One of the earliest examples of the Franciscan focus on the personality of their founder is the altarpiece at S. Francesco in Pescia. This altarpiece was completed by Berlinghieri in 1235, less than ten years after Francis's canonization. At five feet it depicts the saint nearly life size and in a dominant, central position usually reserved for Christ or the Virgin. The identification with Christ is enhanced by the clearly displayed stigmata, book, blessing hand and glance to the side. These elements are identical to pantocrator images. He is even flanked by attendant cherubim. Furthermore, the saint is surrounded by scenes from his legend apparently chosen to recalls events in the life of Christ. Even the stern, pantocrator-like facial expression could be interpreted as an expression of the domineering personality of the saint.
Equally as dramatic are the frescos by Giotto, especially The Death of St. Francis in the Bardi Chapel in St. Croce, Florence. Here, the dead saint lies calmly on his bier as angels bear his soul heavenward. Members of the Friars minor bewail the demise of their founder-hero, kissing his hand, weeping at his feet and gesturing in anguish. The iconography is remarkably similar to two other frescos by Giotto. In the Dormition of the Virgin, Mary's soul is lifted up by Christ himself, while the disciples, including Peter and John mourn her passing with relative calm. Peter leans toward Mary's face just as one Brother in the Francis scene. John presents his back to the viewer, not unlike the foreground figures in the Bardi fresco. Even the apostle at the foot of Mary's deathbed gestures in a manner similar to the brother hovering over St. Francis. A further comparison can be made with The Lamentation. In this fresco, Mary draws near the face of Jesus almost identically to the brother in Death of St. Francis. Furthermore, the figures caressing and kissing Christs wounds have obvious parallels among Francis' disciples. Francis' life, death, and sainthood are clearly paralleled with Christ. His centrality to the spirit of the order comes to the fore. Francis is like Christ, in body and spirit. Imitation of Francis is the imitation of Christ and is an end unto itself.
The Dominican approach to their founder is significantly different. One example of this difference is the fresco by Andrea da Firenze in the Spanish Chapel at St. Maria Novella. In the lower left the Pope blesses as a bishop (Diego?) preaches and his words are discussed by Dominicans in the crowd. Subsequently, the domini canes attack heterodox wolves while Dominicans guide people to the gates of heaven and the vision of the triumphant Christ. The Friar Preacher in this fresco functions as a moral and intellectual guide to the corporate church, not as a charismatic personality appealing to individual emotions.
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