Jesus Original Cross Images Download

The San Damiano Cross is the large Romanesque rood cross before which St. Francis of Assisi was praying when he is said to have received the commission from the Lord to rebuild the Church. It now hangs in the Basilica of Saint Clare (Basilica di Santa Chiara) in Assisi, Italy, with a replica in its original position in the church of San Damiano nearby. Franciscans cherish this cross as the symbol of their mission from God.

The cross is a crucifix of a type sometimes called an icon cross because in addition to the main figure of the Christ, it contains images of other saints and people related to the incident of Christ's crucifixion. The tradition of such painted crucifixes began in the Eastern Church and possibly reached Italy via Montenegro and Croatia.

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The San Damiano Cross was one of a number of crosses painted with similar figures during the 11th century in Umbria. The name of the painter is unknown, but it was made around the year 1100. The purpose of an icon cross was to teach the meaning of the event depicted and thereby strengthen the faith of the people.[1] The Byzantine style was common in Italy before Cimabue and Giotto.

Jesus Christ is represented upright in full stature while the surrounding figures are smaller. The bright white of his body contrasts with the dark red and black around it and accentuates the prominence of Jesus. This representation contrasts with the regal Christ portrayed on the cross in earlier centuries and the suffering, dying, crucified Christ depicted generally throughout the Church since the beginning of the 14th century. Above the head of Christ is the inscription in Latin: Jesus of Nazareth, King of the Jews.[3][4]

The next largest figures are five witnesses of the crucifixion.[3] On the left side are the Virgin Mary and St. John the Evangelist. 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). Both Mary and Mary Magdalene have their hands placed on their cheeks to reflect extreme grief and anguish. The first four witnesses are saints and are therefore represented with halos. Their names are written beneath their pictures.

Two smaller figures are located in the corners with the witnesses. On the lower left is Longinus the traditional name of the Roman soldier who pierced the side of Jesus with a lance. He is represented here as holding the lance and looking up at Jesus. The blood running down the right arm of Jesus begins at the elbow and drips straight down and will land on the upturned face of Longinus. In the lower right is Stephaton, the traditional name for the soldier who offered Jesus the sponge soaked in vinegar wine.[3]

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).

Six angels are represented as marvelling over the event of the crucifixion. They are positioned at both ends of the crossbar. Their hand gestures indicate they are discussing this wondrous event of the death and calling us to marvel with them.

At the foot of the cross there is a damaged picture of six figures, two of whom are represented with halos. In accordance with the traditions of the day, these six are the patrons of Umbria: St. Damian, St. Michael, St. Rufino, St. John the Baptist, St. Peter and St. Paul. On the top of the cross, one sees Jesus now fully clothed in his regal garments and carrying the cross as a triumphant sceptre. He is climbing out of the tomb and into the heavenly courts. Ten angels are crowded around, five of whom have their hands extended in a welcoming gesture to Jesus, who himself has his hand raised in the form of a greeting,

At the very top of the cross is the Hand of God with two fingers extended. This is to be understood as the blessing of God the Father on the sacrifice of his Son. On the right side of the picture next to the left calf of Jesus, there is a small figure of a fowl. Some art historians have interpreted it to be a rooster, representing the sign of Jesus' denial by Peter, mentioned in all four Gospel accounts. Other commentators see it as a peacock, a frequent symbol of immortality in Early Christian art.

David Tombs does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

Featuring a loincloth goes back to the first Christian images of the crucifixion. Early examples include the Maskell ivory panel from early 5th-century Rome, and the depiction carved into the doors of the Santa Sabina basilica in Rome, built between 422 and 432 CE.

The loincloth adornment has become so firmly fixed since the 5th century that most people take it for granted. However, the historical evidence shows it is not something victims of crucifixion would have been permitted.

The Sovereign has been made unrecognisable by his naked body, and is not even allowed a garment to keep him from view. That is why the luminaries turned away, and the day was darkened, so that he might hide the one stripped bare upon the tree.

