This artist is named for the particularly expressive frescoes in the transept of Santa Chiara, Assisi (see below).  This master has been identified with Palmerino di Guido, who repaid a loan in Assisi in 1309, on his own behalf and that of “Iocto Bondoni Florentiae” (Giotto Bondoni of Florence).  This was almost certainly for working materials, presumably for frescoes in San Francesco, Assisi, which suggests that he was a member of Giotto’s workshop there. 

Two pieces of evidence link an artist called Palmerius to Santa Chiara, Assisi:

1. ✴The author of the Chronicle of the Twenty Four Generals recounts, among the posthumous miracles of St Agnes of Assisi, the cure of the brother of  “a certain artist by the name of Palmerius”, which the artist reported to the abbess Balvina of Santa Chiara.  This occurred after Palmerius had prayed to St Agnes and promised that, should he “happen to paint the image of Agnes, he would add a golden crown above her head”.  (For this account, search on “Palmerius”).  In fact, St Agnes is depicted wearing a crown in the vault over the crossing of Santa Chiara (see below). 
   

2. ✴The signature of “Palmerius de Asisio” and the date 1336 was recorded in an inscription below a fresco of the martyrdom of St Catherine of Alexandria that came to light after the earthquake of 1832.  Unfortunately, neither the fresco nor the inscription survive.
   

Assisi

Frescoes in Santa Chiara (early 14th century)

The frescoes in the right transept of Santa Chiara are the autograph works of the Maestro Espressionista di Santa Chiara.  The surviving scenes depict:

1. ✴in the top register: 
   

2. •the Last Judgement (left wall);
   

3. •Joachim's dream of the imminent birth of the Virgin (back wall); and
   

4. •the marriage of the Virgin (right wall);
   

5. ✴in the middle register:
   

6. •the massacre of the innocents and the flight into Egypt (back wall); and
   

7. •Christ among the doctors (right wall); and
   

8. ✴in the bottom register of the back wall (below the grill that communicates with the cloister):
   

9. •the funeral of St Clare at San Damiano (illustrated above); and
   

10. •the translation of her body to Santa Chiara.
    

1. ✴the Virgin and St Clare;
   

2. ✴SS Agnes of Rome and Agnes of Assisi;
   

3. ✴SS Catherine of Alexandria and Margaret (or Mary Magdalene); and
   

4. ✴SS Lucy and Cecilia.
   

As noted above, the fact that St Agnes of Assisi wears a diadem is possibly significant in relation to one of her posthumous miracles, which was reported by “a certain artist by the name of Palmerius” to the author of the Chronicle and the abbess Balvina of Santa Chiara.  His sick brother had been cured after he had prayed to her, promising that, should he “happen to paint the image of Agnes, he would add a golden crown above her head”.  This supports the suggestion that the Maestro Espressionista di Santa Chiara can be identified as the documented artist, Palmerio di Guido.

Crucifixion with Saints (early 14th century)

This important triptych, which is attributed to the Maestro Espressionista di Santa Chiara, came from the Cappella di Sant’ Agnese of Santa Chiara.  It depicts:

1. ✴the Crucifixion, with the Virgin, St John the Evangelist and a donor:
   

2. ✴SS Clare and Agnes of Assisi (wearing a diadem), on the left; and
   

3. ✴SS Rufinus and Agnes of Rome, on the right.
   

The polyptych is now in the nunnery.

Madonna and Child (early 14th century)

Crucifix (early 14th century)

Montefalco

Christus Patiens (early 14th century)

The Crucifix, which is attributed to the Maestro Espressionista di Santa Chiara, also depicts:

1. ✴Christ the Redeemer, above;
   

2. ✴the Virgin and St John the Evangelist, to the sides; and
   

3. ✴the kneeling St Francis is at the foot of the Cross, kissing the nail in the bleeding feet of Christ.