Images of Dominic at San Marco, Florence.
The images in the eight cells used by novices are remarkable for their simplicity. They have no background landscapes, no foreground features, no elaborate iconographical elements. Rather, they simply depict St. Dominic knelling in various postures beneath a crucifix. These scenes are clearly based on De modo orandi, a handbook on Dominic's nine methods of prayer. This book was a standard manual for training novices 8. Two aspects of this work are of particular significance. First, unlike Franciscan writings which focused on the events of Christ's life, De modo orandi concentrates on Dominic's prayer as a preparation for preaching. Second, physical attitude directly affects spiritual disposition.
There are other connections which these prayer positions would recall as well. The most immediately apparent are liturgical gestures. In the course of celebrating the Mass a Dominican would have bowed (Introit/mode one), genuflected (mode four), stretched out his arms (consecration/mode six), and held his arms before his chest (mode five). By reviewing these gestures in his private prayer, the friar made physical and spiritual connection with the greater community in Mass and Office. He would also ideally have made intellectual connections with the meanings of these gestures not only in the life of Dominic, but also in the liturgy.
The focus of Dominican life, however, was not, as in monasticism, liturgical performance. It was preaching. These gestures were also part of the dramatic gestural repertoire of public speakers who did not have the advantage of modern media services. Examples from the sixteenth century Mirror of the World illuminate how preachers were instructed:
- "When you speak of any heavenly ...thing, look up and point toward the sky with your finger."
"And when you speak of any gentilness, mildness of humility, lay your hands upon your breast."
"And when you speak of any holy matter or devotion, hold up your hands." 9
The San Marco images are therefore clearly part of integrated environment of reinforcing images designed to integrate gesture, posture and physical demeanor with theological concepts. The friars' training allowed this imagery to be a mnemonic device for theological themes similar to the initial pages of some monastic communities. Theological integration with life becomes second nature. By acting out of a theological world view, and preaching the same, a friar thus fulfills the requirement to "teach by word and example."
NOTES: 1 - Hood argues that the image of the crucified Christ is other frescos at San Marco represent not the
Latest Articles