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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Story of Assisi + +Author: Lina Duff Gordon + +Illustrator: Nelly Erichsen + M. Helen James + +Release Date: January 12, 2012 [EBook #38559] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE STORY OF ASSISI *** + + + + +Produced by Melissa McDaniel and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive) + + + + + + +</pre> + +<div class="tnbox"> +<p class="center"><b>Transcriber's Note:</b></p> +<p>Obvious typographical errors have been corrected. +Inconsistent spelling and hyphenation in the original +document have been preserved.</p> +<p>The illustration on page 310, labeled "East Front of San Francesco" +is titled "Church of Sta. Maria Maggiore" in the List of Illustrations.</p> +<p>The picture listed as "Umbrian Oxen" in the List of Illustrations does not appear in the +book. (Several copies of this and surrounding editions were checked.)</p> +</div> +<h1><i>The Story of Assisi</i></h1> + +<div class="poem p6"> +<p class="o1">"Between Tupino, and the wave that falls</p> +<p>From blest Ubaldo's chosen hill, there hangs</p> +<p>Rich slope of mountain high, whence heat and cold</p> +<p>Are wafted through Perugia's eastern gate:</p> +<p>And Nocera with Gualdo, in its rear,</p> +<p>Mourn for their heavy yoke. Upon that side,</p> +<p>Where it doth break its steepness most, arose</p> +<p>A sun upon the world, as duly this</p> +<p>From Ganges doth: therefore let none who speak</p> +<p>Of that place, say Ascesi; for its name</p> +<p>Were lamely so deliver'd; but the East,</p> +<p>To call things rightly, be it henceforth styled."</p> +<p class="i2"><span class="smcap">Dante</span>, <i>Paradiso</i>, xi. (Cary's translation).</p> +</div> + +<div class="figcenter p6" style="width: 333px"><a name="illo004" id="illo004"></a> +<img src="images/illus004.jpg" width="333" height="650" alt="Statue of St. Francis." /> +<p class="caption"><span class="flleft s90"><i>P. Lunghi. Photo.</i></span></p> +<p class="caption"><i>Statue of St. Francis.</i><br /> +<i>by Andrea della Robbia in Sta. Maria degli Angeli.</i></p> +</div> + +<div class="figcenter p12"> +<img src="images/illus005.jpg" width="405" height="650" alt="Title Page" /> +</div> + +<p class="center p6"><span class="b150"><i>The Story of</i></span> <span class="b175">Assisi</span></p> +<h2><i>by Lina Duff Gordon</i></h2> + +<h3><i>Illustrated by Nelly Erichsen<br /> +and M. Helen James</i></h3> + +<p class="center"> +<span class="b125"><i>London:</i></span> <span class="b150"><i>J. M. Dent & Co.</i></span><br /> +<span class="b125"><i>Aldine House, 29 and 30 Bedford Street</i></span><br /> +<span class="b125"><i>Covent Garden W.C. * * 1901</i></span></p> + +<p class="p6 center"><i>First Edition, December 1900</i><br /> +<i>Second Edition, October 1901</i></p> + +<p class="center p6"><i>All rights reserved</i></p> + +<p class="center p6"><i>To</i><br /> +<span class="b110"><i>Margaret Vaughan</i></span><br /> + +<i>this small book is affectionately dedicated</i><br /> +<i>in remembrance of days spent together</i><br /> +<i>in the Umbrian country</i></p> + +<h3 class="p6">NOTE</h3> + +<p><span class="pagenum"><a name="Page_vii" id="Page_vii">vii</a></span> +<span class="dropcap">M</span>y sincerest thanks are due to my aunt Mrs Ross, +to Mrs Vaughan, Dr E. Percival Wright, M. +Paul Sabatier, Mr Sidney Colvin, Sir William Markby +and Mr Pearsall Smith, for the help rendered me in +various ways during the writing of this book. I wish +further to acknowledge the kindness of Mr Roger +Fry who allowed me to quote from his lectures on +Art delivered this year in London, before they were +published in the <i>New Monthly Review</i>; and also the +generous permission of Mr Anderson (Rome), and +Signor Lunghi (Assisi), for allowing me to use their +photographs. For the loan of old Italian books I am +indebted to Cav. Bruschi, Librarian of the Marucelliana +at Florence, to Professor Bellucci, Professor of +the University of Perugia, and to Signor Rossi, proprietor +of the Hotel Subasio at Assisi, whose intimate +knowledge of his native town has been of great service +to me.</p> + +<p><span class="flright b110"> +L. D. G.</span></p> + +<p><span class="smcap i2">Poggio Gherardo</span>,<br /> +<span class="smcap i1">Florence</span>, <i>October 1900</i>.