12 December 2024 - 9 January 2025 Art Unwrapped

In this painting, Cristofano Allori depicts Saint Francis of Assisi; a Catholic saint who was devoted to a life of humility in service of Christ. We see him kneeling in front of an open bible, hands clasped in prayer; a skull, and a cross in front of him, serving as a reminder of our mortality and symbols for the resurrection of Christ. Although this piece is undated, we know Allori was making work (in Italy) around the early 17th century, meaning the work is likely a product of the Catholic Counter-Reformation happening at the same time, where art was being used to present theological differences in Catholicism and Protestantism.

Several different versions of this work exist, which was not an uncommon practice for artists at this time, as artworks were often being made in workshops with the help of various studio assistants. This suggests there could have been several different people working on one version of a painting, as well as making copies or working out different elements of a composition.

For example, a much larger version of this painting is held in the Galleria Borghese in Rome. Both compositions are very similar; St Francis’ face and hands are rendered with same detail, and his face has a similar contemplative expression. However, most of the background space is filled in with leaves of surrounding trees, covering over the dark, moody sky present in the smaller version. The main difference is that the piece in Rome is painted on canvas, whereas our version is painted on copper.

The piece is painted on a copper panel, which was a popular material in the 16th and 17th century,as it provided a smooth and sturdy surface to paint on. Many other artists working at the same time as Allori, such as Caravaggio, were making work on large canvases. However, we are now able to observe the cracking or peeling of paint on some older canvases from the same time period, none of which is visible in Allori’s piece. This is mainly due to the copper surface, as oil paint is able to adhere much better to stable surfaces such as metal or wood, forming a permanent bond. Whereas canvas is an unstable surface. In this regard, Allori’s copper plate painting has stood the test of time.

Some other versions are also painted on copper plate: a version in the Denver Art Museum, also painted on copper, has a strikingly similar background; but the focus is placed solely on St.Francis, who is highlighted with a decorative halo. The piece is lit very harshly, details such as the skull and cross are just barely visible, while the bible shines in bright red; placing attention on St. Francis’ Faith. Another version, which appeared at auction at Bonhams in London on the 6th of December 2023, makes dramatic changes to the background; introducing a lush landscape and view of the mountains. It is also interesting to note that in this version, there is the addition of a small hole in St. Francis' hand and thorn branches in the foreground; symbols of the suffering of Christ.

Furthermore, in the Rome and Denver Versions of the subject, the sullen, contemplative look that we can see in our version is not present. Noticeably the eyes seem bigger, and even the rocks are painted with less precision, suggesting these versions could have been painted by a different hand. Perhaps a small scale test or copy of a studio assistant?

There is a simplicity in our version of this piece, St. Francis’ life of humility is reflected in his modest robe and barren surroundings. We can see Allori’s care for the subject in the subtle colour and detailed rendering. When looking at various preparatory drawings Allori made for this piece, we are able to see the same care taken in delicate rendering in the hands, face, and robes of St. Francis, which have carried through into the painting.

It is also important to consider the size of the piece. In general, smaller paintings can invite the viewer to come up close; allowing for an intimate experience. I find that this is particularly impactful when considering the subject matter of this piece; the closeness between viewer and painting could mirror the relationship between St. Francis and his God. Perhaps Allori was trying to reflect the intimacy of a private moment in prayer.

St Francis, kneeling by a rock. His eyes looking upon the Cross, yearning, looking for a sign from God. His robes are touching the ground, the dirt, showing that in this moment he is not concerned with the worldly things, only the otherworldly things in his eye line:  The Cross and the bible. They are his primary concern.

When looking at this painting, these are the first things I notice. Even without  context of this painting, Allori conveyed St. Francis’ pain, discomfort and worry so well. Christofano Allori was an artist who was active between 1577- 1621. He was the son of the renowned painter Alessandro Allori, who was one of the last exponents of Mannerism. However, after studying under his father's style and influence, Christofano became dissatisfied and began to resent hard anatomical drawing and cold colours, so then decided to study under Gregorio Pagani instead. During this time following this artist, Allori looked to unite the rich coloring of the Venetians with the Florentination attention to the detail of drawing. This is where Allori truly began to flourish. In the second part of this life and career, he executed a series of religious paintings characterised by intense emotion and draftsmanship, which are reflected in the Prayer of St. Francis.

St Francis is the central figure, his hands clasped, in a humble posture. His gaze indicates a moment of intense spiritual connection, while his face is almost full of despair and lament.

In the background of this painting, the dark gloomy stormy sky is filled with many shades of grey and blue intertwined, making us unsure if the storm is subsiding or only starting to grow (or build). In the left-hand corner there is a breakthrough of light, which in my opinion could be a representation of God’s listening ear to the monk's prayer. The blue of the sky contrasts with the Orchy green of the St Francis’ robe and the colour of the rock he is leaning upon. The man’s simple robe and bare surroundings symbolise ascetism a common theme of Christian art, representing the rejection of worldly pleasures to grow closer to God.

He stands out in the foreground, radiating a glow of holiness. This is Divine illumination, the light illuminating the figure contrasts with the darker surroundings, symbolising enlightenment, divine guidance or the present of the divine. Furthermore he is virtually hidden from the outside world, in a cove away from the openness of the natural elements, in a place of solitude, alluding to the fact that his prayer is between him and God only. Level with his head is a small monastic building used for solitude, in a muted brown, almost invisible, blending into the background of the windswept trees fighting against the storm.

