1. On thirteenth century imagery of St. Francis, see: George Kaflal, St. Francis im Italian Painting (London: Allen and Unwin, 1950, Passim): William R. Cook, Images of St. Francis of Assisi in Painting, Stone and Glass from the Earliest Images to ca. 1320 in Italy (Florence and Perth: L. S. Olschki, 1999, Passim).
2. Askew expounded on the spiritual aspect of the saint and the spiritual writings of that period, in particular that of St. Francis de Sales. She focused mainly on those aspects of the representations of St. Francis that illustrate his visions and ecstasy. She showed how the iconography of these scenes, taken from Celano’s and St. Bonaventura’s lives of St. Francis, was based on parallel scenes from the life of Christ. See: Pamela Askew: Pamela Askew, “The angelic consolation of St. Francis of Assisi in post-Tridentine Italian painting”, Journal of the Warburg and Courtauld Institute (1969), vol. 32, pp. 280–306.
3. In the 1982–1983 Exhibition Catalogue on the image of St. Francis in the Counter Reformation, many aspects concerning the iconography of the Franciscans were discussed, but no attempt was made to deal with him as a penitent saint. See: Exh., Cat. L’imagine di San Francesco nella Controriforma (Rome: Edizioni Quasar, 1982–1983).
4. On the variety of most common visionary scenes concerning St. Francis depicted during the period that followed the Council of Trent see: Claudio Strinati, “Ritforma della Pittura e Riforma Religiosa”, in Exh., Cat. L’imagine di San Francesco nella Controriforma (Rome: Edizioni Quasar, 1982–1983 ), pp. 33–56.
5. See: Émile Maˆle, L’Art Religieux après le Concile de Trente: Étude sur L’Iconographie de la Fin du XVIe Sièecle, du XVIIe Siècle, du XVIIIe Siècle: Italie, France, Espagne, Flandres (Reprint of the 1932 edition) ( Paris: A. Colin, 1951 ), p. 97.