</p> + +<h3 class="p6">CONTENTS</h3> +<p><span class="pagenum"><a name="Page_ix" id="Page_ix">ix</a></span></p> +<table summary="Table of Contents"> +<tr> +<td class="tdchap" colspan="3">CHAPTER I</td> +</tr> +<tr> +<td colspan="3" class="tdr s80">PAGE</td> +</tr> +<tr> +<td class="tdtitle" colspan="2"><i>War and Strife</i></td> +<td class="tdpage"><a href="#Page_1">1</a></td> +</tr> +<tr> +<td class="tdchap" colspan="3">CHAPTER II</td> +</tr> +<tr> +<td class="tdtitle" colspan="2"><i>The Umbrian Prophet</i></td> +<td class="tdpage"><a href="#Page_39">39</a></td> +</tr> +<tr> +<td class="tdchap" colspan="3">CHAPTER III</td> +</tr> +<tr> +<td class="tdtitle" colspan="2"><i>The Carceri, Rivo-Torto and Life at the +Portiuncula</i></td> +<td class="tdpage"><a href="#Page_81">81</a></td> +</tr> +<tr> +<td class="tdchap" colspan="3">CHAPTER IV</td> +</tr> +<tr> +<td class="tdtitle" colspan="2"><i>The building of the Basilica and Convent of +San Francesco. The Story of Brother +Elias</i></td> +<td class="tdpage"><a href="#Page_117">117</a></td> +</tr> +<tr> +<td class="tdchap" colspan="3">CHAPTER V</td> +</tr> +<tr> +<td class="tdtitle" colspan="2"><i>Cimabue and his School at San Francesco</i></td> +<td class="tdpage"><a href="#Page_149">149</a></td> +</tr> +<tr> +<td class="tdchap" colspan="3">CHAPTER VI</td> +</tr> +<tr> +<td class="tdtitle" colspan="2"><i>The Paintings of Giotto and his School in the +Lower Church</i></td> +<td class="tdpage"><a href="#Page_168">168</a></td> +</tr> +<tr> + +<td class="tdchap" colspan="3">CHAPTER VII</td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>The Sienese Masters in the Lower Church. +The Convent</i></td> +<td class="tdpage"><a href="#Page_198">198</a><span class="pagenum"><a name="Page_x" id="Page_x">x</a></span></td> +</tr> +<tr> +<td class="tdchap" colspan="3">CHAPTER VIII</td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Giotto's Legend of St. Francis in the Upper +Church</i></td> +<td class="tdpage"><a href="#Page_228">228</a></td> +</tr> +<tr> + +<td class="tdchap" colspan="3">CHAPTER IX</td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>St. Clare at San Damiano. The Church of +Santa Chiara</i></td> +<td class="tdpage"><a href="#Page_258">258</a></td> +</tr> +<tr> + +<td class="tdchap" colspan="3">CHAPTER X</td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Other Buildings in the Town</i></td> +<td class="tdpage"><a href="#Page_289">289</a></td> +</tr> +<tr> + +<td class="tdchap" colspan="3">CHAPTER XI</td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>The Church of Santa Maria degli Angeli. The +Feast of the Pardon of St. Francis or +the "Perdono d'Assisi"</i></td> +<td class="tdpage"><a href="#Page_335">335</a></td> +</tr> +</table> + +<h3 class="p6">ILLUSTRATIONS</h3> +<p><span class="pagenum"><a name="Page_xi" id="Page_xi">xi</a></span></p> +<table summary="List of Illustrations"> +<tr> +<td class="tdtitle" colspan="2"> +<i>Statue of St. Francis by Andrea della Robbia in +Sta. Maria degli Angeli</i> (<i>P. Lunghi—photo</i>)</td> +<td class="tdpage"><i><a href="#illo004">Photogravure-Frontispiece</a></i></td> +</tr> +<tr> +<td colspan="3" class="tdr s80">PAGE</td> +</tr> +<tr> +<td class="tdtitle" colspan="2"><i>The Temple of Minerva</i></td> +<td class="tdpage"><a href="#illo019">3</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>The Eastern Slope of Assisi with the Castle, +from the Porta Cappucini</i></td> +<td class="tdpage"><a href="#illo026">10</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>The Guelph Lion of Assisi</i></td> +<td class="tdpage"><a href="#illo038">22</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>The Arms of Assisi</i></td> +<td class="tdpage"><a href="#illo053">37</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Assisi in the time of St. Francis</i></td> +<td class="tdpage"><a href="#illo054">38</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Via di S. Maria delle Rose</i></td> +<td class="tdpage"><a href="#illo074">58</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>The Arms of the Franciscans</i></td> +<td class="tdpage"><a href="#illo096">80</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Hermitage of the Carceri</i></td> +<td class="tdpage"><a href="#illo098">82</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>The