I find it interesting that a human skull is perched beside the Bible. These are two very contrasting images as the Bible is a representation of Love and life, and the human skull standing for death, decay and mortality. Even though we do not know the exact date which this painting was created, we believe it was around the time of the Reformation, the growth of the Protestant Church and the counter-Reformation in the 15th & 16th Centuries. During this time the Church in Rome resisted the Protestant Reformation and commissioned artists to paint religious figures by “Romanizing them” in the name of the Catholic Church. Perhaps this was Allori’s fight for Catholicism. Could the skull be representative of the fall and decline of the Catholic church?

This may have been the case for Allori and this painting, however, there have been many different versions of this imagery. There were at least 4 versions of this painting, all painted by Allori within the same time period all having similarities and differences. In each of the paintings, St Francis has the same composition, kneeling by a rock, in a state of Prayer. Furthermore, each painting shows a skull on the rock. Alloris’ preferred medium for painting was oil, specifically oil on copper. Copper creates a smooth durable surface for oil paint to sit on and it is less susceptible to damage, rot or be eaten by insects.  3 out of his 4 paintings of St Francis, only one was not painted on a 14-32cm piece of copper rather it was on canvas.  The one painted upon canvas is significantly larger than the ones painted on copper being 200 x 145cm (about 4.76 ft). Although, there has been significant debate between critics about whether this was canvas by Allori himself of Ludovic Cardi, another prominent painter of the time.

In conclusion, this painting really shows us the beauty of the Renaissance. The dark shadows and gloominess show the complexities and contrast to the standard of work of this period, making it uniquely stunning.

Cristifano Allori, born 1577, was regarded as one of the leading artists of the early Baroque period. The Baroque was a popular art movement in Europe during the 16^th and 17^th century. It was characterized by its use of human figures, dynamic lighting, realism and movement. The Baroque style of painting aligned with the Catholic Counter Reformation. The Catholic Counter Reformation was an integral catalyst that brought attention to the Catholic faith. The artwork associated with this reformation aimed to evoke emotion from the viewer through dramatic religious depictions and devotional paintings.  Allori was an artist born in Florence, Italy, a country centered around Catholicism hence this influenced the subject and style of his work.

Allori’s painting, ‘St. Francis in prayer’ can be classed as a devotional painting. The version that I am focusing is from the Ulster Museums collection. The central figure is St Francis knelt on a rock in prayer and gazing longingly at a wooden figure of Christ on the cross. On the rock is a skull in the shadows, a cross resting on the rock and a book that we can presume is a bible. In this period the skull was a frequently repeated motif that represented morality and the transient nature of life. A large majority of the representations of Saint Francis include a skull as a “memento mori” which translates as ‘remember you die’. In the replications of St Francis, the skull may act as a reminder to remember Christ’s sacrifice and give thanks to every moment of life.

St Francis gazing longingly at the cross conveys his devotion to God. St Francis was a son of a wealthy cloth merchant, but he vowed to live a life of poverty and follow God instead. His gaze being directed at the cross may denote that his sole purpose is to serve God and that nothing can deter him from this vocation. His gaze and countenance are soft, sincere and moving.

In the background is a powerful but soft dark blue sky. It appears heavenly in a sense and is dramatic employing tenebrism with its contrast of light and dark colours. The light beams in from the top lefthand corner, breaking through the billowing clouds. The clouds are painted in such a manner that they appear as if they are in motion. The realism and movement of the sky are very much in keeping with the Baroque style of dramatic realism.

This version of “St Francis in prayer” is painted on a copper plate, this surface may have aided in the smooth application of the oil paint and the longevity of the work. The soft application and treatment of paint permeates through the entire work. It is especially prevalent in the hands and face of the subject. They are painted with a smoothness, a tenderness and a vulnerability. The pose of St Francis and in particular the placement of the hands were of the utmost importance to Allori. In his preparatory sketches it is believed that he may have had a friar pose whilst he drew them. It is also thought that Allori himself may have posed for the initial drawings whilst his teacher Gregorio Pagani sketched him. It was said that Allori had a very distinct vision regarding the composition of the pose and was concerned about creating the correct emotional effect through gesture.

Allori painted many versions of St Francis in prayer, and they are situated in different museums across the world, one in Rome in the Galleria Borghese, another in the Denver Art Museum and additionally one in Florence in the Uffizi Gallery.

There is yet another version of this subject matter that some critics attribute to Allori. This version is not titled “St Francis in Prayer” instead it is titled “St Francis in Meditation”. It shares some similarities with the Allori painting from the National Museum NI’s collection, it is painted on a copper plate, the subject is knelt in prayer and the hands of St Francis are overlapped the same way, righthand over lefthand. The main difference in this piece however is that it includes cuts on St Francis’ hands referred to as the stigmata. The Stigmata are the wounds of Christ and St Francis was regarded as the first person in Christian history to receive these heavenly wounds.

Allori derived his composition and drew inspiration from Ludovico Cigoli subsequently this led to some critics interpreting some replicas of “St Francis in Prayer” to Cigoli. Cigoli was also one of Allori’s teacher and contemporaries so it is understandable that there would be similarities in their works and styles. However, although the artists share similarities in their subject matter and styles Allori strived to have a much more representational and natural setting. He also opted for a more reserved gesture and chose a different moment from the biography of saints.

