The definitions of stigmata espoused by the Dominicans Tommaso Caffarini (d. circa 1434) and Gregorio Lombardelli (d. circa 1613) and discussed in previous chapters demonstrate the acknowledgement of a spectrum of experience that could include performance. Some stigmatics presented a living or moving image to their viewers who could interact with the re-presentation of the Passion, which could be verbally glossed by the performer. These events were highly visual and depended for their impact on the ability of eyewitnesses to interpret what they saw. Those present tried to make sense of their experience through their knowledge of the gospel narratives and by reference to paintings and sculpture. At the same time, some of the performers made use of visual art, which acted as catalyst or prop. The interactions between the repetitive and yet constantly reinterpreted nature of the performance, the performer, and the audience demonstrated multiple reciprocities across the visual arts and the importance of visual culture within stigmatic spirituality. Performing the stigmata engaged members of the audience in ways that allowed them to see and reflect on the evidence before them, and to use their visual observations to inform their acceptance, or otherwise, of the validity of the display. This chapter considers how the visual nature of performing stigmata can deepen our understanding of the ways in which people came to perceive the miraculous through the visual.