In the Dominican scheme of things, the image had three essential purposes based loosely on the Western medieval tradition. First, images instructed the illiterate. Second, it was held that the more frequently the image of a sacred person or event was seen, the more likely the viewer's mind would be turned to devotion. Third, people could not be expected to retain what they heard 4. There were, however, certain standards of painting which the artist should observe. Antonino Pierozzo, Prior of San Marco and Archbishop of Florence, cautioned restraint and attacked those who "...paint things contrary to our Faith... " and the practice of painting "... curiosities into the stories of Saints and in churches, things that do not serve to arouse devotion but laughter and vain thoughts..." 5 This was especially true of art in an observant Dominican community focus on teaching by word and example.
The principle of teaching by word and example (docere verbo et exemplo) was a central aspect of Dominican training and spirituality. Not only did it manifest love of neighbor, but also manifested itself in cloister frescos which reinforced the training of novices 6. This training emphasizes the use of dogma and intellect as a tool to oppose heresy. The images, therefore, became mnemonic devices used to recall theological relationships. Three figures were of particular importance: Dominic, Thomas Aquinas and Peter Martyr. These three individuals embodied the three crucial aspects of Dominican life; Holiness through preaching and poverty (Dominic), devotion to study (Aquinas), and preparedness for possible suffering (Peter Martyr). A dual purpose was served by the images of these individuals at San Marco; Moral transformation of the friar through prayerful study of Scripture and theology and expression of that transformation in preaching 7. Thus, the ultimate purpose of even Dominican cloister art was directed toward the greater church community. This is particularly clear in the novitiate cells.