At this time, it was also very common practice for students to work on and complete sections of paintings for their teacher. Francesco, Furini and Giovanni Battista Vanni were two known students of Allori, and it may be reasonable to deduce that these artists could have painted portions of these works.

Christofano Allori, the Italian painter born in Florence, on the 17th of October 1577. Most known for his work in the late renaissance and early baroque periods. Fascinated with religious themes and dramatic compositions. His work centers around intense emotions and detailed realism which are both important characteristics of baroque art.

Born into a hugely artistic family, Allori was the son of one of the most active painters of the late 16^th century, Alejandro Allori. His rich artistic upbringing allowed him to see the vibrant cultural art scene of Florence and likely shaped his future. Having his early training and initial knowledge formed in his father's workshop. He began Following in his footsteps and gaining significant artistic exposure. His fathers work being of typical renaissance and mannerist nature, were of influence on Allori and he carried this influence throughout his art. However, as Allori’s art grew he felt the need to move away and incorporate a less rigid and more naturalistic style, and under the wing of Gregori Pagani, Allori’s career began to flourish. He began to receive praise, His ability to capture likeness and character made him quickly become a well sought after portrait artist of this time.

Throughout his career the images he chose to depict are mostly well known, spiritual and religious images. One of his most famous being his depiction of “Judith with the head of Holofernes”. It is claimed Allori hid a self portrait within the severed head. His artworks helped pave the way for baroque art in Florence as he heavily influenced many artists in his era.

Painted around 1600-1601, Allori created his own version of the well represented “St Francis in prayer”. Done with oil on copper and measuring 14 x 11 inches, a relatively small painting for this era, an era flooded with grand scale, elaborate paintings. Allori kept his work small and intimate, usually for private collections or personal devotion. It is one of the smallest depictions of this well sought after image. His decision to paint on copper will have allowed this piece to age gracefully. Avoiding the deterioration and mold canvas and wood battle. There is a lot of debate surrounding the question of attribution on the piece. With names such as Ludendorff cardi coming into the picture.

Allori depicts St Francis kneeling before a rock in prayer, with a cross, bible and a skull. surrounded by a dark eerie background. The saint's posture and expression heighten the emotional intensity of the piece, capturing a perfect sense of devotion. He confirms his mastery of light and shadow, using chiaroscuro techniques to exaggerate the dramatics of the piece. The piece has so much depth, even the natural elements are painted with immense detail. The cloak particularly stood out to me, i feel as if i could reach out and touch it.

Allori’s use of rich and vibrant colours gives the painting movement and guides your eyes through, what seems to be a cold stormy night. The fact he paints St Francis at prayer in nature, being the patron saint of nature and animals connects the piece to its subject. The choice of possessions was also not accidental, the skull highlighting mortality and the nature of life reminding us to rely on spiritual gifts before material possessions. Reinforcing St Francis commitment to humility and his choice to abandon his wealth and choose a life of simplicity.

Allori's choice to leave out the halo that is a popular addition to many depictions, again gives St Francis his human essence. Making it a more relatable painting. The renaissance inspiration he gained from his father still shining through, showing religious imagery in a more humanistic and relatable way.

Cristofano Allori was an Italian painter born in Florence in 1577. Allori was initially trained by his father, Alessandro Allori, a prominent mannerist painter who studied under the master Agnolo Bronzino, in late 16th century Florence. Allori was later employed by the Medici Family as a court portraitist where he was able to develop his technical abilities through commissioned reproductions. Cristofano Allori worked within a transitional period between the Mannerist and Baroque eras in Florence. The artist was part of a wider sentiment that rejected the stylish artificiality of Mannerism in favour of a more naturalistic style typical of Baroque in the early 17th century.

This shift was a direct result of the Counter-Reformation which aimed to re-establish dominance of the Catholic Church, resulting in religious imagery dominating art production. Following the rejection of his father’s mannerist teachings, Allori’s creative output was strongly influenced by the work of his teachers Gregorio Pagani and Lodovico Cigoli, with Allori producing several replicas of Cigoli’s principle compositions, one of which being Saint Francis of Assisi in prayer. In Allori’s depiction of ‘St Francis in Prayer’ we are immediately drawn to the central figure of the saint gracefully draped over a rough stone, kneeling in prayer, his elbows support his weight while his fingers are gently clasped together. Allori’s composition consists of three notable objects that ornament the scene whilst reinforcing religious symbolism; a skull, a bible and a crucifix.

The skull can be interpreted as a signifier of mortality, while the open religious text indicates the saint seeking the word of god. Notably, the Saint’s eyes are fixed on the crucifix directly in front of him forming a direct connection with God. What is particularly striking about the scene is Allori’s depiction of St Francis which evokes a sense of emotional potency, enhanced by his contemplative and somewhat pensive expression. There is a compelling intensity evident in Allori’s portrayal of St Francis that conveys to the viewer they are witnessing a profound moment of introspection and religious devotion. Allori crafts a scene with a rich atmospheric quality through his depiction of shadowy foliage, rocky terrain and a restless sky.

The setting of this landscape bears a strong resemblance to the religious landmark the ‘Raw Rock’ located at the Sanctuary of La Verna in Tuscany. The location is associated with St Francis’s intense night of prayer on Mount Verna in 1224 where he miraculously received Stigmata. Additionally, Allori’s careful consideration of light and shadow conveys a strong sense of atmosphere. To the left of the composition, a small building is visible just behind the Saint shrouded in darkness, indicative of the enveloping night. Towards the top left-hand corner of the painting, we see an opening in the clouds where light descends from the heavens, a divine light illuminating the turbulent blue sky.

