Stimmate by Taddeo Gaddi

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Stigmata – Taddeo Gaddi (c. 1335–1340)

Taddeo Gaddi, son of Gaddo di Zanobi (called Gaddo Gaddi), was a medieval Italian painter and architect and one of the most talented pupils of Giotto. He worked in Giotto’s workshop from 1313 until the master’s death in 1337. According to Giorgio Vasari, Gaddi was considered Giotto’s foremost student and, in 1347, was listed among Florence’s most renowned painters. His early works, such as The Stigmatization of Saint Francis (c. 1325–1330, tempera on wood panel), show a subtle evolution of Giotto’s style, maintaining the master’s expressive clarity while introducing delicate innovations in space, form, and detail.

This panel, dated c. 1335–1340 (tempera on wood, 41 x 31 cm), depicts Saint Francis receiving the Stigmata from a seraphic figure representing Christ. The composition is clearly modeled on Giotto’s earlier representation of the event. It retains Giotto’s gold background, the saint kneeling on one knee, a golden halo, and the radiant rays connecting Christ’s wounds to those of Francis. The serene and contemplative figure of Francis, captured in a moment of mystical union, reflects both the spiritual intensity and naturalism characteristic of the Giottesque tradition.

The setting is Mount della Verna, faithfully represented with a landscape that recalls Giotto’s treatment of trees and natural elements. Two buildings are visible: one at the top of the mountain, possibly a chapel, and another at Francis’s level, suggesting a monastery or convent. These architectural elements, combined with the carefully painted rocks and vegetation, provide depth and context to the narrative, creating a realistic yet devotional environment.

Gaddi’s tempera technique demonstrates meticulous attention to detail. The folds of Francis’s habit, the subtle modeling of his features, and the careful rendering of the rays and seraphic figure reflect his skill in balancing technical precision with spiritual expression. While paying homage to Giotto, Gaddi’s handling of space, light, and compositional elements gives the painting its own sense of immediacy and intimacy.

Overall, this work exemplifies the early Florentine Gothic-Italian tradition, where devotional content, naturalistic detail, and narrative clarity are combined. It stands as a testament to Gaddi’s mastery in extending Giotto’s innovations while asserting his own artistic voice, capturing a pivotal moment in Franciscan visual tradition with both fidelity and sensitivity.

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This image is a public domain image, which means either that copyright has expired in the image or the copyright holder has waived their copyright. Franciscan Gallery charges for the access to high resolution copy of the image. Manually restoration was necessary in order to improve quality, without covering the original image.