被钉十字架)之后给加拉太书2:20的信。方济各从十三世纪起就代表着这本书。这引起了人们的注意,他是一个与基督一起受苦的人,也是一个奇迹般地承受了基督在十字架上的创伤——污名的人。然而,方济各伤口的神奇性质并不是作品的主要焦点。五处伤口中只有一处可见,那就是圣人左手上的伤口。相反,我们的注意力被吸引到方济各的崩溃状态上。这位圣人似乎跪着,向后倒下,由两个天使支撑,而第三个天使
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