While Allori has produced several copies depicting St Francis in Prayer including larger-scale works in oil on canvas, his employment of oil on copper in this iteration is particularly effective. The smooth surface of the copper offers a rich finish that enhances the depth of the piece and provides a luminous finish that has retained its vibrancy over time. Additionally, while this work is smaller than other existing versions, it remains equally as impactful, with the scale drawing the viewer into the work, further emphasising the intimacy apparent in this contemplative moment of prayer.

The quality of Allori’s draughtsmanship is evident in his sophisticated rendering of texture in the work. Particular attention is paid to the detail of St Francis’s robe, with the coarse material of the saint's tunic painted with impressive detail. It is this attention to detail that makes Allori’s work so impactful. The artist demonstrates impressive technical precision and an aptitude for atmosphere in this construction of ‘St Francis in Prayer’ that offers a sophisticated interpretation of the Saint powerfully depicted in an intense moment of religious devotion.

Italian painter Cristofano Allori, born on 17^th October 1577, was known as one of the most successful painters in Florence, renowned for his contributions to the late Florentine Mannerist school, where Allori spent time focusing primarily on portraiture and religious themes. Being the son of Alessandro Allori, Cristofano spent time training under his father, soon to become unimpressed by Alessandros rigid style, leading Cristofano to develop his own more naturalistic style.

“Saint Francis of Assisi at Prayer” depicts Saint Francis of Assisi kneeling, with his hands gently clasped together, and his elbows resting on a rock below him. Infront of him we can see a red book with pages lying open. In the background, there is a landscape, characterized by dark and gloomy clouds, along with a bright streak of light crossing through.

This painting captures a deeply spiritual and introspective moment for Saint Francis, with this work reflecting Baroque, a 17^th century art style, which tends to exaggerate the emotional intensity and dramatic use of lighting, often being seen in religious works.

This work by Allori is deeply symbolic, emphasizing Saint Francis’s closeness to God and his devotion towards the divine in his life. The composition in this work creates a great contrast, with the background of dramatic clouds and chaotic movement, in comparison to the calm and stoic figure of St Francis. Chiaroscuro, a technique that is the use of strong contrasts between light and dark, has been used within this work to highlight St Francis against the dark turbulence unfolding behind him, which not only brings focus to the figure of St Francis, but makes it appear as he is almost being illuminated by some sort of divine lighting.

This type of setting further exaggerates St Francis’ sense of asceticism and devotion to his faith, along with his liking for nature. As we see him with his hands clasped, we can only assume we are witnessing an intimate and personal conversation St Francis is having with the divine, capturing a moment of the deep spiritual connection St Francis had with God.

The colour palette used within this work is dark and full of earthy tones, warm browns and deep blues, conveying a serious and reflective mood. These colours, also being associated with attributes such as modesty and humility, attributes present within St Francis’ character. St Francis’ demeanour, in contrast with the dark and chaotic background, also reinforces the idea of St Francis found true peace and contentment from a spiritual relationship with God, rather than from outer world surroundings.

With there being many other versions of this painting done by many other artists, especially during the 16^th and 17^th, other well-known artists such as Caravaggio, Franciso de Zurbarán, and Bartolomé Esteban Murilós all have their own individual versions of St Francis in Prayer. To me, what makes Allori’s work stand out from the rest is his emphasis on reflection rather than suffering. While other artists tend to depict St Francis in more intense physical and emotional states, Allori’s version creates a more pensive mood. Instead of focusing on the saints' suffering and inner turmoil, Allori brings to light the peace he receives from his faith.

Another element of Allori’s work that sets him apart from any other versions is the background and setting. With artists, again, such as Caravaggio and Zurbarán, who tend to create a darker and more isolated landscape, creating a greater sense of isolation and suffering, Allori creates a more detailed and open background, with trees and different elements of nature. These elements do not only add depth within the composition, but also symbolise St Francis and his connection to nature in his reverence for God and his creations. Allori’s work creates a sense of solitude, rather than isolation.

Allori’s work represents St Francis as a figure at peace within himself and his relationship with God. With this contrasting with many other works, where Allori appears to be fighting an inner battle dealing with his relationship to his faith and within himself, Allori paints him in a whole different light. Focusing and emphasizing on a more gentle and calm view, representing inner peace, and being one with one's faith and surroundings, presenting St Francis as a figure with humility and faith, through his use of light, colour and composition, inviting the viewers to consider the saints devotion.

Cristofano Allori was born at Florence in 1577.  He was the son of Alessandro Allori, whose late father - a sword maker, died in 1541. Alessandro was subsequently looked after and artistically trained by Agnolo Bronzino, who was an artist of the Florentine Mannerist tradition, which presented an artificial representation of subject matter, towards the end of the Italian High Renaissance.  Alessandro studied antique sculpture, art and architecture in Rome. Among his prestigious commissions were work as a Medici Court Painter creating fresco for villas and churches, projects in 1563 connected with the Academy of the Arts of Drawing, and work making decorations for Michelangelo’s funeral in 1564.