Finally, both Christian and Roman writings describe crucifixion in terms of supreme shame, not just extreme pain. The forced naked exposure of the victim would have been a powerful way to promote such shame and humiliation. Permitting a loincloth would undermine this.

The practice of including a loincloth was an understandable response to a form of execution intended to deny the victim any dignity. For those interested in the history of crucifixion and how it was seen at the time, the loincloth needs to be seen as an artistic convention to soften the public shame of the cross.

The original cross, fashioned about 1100, hangs in Santa Chiara Church in Assisi. When in 1257, the Poor Clares moved to Santa Chiara, they took the San Damiano Cross with them and still guard it with great solicitude. The crucifix now hanging over the altar of the ancient church of San Damiano is a copy.

Type of Cross

The cross is called an icon cross because it contains images of persons who have a part in the meaning of the cross. The tradition of such crosses began in the Eastern Church and was carried by the Serbian Monks to the Umbrian district of Italy. The Byzantine style was common in Italy before Cimabue and Giotto. The San Damiano Cross was one of a number of crosses painted with similar figures during the 12th century in Umbria. The purpose an icon cross was to teach the meaning of the event depicted and thereby strengthen the faith of the people.

Christ Crucified

Jesus Christ is represented both as wounded and strong. He stands upright and resolute. His halo already includes the pictures of the glorified cross. The bright white of the Lord's body contrasts with the dark red and black around it and, therefore, accentuates the prominence of Jesus. He projects the life of divine nature in a body pierced by nails in the hands and feet, by the crown of thorns on his head, and by the soldier's lance in his side. This representation contrasts with the regal Christ portrayed on the cross in earlier centuries and the suffering, dying, crucified Christ depicted generally throughout the church beginning throughout the 14th century. Christ is represented in full stature while all the others are smaller in stature. Above the head of Christ is the inscription in Latin: Jesus of Nazareth, King of the Jews.

Major Witnesses

The next largest figures are the five witnesses of the crucifixion and witnesses of Jesus as Lord. On the left side are Mary, Mother of Jesus, and St. John the Beloved, to whom Jesus gave his mother. On the right side are Mary Magdalene, Mary, Mother of James, and the centurion who in Mark's gospel proclaims, "Truly this is the Son of God." Both Mary and Mary Magdalene have their hands placed on their cheeks to reflect extreme grief and anguish. The first four witnesses are saints who gave their lives for the Lord and are therefore represented with halos of sanctity. The names of the five major witnesses are written beneath their pictures.

Minor Witnesses

The three smaller figures are represented as witnessing the crucifixion. On the lower left is Longinus the Roman soldier who pierced the side of Jesus with a lance. He is represented here as holding the lance and looking up at Jesus. The blood running down the arms of Jesus begins at the elbow to drip straight down. It will land on the upturned face of Longinus. In the lower right is Stephaton who is identified as the soldier who offered Jesus the sponge soaked in vinegar wine. From the posture of his figure, you can see that he holds the staff and sponge in the same way that Longinus holds the spear.

Peering over the left shoulder of the centurion is a small face. A close look at the face reveals the tops of the heads of three others beside him. In accord with the conventions of the time, this may be the face of the artist who was claiming authorship and immortalizing himself as a witness to Christ.

The Angels

Six angels are represented as marveling over the event of the crucifixion. They are positioned at both ends of the crossbar. Their hand gestures indicate they are discussing this wondrous event of the death and calling us to marvel with them.

The Patron Saints

The Heavenly Welcome

On the top of the cross, we see Jesus now fully clothed in his regal garments and carrying the cross as a triumphant scepter. He is climbing out of the tomb and into the heavenly courts. Ten angels are crowded around. Five of them have their hands extended in a welcoming gesture to Jesus, who himself has his hand raised in the form of a greeting. 152ee80cbc

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