The Dilemma of a Saint’s Portrait: Catherine’s Stigmata between Invisible Body Trace and Visible Pictorial Sign David Ganz T here is a close connection between the ‘creating’ of saints and the ‘mark- ing’ of the pictures of saints. 1 Yet rarely both are connected as closely as in the case of the Dominican Tommaso Cafarini. In his ight for the canonization of Catherine of Siena, he makes dedicated use of pictorial media as well as sermons and writing. To be precise, everything is concentrated on that ‘point’ that my contribution aims at circling: the stigma. 2 Cafarini dedicates a long tract of his Libellus de supplemento 3 to Catherine’s stigmata. In the manu- scripts of the Libellus he had this tract supplemented by numerous drawings, while the rest remained unillustrated. he stigmata function as a pivotal point between the plea for canonization and the efort to establish a separate pictorial tradition for Catherine. 4 Precisely from this very constellation, there results a 1 Speaking of ‘canonisations par l’image’ in Vauchez, La sainteté en Occident, p. 103. In con- nection with this for Catherine and comparable cases in Italy during the fourteenth and iteenth centuries, see Moerer, ‘Catherine of Siena and the Use of Images’; Böse, Gemalte Heiligkeit. 2 See Bisogni, ‘Il Libellus di Tommaso d’Antonio Cafarini’, pp. 259–67; Lemeneva, ‘he Borders and Borderlines of Sainthood’; Moerer, ‘Catherine of Siena and the Use of Images’, pp. 96–99. 3 See Mongini, ‘Il ruolo dell’immagine’; Bisogni, ‘Il Libellus di Tommaso d’Antonio Cafarini’; Giunta, ‘La questione delle stimmate’, pp. 329–33; Moerer, ‘he Visual Hagiography of a Stigmatic Saint’. 4 he manuscripts were commissioned by Cafarini in Siena, Bibl. comunale, MS T. I. 2 and David Ganz (david.ganz@uni-konstanz.de), Kunsthistorisches Institut, Universität Zürich Catherine of Siena: he Creation of a Cult, ed. by Jefrey F. Hamburger and Gabriela Signori, MWTC 13 (Turnhout: Brepols, 2013) pp. 239–262 BREPOLS PUBLISHERS 10.1484/M.MWTC-EB.1.101783