Cristofano’s skill developed under the guidance of Alessandro at his workshop, but despite the considerable talent of his father, the young Allori wanted to experiment with colour and naturalistic subject matter diverse from Mannerism.  This was contrary to his father’s approach and led to Cristofano leaving his employment to follow his own path.  Cristofano’s artistic style could’ve been described as perfectionist. Perhaps he ruminated over his father’s disapproval, by developing a tendency to prove his work, try harder and avoid mistakes?  Cristofano trained with Gregorio Pagani who was a student of Santi di Tito, and later Ludovico Cigoli.  Cristofano was indeed a contemporary of Michelanglo de Merisi Carravagio, but there is no record of them ever meeting.

Cristofano became known for his poems, musicianship and sense of fun.  His best-known paintings of the Greek Old testament ‘Judith and Holofernes’ captured in rich colours and intricate texture and form, were said to symbolise the Artist’s ill-fated love relationship with his model Maria di Giovanni Mazzafirri. The severed head of Holofernes, held up by its hair, demonstrates Judith’s or Maria’s superiority.  This scene was a metaphor to Cristofano, who claimed he was pierced twice, once by the arrows of cupid and again by Maria herself who ended their relationship. The theatre here is intense, with the horrific scene almost emerging from the painting and landing into the space of the viewer.  Cristofano personally inscribed this work, thus taking ownership of it.  The 1613, painting which is oil on canvas and 120.4 x 100.3 cm. is currently part of the Royal Collection Trust and is on show at the Picture Gallery, Buckingham Palace.

It could be said that Crisofano’s art was a part of both the Counter-Mannerist, and the Counter-Reformation movements.  Along with his fellow student Matteo Rosselli, each artist cultivated his own style, adopting a rich palette and emotionally charged imagery.  Gone were the porcelain faces of Mannerism and other Renaissance art, to be replaced by the drama and spiritual quality of Baroque, which evolved into the Rococo or Late Baroque movements.

Cristofano’s paintings are described as being close to nature, so what subject could’ve been more fitting for him to paint, than Saint Francis of Assisi, who was a man of the earth who preached his sermons to the birds?

The subject of Saint Francis of Assisi has been translated into art, on thousands of occasions.  His image was reproduced more than any other saint, except for those who existed during the history of the New Testament. Cristofano Allori’s interpretation of Saint Francis of Assisi at Prayer, was painted using oils on copper and its dimensions are H40 x W32 cm.

Words to describe the blues and earth tones of his palette, would be rich yet harmonious, and softly blended.  The very nature of copper as a less absorbent and reflective metal, adds to the lustre of the painting.  As Saint Francis is described in G.K. Chesterson’s biography –

“St. Francis is the mirror of Christ rather as the moon is the mirror of the sun. The moon is much smaller than the sun, but it is also much nearer to us; and being less vivid it is more visible.  Exactly in the same sense St. Francis is nearer to us; and being a mere man like ourselves is in that sense more imaginable.”

In the composition of Allori’s painting, the solitary figure of the saint is kneeling and resting his arms on a rock.  This rock could be, his Christ, and his sure foundation.  An opened book in front of him has crimson edged pages, and a crucifix is directly in line with his gaze.  His hands are clasped together in prayerful contemplation. His head tilted gently as if waiting to hear a response.  His lips parted as he appears to offer his petitions… perhaps, a mention of Brother Sun and Sister Moon? Brothers Wind and Air and clouds and storms.  Sister Water, Brother Fire and Mother Earth.

The figure of Saint Francis is dressed in a coarse looking brown cloth.  This could symbolize poverty.  History tells of how he gave up his family’s wealth and provision, after a radical conversion experience.  He chose instead to live a simple existence, disengaged from the worldly pleasures of his time.  Allori’s painting is set in the outdoors just as St. Francis also lived, outside of the establishment.  To the top left of the painting, the rich blue subsides to reveal a white light, as if to communicate, his prayer, has been heard, and he is not alone.

At face value this version reciprocates earnest prayer. In relation to the other Cristifano Allori renderings, ‘St Francis in prayer’ is a more tranquil and peaceful composition. Both the colour and tonal contrast change the mood of the painting completely to a lighter and more idealised image. The sky is filled with more blue and both the vibrancy of the paint mixed with the softness of the lines complete for a stark change in interpretation. With preconceptions that prayer is a sacred and confidential practice, the figures expression demonstrates otherwise, unapologetically and metaphorically holding his heart on his sleeve before the crucifix. St Francis’ inner eyebrows are painted in a more raised and obvious position, there is a solpftness in the way his eyes are glazed and hands clasped.

While iconography in all versions resemble the same pattern, in an alternative version ‘St Francis of Assisi in prayer’, reveals it had been painted with an intense devotional pathos both through facial expression and dramatisized setting of sky water and land. It was speculated by Art critic Della Pergola (1959) that Ludovico Cardi or Cigoli was the artist that worked on this painting rather than Allori himself. In addition to this though, there is another version of this painting called ‘Saint Francis in Penitance’ by Cingoli (1833) . As representations of the popular saint were in great demand for devotional purposes, the subject was replicated many times by painters in those years. In my own speculation, Cigoli worked in alloris workshop alongside him simply due to the time frame they were alive and that Cristofano Alloris father Alessandro Allori, trained Cigoli.

In terms of subject matter and religious reasons, the counter-reformation (1544-1648) was a time period in the 16^th and early 17th century to oppose the protestant reformation and to revitalise itself internally. It served to solidify doctrine that many Protestants were opposed to, such as the authority of the pope and the veneration of saints, and eliminated many of the abuses and problems that had initially inspired the Reformation. The use of religious imagery through painting was vital to this movement and holds great significance when looking back at the time period through the eyes of an artist. These works by allori fall into the period of Baroque Mannerism and Renaissance art and subsequently live alongside that of Caravaggio.

