ABSTRACT
Tommaso Caffarini’s Libellus de Supplemento supported and promoted Catherine of Siena’s cult by discussing Catherine as a stigmatic, advocating the correct way of representing her stigmatization, and placing her within the context of the phenomenon of stigmata. In Tractatus VII Caffarini argued for an expanded interpretation of stigmata. This chapter explores his discussion of what I term a spectrum of stigmatic symptoms and behaviours and how these were represented in the manuscript of the Libellus in Siena. I argue that the stigmatic spectrum was consciously promoted in some fifteenth-century Dominican panel paintings and that particular images were also reflexive in their use of the depiction of paintings and sculptures, focusing attention on the interconnectivity of stigmatic experience and visual culture.
