Saint Francis of Assisi Carried to Heaven by Two Angels
Saint Francis of Assisi Carried to Heaven by Two Angels. Italian, 17th century. Polychromed carved wood with reliquary containing an ex ossibus relic
This remarkable seventeenth-century Italian sculpture combines devotional imagery with the intimate function of a reliquary. Carved in polychromed wood and mounted upon an octagonal base, the group depicts Saint Francis of Assisi being raised heavenward by two angels. The saint stands with his arms extended in an attitude of openness and surrender, his coarse Franciscan habit gathered by the movement of his ascent. On his chest is a small circular reliquary compartment, protected by glass, containing what the original description identifies as an ex ossibus relic—a fragment of bone believed to come from Saint Francis himself. Thus, the sculpture does not merely represent the saint: it incorporates a physical relic associated with him, bringing the object into direct contact with the sacred person whom it portrays. Continue reading after advertisement
The unusual composition is particularly fascinating. Francis is not shown in one of the more familiar scenes of his life, such as the Stigmatization at La Verna, the Preaching to the Birds, or his embrace of Christ Crucified. Instead, the two angels support him from below as though accompanying him into the heavenly realm. Their upward-reaching gestures, outstretched wings, and animated poses create a sense of movement unusual for a devotional statue intended to be viewed from the front. Francis, by contrast, remains remarkably serene. His arms open toward heaven, his face turns upward, and the movement of his habit suggests that his earthly body is being lifted toward the glory for which his entire life was directed. The composition can therefore be understood in relation to the heavenly exaltation or glorification of Saint Francis, rather than as a literal representation of the moment when he received the stigmata. Continue reading after advertisement
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The sculpture's most extraordinary detail, however, is the small reliquary embedded directly into Francis's chest. This theca, or protected relic compartment, transforms the image into something more than a representation. The painted and carved figure presents an idealized image of the saint, while the relic was intended to provide a tangible connection with his earthly body. The Latin expression ex ossibus—"from the bones"—indicates a first-class relic, meaning a physical part of the saint's body. Although the present auction description identifies the contents in this way, the authenticity or provenance of the relic itself cannot be independently established from the available information. Nevertheless, its placement is deeply meaningful: the physical remains of Francis are enclosed within an image of Francis being carried toward heaven, joining the saint's earthly body and his heavenly glorification in a single devotional object. Continue reading after advertisement
The angels themselves are also worth noticing. Their youthful faces, richly modeled wings, brightly colored garments, and energetic poses belong to the visual language of the Baroque, in which supernatural beings frequently appear as active participants rather than distant celestial symbols. Their hands support Francis beneath his arms and habit, creating an almost physical sense of elevation. The contrast between their lively movement and Francis's calm expression reinforces the idea that the saint is not struggling against death or earthly existence but is willingly surrendering himself to God. The surviving polychromy—particularly the muted reds, greens, and flesh tones—would originally have given the group a vivid presence within a church or devotional setting. Continue reading after advertisement
The relationship between image and relic makes this work especially significant within Franciscan devotion. Medieval and Baroque Christianity frequently used reliquaries to make the saints physically present to the faithful, but here the reliquary has been incorporated directly into the saint's body. The viewer is therefore invited simultaneously to contemplate an image of Francis and to venerate a material fragment associated with him. It is a beautiful example of the way Franciscan art could unite theology, sculpture, devotion, and the tangible cult of relics within a single object.
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