St Francis is the patron Saint of environment and nature, the painting we see parallels this, there is water on his right hand side, a bright sky, foliage and natural rocks/elements surrounding him. The image is holy and soft in nature, as if you’re in prayer with him and it lends itself to the use of paint and mirage the copper surface creates. The painting leaves me as a viewer wondering where he is praying and how do I get to such a location. While we can see the red boarded book, crucifix and skull , there is simplicity to the way Allori has painted this version, there is less detail and the hierarchy of visual importance remains successful in the breakdown of such a small artwork. (Concept: to be viewed from a far? distance)

This painting is done on copper panel, a smooth and non-porous material that remains a popular choice for artists to paint on today. Painting on copper with oil paint remains easy as the oil adheres/bonds to the surface and creates a vibrant finish. When the painting is finished though it does require a protective coating/layer to help preserve it. Not much is known about why this version in particular is on copper other than experimentation but it explains the vibrancy we see in St Francis in prayer. Other versions aforementioned have been painted on canvas and subsequently have a more textured and disturbed finish. The copper on the other hand allows the paint to glide seamlessly as it doesn’t absorb and remains a more durable surface to paint on than wood or canvas as it oxidizes slowly. Leonardo da Vinci, Jan Brueghel, El Greco and Rembrandt all painted on copper sheets. One thing to note is that there isn’t much in terms of damage or cracking. When comparing this to the versions on canvas, there is little to no surface disruption. While noticing the quality of the paint used, oil paint back then was a combination of linseed oil, ground pigment and later added resin to make it more durable (so not really all that different!) . Initially new paintings back then didn’t receive any sort of protective layer or would’ve just been covered over with oil. Art conservators now are able to bring paintings like these back to life and revitalise what they used to look like.

Cristofano Allori was born in Florence, Italy on the 17th October 1577 and Died on the 1st of April 1621. Cristofano Allori was the son of Alesndro Allori, both artists of the late Mannerist Florentine School. However, Cristofano studied under Pagani who led the late Floratine school that united both the Florentine attention to detail and the colouring of the Venetians.

This painting is titled Saint Francis of Assisi in prayer. This was a popular theme of devotional painting during the Counter Reformation. The painting is signed by Bronzino , which Cristonfano often used as his signature. There is some dispute over who painted the picture which Cigoli mentioned in a catalogue. The painting's composition highlights Saint Francis who is seen kneeling in prayer with his hands close to a crucifix and his elbows resting on a rock next to a book which conveys his deep sense of humility and devotion. In my opinion, the Saint's solemn expression as he gazes at the crucifix is enhanced by the dramatic background, which is extremely black with slivers of light scattered throughout the dismal sky and a glimpse of a torrent of water to the right. The serene natural environment in the background emphasises his strong bond with his spiritual balance with God's creation. Allori adopted the iconographic view of the saint in prayer which was popular for devotional purposes.

The painting's colour scheme, which is characterised by earthy, warm tones, heavily employs soft golds, greens, and browns. These colours not only convey Saint Francis's enduring love of nature, but they also evoke a sense of peace and connection to the natural world. The delicate colours that surround him allude to a divine presence, heightening the piece's spiritual ambiance. Furthermore, Saint Francis is illuminated with lighter hues, such as white and delicate yellows, which imply heavenly light and spiritual elevation. The use of deep shadows add contrast and depth emphasising the scenes seriousness and bringing the figure of Saint Francis in Prayer into focus. The muted colour scheme creates a serene and reflective ambiance that is in line with the concepts of devotion and meditation.

By combining accuracy and fluidity, the quick brushstrokes that blend into one another convey the Saint's serene contemplation and spiritual devotion. Of particular note is the delicate play of light on the Saint's face and hands, which accentuates the folds of the robes and lends the scene a realistic sense of intimacy. This intentional use of light and shadow not only adds emotional depth but also demonstrates brushwork to portray the scene's spiritual and physical elements while evoking a sense of heavenly presence and hushed devotion.

I believe that this painting uses a lot of symbolism to convey higher spiritual notions as a number of symbols are frequently linked to Saint Francis, including the crucifix, which can be seen here symbolising his abiding devotion to Christ. The symbol of the crucifix enhances the visual story while also conveying concepts of spirituality, humility, and love, which contributes to a deeper understanding of Saint Francis's holy mission.

The painting's general tone is one of peace and reflection which makes you stop and think about your own spiritual path. Saint Francis's quiet face is calm and focused which evokes a mood of silent contemplation. The serene ambiance of the artwork promotes spiritual thought, as prayer is a universal practice that cultivates a closer relationship with God. This emotional resonance is further enhanced by the serene surroundings, which provide a sense of sanctuary that encourages you to pause and consider your own beliefs.

The harmonious natural elements that surround Saint Francis serve as a reminder of the relationships of all living things and evokes feelings of wonder and gratitude for creation. A sense of spiritual connection and optimism is evoked by the gentle illumination protecting Saint Francis, which represents a heavenly presence. His modest attire and demure stance highlight the concepts of humility even more, which may reflect the artist’s own morals and spiritual journey as these components come together to produce a potent emotional impact that promotes reflection, inspiration, and a closer bond with the themes of faith and nature.

