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c. 1445/1450 · tempera on poplar panel · National Gallery of Art, Washington
For Saint Francis of Assisi · 4 October
Dots per inch: how many pixels of the museum’s file go into each inch of paper. Our floor is 240 for sheets up to 20 inches, 180 up to 36 inches and 120 beyond, because a larger print is seen from further away. We never offer a sheet below the floor, and the number on each size is the one you receive.
Printed to order · the whole painting, never cropped · if it arrives damaged, we replace it
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All editionsHigh over the mountains a red thing hangs in the sky with its wings out, and fine gold threads come down from it. The National Gallery of Art calls it a flame-red cross and follows five gold lines to the kneeling man's hands, his feet and his right side; where one ray touches the palm of his right hand, the nearer one, there is a red spot. Thomas of Celano's First Life tells what Francis saw: a man with six wings like a seraph standing over him, arms extended and feet joined, fixed to a cross. Domenico Veneziano gives the companion none of it. He has sat down hard in the grass with a hand at his brow, a small red book on the ground by his fingers. Behind them rise three peaks, ice blue, shell pink, pale green. Francis keeps both hands up and open.
Sources: National Gallery of Art, Washington, artist page 'Domenico Veneziano', entry for Saint Francis Receiving the Stigmata, 1939.1.140; read 2026-09-01. · The Catholic Thing, 'The Stigmata of St. Francis' (17 September 2024), quoting Thomas of Celano, First Life, on the vision at La Verna · Web Gallery of Art, 'The Stigmatization of St Francis (predella 1)', Domenico Veneziano · National Gallery of Art, 'Saint Francis Receiving the Stigmata', Domenico Veneziano, 1939.1.140 · Google Arts & Culture, 'Saint Francis Receiving the Stigmata', Domenico Veneziano (NGA record) · Samuel H. Kress Foundation, Kress Collection, 'Saint Francis Receiving the Stigmata', K278
Every line above is reproduced from the holding institution’s own catalogue entry, which is linked. Where their title, date or attribution differs from ours, theirs is the one printed here.
| Artist | Domenico Veneziano (Florentine, c. 1410–1461) |
|---|---|
| Date | c. 1445/1450 |
| Museum | National Gallery of Art, Washington |
| Accession | 1939.1.140 |
| Medium | tempera on poplar panel |
| Dimensions | overall: 27.5 x 30.5 cm (10 13/16 x 12 in.); framed: 40.6 x 44.5 x 5.1 cm (16 x 17 1/2 x 2 in.) |
| Sheet sizes | 18×24 in, 24×36 in, 32×48 in, 40×60 in |
| Held by | National Gallery of Art, Washington · 1939.1.140 the museum’s record |
|---|---|
| Source file | the National Gallery of Art’s own open-access file (IIIF) |
| Licence | public domain; the file released under CC0 |
| Master | 16,247 × 14,306 px, the file our printer receives |
| Chain | Taken from the National Gallery of Art’s own open-access file (IIIF) on 1 September 2026; held as our print master. |
Printed on demand. Public-domain masterwork, reproduced from a 16,247 px master of the original. The whole image is printed — never cropped to fit the sheet — so every sheet carries an archival margin, and the dimensions and resolution listed above are the ones you receive.