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The Meaning of the Landscape in Bellini's "St. Francis in Ecstasy"
Anthony F. Janson
Artibus et Historiae
Vol. 15, No. 30 (1994), pp. 41-54
Published by: IRSA s.c.
Stable URL: http://www.jstor.org/stable/1483472
Page Count: 14
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The article proposes that the landscape in Giovanni Bellini's "St. Francis in Ecastasy" in the Frick Collection, New York, shows the Heavenly Jerusalem, a motive which originated in the North, although it is patterned loosely after Assisi. The cave serves to identify the saint with Jerome, so that it acts as the vehicle of salvation well in advance of Bosch and Patinir. While the scene has multiple resonances of meaning, the author further suggests that the likely subject is St. Francis seeking inspiration from the heavens as he is about to compose the "Canticle of the Sun" at San Damiano.
Artibus et Historiae © 1994 IRSA s.c.