Through a careful blending of colour, composition, symbolism, and emotional depth, the artist in Saint Francis in Prayer skilfully captures the spirit of Saint Francis's personality. The picture offers a deep visual reflection on faith, nature, and all living things. I believe this work invites us to think about our own spiritual journeys and relationships with nature, providing an opportunity for contemplation and a greater understanding of Saint Francis's teaching.

Cristofano Allori was an Italian painter born in 1577 and known for painting portraits and religious figures. Allori created the artwork ‘Saint Francis in Prayer’ scaled at 40 x 32 cm the oil painting onto a copper plate. During the Counter-Reformation, this artwork was a favourite among devotional paintings.

From my interpretation, this religious scene is a striking and dramatic landscape with the Italian friar Saint Francis. Allori portrays a scene of Francis in devotion, gazing longingly at the Bible, skull, and crucifix on the stone. His expression conveys a sense of desperation and longing as he looks up at the crucifix while making a plea in his prayer. I believe the gaze in his eyes by peering into the crucifix evokes an emotional atmosphere as if the viewer is with him. This religious scene features Saint Francis in a dramatic landscape, expressing desperation and longing as he prays for help, with the sky opening miraculously. The emotional atmosphere unfolds as light pierces through dark clouds, symbolizing hope.

The interesting surface quality of the copper plate that Allori painted on produces a grounding landscape. The surface quality creates an alluring landscape with the religious figure set in a distorted atmosphere between light and shadows. I am interested in viewing up close, the copper is a reliable surface and provides depth to the oil paint. The folds of paint on Francis’s brown cowl and the minimal cracks within the paint in the sky-blue tint enhance the fantasy-like magic of the painting. The oil pant has proven to be reliable over time, from the small cracks in the lighter blue-sky tones on the copper surface quality. Despite its smaller scale, the surface quality has been in excellent condition over the years, showing slight cracking as a testament to its durability.

In my perspective the subject matter in this painting Saint Francis appears to be praying on a stone in the foreground, his brown cowl hanging over his body. The Bible, skull, and crucifix reflect Allori's feelings of loss and connection. Although we do not know what Francis is praying for, his facial expression and the shift in tone in his gaze show he is reaching for an answer towards the crucifix. The Bible, crucifix, and skull are important to Francis’s prayer as he gazes at the objects. There is a contrast between harsh shadows in the sky and the bright lighter hue of the cloud’s tonal changes as the skyline fades. The skull signifies that Saint Francis brought something to his devotion; it could be a friend or relative, or it could be a skull from someone who used to pray at this same stone. His frame is on the layers of stone beneath the landscape. From viewing the nature theme, this is symbolic since the natural surroundings in the dramatic and picturesque background support his body. Presenting the faith of Jesus and God and that Saint Francis is above the surrounding scenery due to his position on the stone in the mountains.

Allori's medium and technique of oil paint work together from multiple layers of paint that merge nicely. There is a contrast of depth in the light and shadow from the oil material. This style is unique to Allori creating an emotional response from the viewer, as if we are in the same situation as Francis, who is frantically praying as we can see in his yearning eyes. Allori's oil paint technique creates layers that blend seamlessly, resulting in a rich depth of light and shadow. I interpret this unique style to evoke an emotional response from viewing his intense prayer depicted through his pleading eyes. The grey hues of the stone form a halo effect, while the shadows from the overlapping trees and clouds add a layer of depth. The oil paint creates a dream-like setting that captures Francis’s fulfilled prayers, suggesting a divine presence. Themes of desperation, faith, and divine connection are throughout this painting.

Cristofano Allori and Lorenzo Lippi were contemporaries, with other artists recreating Allori’s version of "Saint Francis in Prayer". Allori's depiction stands out for its well-preserved copper surface, dramatic tonal shifts of light and shadow onto Saint Francis and emotional depth. Each rendition of the scene varies in size and quality, but Allori's original is superior with its unique technique and dramatic flair. Differences in brushstrokes and scene composition make Allori's version recognisable from the other versions.

Overall, Cristofano Allori's painting "Saint Francis in Prayer" is an appealing symbolic painting showing a dramatic setting and wrapping it inside a striking landscape. The painting is indifferent to the other renditions of the same scene. Cristofano Allori’s painted version is a stand-alone painting, telling a story of faith encapsulated within the scenic landscape as a very impactful painting.

Cristofano Allori was an Italian Florentine painter. He was the son of painter Alessandro Allori, who was one of the leading Florentine painters of his time. Cristofanos early work turned in the direction of the modern artists of the baroque period, this lead to a divide between him and his father’s work. Cristofano died in his early forties but went on to be one of the leading representatives of the new style of history paintings and portraiture, possibly inspired by his time spent as a student of one of the leading painters Gregorio Pagani of the Florentine School.

St Francis in prayer depicts a focal point of the saint kneeling in a stance of prayer at a rock, with an open bible a crucifix and a skull head. St Francis was a catholic friar who founded the religious order of the Franciscans, who wanted to live a Christian life in poverty and became a beggar. Known for attributes such as books, crucifix, skulls and animals some of which we can see depicted in the painting, leading to further confirmation on who this painting is about. St Francis is giving full attention to the open word of God in the painting leading us as viewers to see St Francis’s desire to be intimate with God. Prayer was a very important practice to St Francis as it was this way he felt the power and love of Christ. This scene is very contrasting to the background behind the saint which illustrates a stormy scene of dark clouds and surroundings, which a beam of light peeking through these clouds can be seen, this could possibly be Allori’s symbolism to God being the light of the world and the refuge in dark times.

