i.m. Michael Donaghy
Zurbaran’s St Francis in Meditation
is west-lit, hooded, kneeling, tight in his frame;
his hands are joined, both in supplication
and to clasp the old skull to his breast.
This he is at pains to hold along
the knit-line of the parietal bone
the better, I would say, to feel the teeth
of the upper jaw gnaw into his sternum.
His face is tilted upwards, heavenwards,
while the skull, in turn, beholds his upturned face.
I would say that Francis’ eyes are closed
but this is guesswork, since they are occluded
wholly by the shadow of his cowl,
for which we read the larger dark he claims
beyond the local evening of his cell.
But I would say the fetish-point, the punctum,
is not the skull, the white cup of his hands
or the frayed hole in the elbow of his robe,
but the tiny batwing of his open mouth
and its vowel, the ah of revelation, grief
or agony, but in this case I would say
there is something in the care of its depiction
to prove that we arrest the saint mid-speech.
I would say something had passed between
the man and his interrogated night.
I would say his words are not his words.
I would say the skull is working him.