This Saint Francis in prayer painting is not the only version, it has a few brothers, these copies of Allori’s work could have possibly been done by assistants in workshops or students working alongside Allori during his work. Although Allori was known for producing series’ in his creative process, these paintings all depict this scene in individual ways. However what makes these other versions different than this painting and what suggests that they were done by different people?

This painting is painted with oil paint on copper, which is a stable and hard surface which leads to no cracking and makes it look like it was made yesterday. Due to this, it is hard to put an exact date on this painting compared to other paintings which have been done on unstable surfaces like canvas which can warp due to temperature and movement over time.

In the second part of Cristofano’s career, sacred art was predominant at this time and Allori created a serious of religious easel pictures illustrating intense emotion and refined movement. This could lead us to believe that the painting might have been painted at the late stages of Cristofanos art career and life, the 17^th century.

In the other versions of this painting we can see differences such as skylines, backgrounds, plantation, the inclusion of architecture and subtle differences in Saint Francis’ facial expressions and body language towards the open book and belongings in front of him. Some of the brother paintings were also named differently including names such as ‘Saint Francis in meditation’ and ‘Saint Francis of Assisi in prayer’.

This painting of St Francis shows him resting his elbows on a rock with his eyes fixed on the crucifix in front of him, in a locked look almost of grief or sorrow, while the other versions have looks of serenity and deep thought. The painting evokes curiosity of what the saint is thinking. The sky in the background is done with a series of blues and greys creating the stormy cloud look and has white sections showing the sun shining through, this is contrasting to the dark shadowy foreground where we can almost miss things when we don’t look closely. These two juxtaposing scenes create a perfect place for a focal point which stands out in the middle making the entire painting move around the main focus being St Francis.

Cristafano Alloris work of St Francis in prayer was a beautiful depiction of a religious painting back when this style became popular and to this day continues to be influential and historical.

Cristofano Allori’s artwork is characterised not only by his remarkable ability to capture likeness and emotion but also his technical skill and astute attention to detail. He was taught under his father Allesandro Allori, a renowned Florentine painter, before training in the studio of Gregorio Pagini. At the turn of the 17^th century he gained acclaim working with the likes of the Medici Family. Although he was a highly accomplished artist, much of his life still remains to be a mystery, and outside of the beautiful paintings that he left behind, there is still much left to uncover about the great Cristofano Allori.

One of the artist's most renowned paintings is ‘Saint Francis in Prayer,’ a composition that was painted several times. The painting depicts a man kneeling on the ground in the dark gloomy outdoors, his body leaning over a large flat rock with a bible lying open before him. He looks pleadingly towards a cross, his expression sombre and earnest. He is dressed in a thick brown gown, characteristic of those from the Franciscan order of monks. On close examination the artist demonstrates his skill in painting detail. He paints every thread of the monk's cloak with great care, as if he is weaving it together himself with paint. The artist draws the viewer in with the tactility of the painting, contrasting the soft fabric of the cloak with the harsh rugged texture of the rocks.

The rocky terrain that he seeks refuge on suggests that he is on a mountain or a cliff. The dark blue and grey sky creates an ominous mood, as if a storm is brewing. Although the painting is dark in appearance, certain areas are highlighted. The moonlight in the sky illuminates the thundery clouds, brightening the center background from the left of the painting, and a light source shines down upon the figure from behind the cross. The dark moody background and dramatic highlights are characteristic of the baroque style, but they also add a spiritual aspect to the painting: they suggest the presence of a God.  Faintly in the shadow of the rocks, a building can be seen behind him, with a small window and a terracotta tiled roof, suggesting that this painting has a Mediterranean setting. Behind the rock in the shade a bare skull can also be seen. In Catholicism skulls were often used, not only as a symbol of death, but as a reminder for Christians of the transient nature of their lives. In the case of this painting, the skull could be used as a ‘Memento Mori,’ a Latin phrase that translates to ‘Remember your life’. These objects were kept as tools for spiritual contemplation and for preparation for the hour of their deaths.

Alori is characterised as being an early baroque painter. The baroque movement began in the 17^th century, and its subjects in paintings were often based on religious imagery. After the Reformation, the Catholic Church took on a propagandistic style of painting and architecture to convey the grandeur and superiority of the church. Many qualities of baroque painting can be seen in this piece, such as the deep colours and dramatic imagery. It is often characterised by tension and suspense, unlike renaissance painting, it aims to capture the moments before something takes place, rather than the event itself. This can be seen in ‘Saint Francis in Prayer,’ the stormy weather, the bare skull and the pleading expression on his face allude to it being a moment of high tension, leaving the viewer with the overwhelming feeling that something is about to happen.

Saint Francis himself died at the age of forty-five after contracting malaria. The painting is based on his life, and the time he spent fasting for forty days in the mountain retreat of La Verna, outside of Assisi, where he is said to have had a vision of Christ. Saint Francis of Assisi is known as the founder of the Franciscan order of monks. He is said to have lived a very selfless life, tending to the underprivileged and impoverished and taking care of animals. Allori paints the image of the saint with accuracy and respect, taking great care not to portray him with exaggerated wealth or beauty, unlike many other artists during the Baroque period.

Upon viewing this painting, the accomplishment of the artist is no longer up for debate. His smooth rendering on paint on copper, his deep and atmospheric use of colours and his remarkable technical skill, all prove why he was considered one of the most successful Florentine painters of the early baroque period.