Carceri with a View of the Bridge</i></td> +<td class="tdpage"><a href="#illo105">89</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Side Door of the Portiuncula built by St. Benedict</i></td> +<td class="tdpage"><a href="#illo115">99</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>The Portiuncula in the time of St. Francis, from +the "Collis Paradisi"</i></td> +<td class="tdpage"><a href="#illo123">107</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Assisi from the Plain</i></td> +<td class="tdpage"><a href="#illo129">113</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Church and Convent of San Francesco</i></td> +<td class="tdpage"><a href="#illo143">127</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>San Francesco from the Plain</i></td> +<td class="tdpage"><a href="#illo163">147</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>The Lower Church</i></td> +<td class="tdpage"><a href="#illo166">150</a><span class="pagenum"><a name="Page_xii" id="Page_xii">xii</a></span></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Looking through the doors of the Upper Church +towards the Porta S. Giacomo and the +Castle</i></td> +<td class="tdpage"><a href="#illo173">157</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Plan of the Lower Church and Monastery of +San Francesco at Assisi</i></td> +<td class="tdpage"><a href="#illo186">(<i>facing</i>) 168</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Choir and Transepts of the Lower Church</i></td> +<td class="tdpage"><a href="#illo190">172</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>The Marriage of St. Francis with Poverty</i> +(<i>D. Anderson—photo</i>)</td> +<td class="tdpage"><a href="#illo197">179</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>The Old Cemetery of San Francesco</i></td> +<td class="tdpage"> <a href="#illo212">194</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>The Knighthood of St. Martin by Simone Martini</i> +(<i>D. Anderson—photo</i>)</td> +<td class="tdpage"><a href="#illo219">201</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Bird's Eye View of the Basilica and Convent +of San Francesco, from a drawing made in +1820</i></td> +<td class="tdpage"><a href="#illo231">213</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>San Francesco from the Tescio</i></td> +<td class="tdpage"><a href="#illo235">217</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Staircase leading from the Upper to the Lower +Piazza of San Francesco</i></td> +<td class="tdpage"><a href="#illo238">220</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>San Francesco from the Ponte S. Vittorino</i></td> +<td class="tdpage"><a href="#illo240">222</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>A Friar of the Minor Conventual Order of St. +Francis</i></td> +<td class="tdpage"><a href="#illo243">225</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>St. Francis Renounces the World</i> (<i>D. Anderson—photo</i>)</td> +<td class="tdpage"><a href="#illo251">233</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Death of the Knight of Celano</i> (<i>D. Anderson—photo</i>)</td> +<td class="tdpage"><a href="#illo265">247</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Arms of the Franciscans from the Intarsia of +the Stalls</i></td> +<td class="tdpage"><a href="#illo275">257</a><span class="pagenum"><a name="Page_xiii" id="Page_xiii">xiii</a></span></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Door through which St. Clare left the Palazzo +Scifi</i></td> +<td class="tdpage"><a href="#illo280">262</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>San Damiano, showing the Window with the +Ledge whence St. Claire routed the Saracens</i></td> +<td class="tdpage"><a href="#illo286">268</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Santa Chiara</i></td> +<td class="tdpage"> <a href="#illo300">282</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Santa Chiara from near the Porta Mojano</i></td> +<td class="tdpage"><a href="#illo305">287</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Campanile of San Rufino</i></td> +<td class="tdpage"><a href="#illo308">290</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Door of San Rufino</i></td> +<td class="tdpage"><a href="#illo313">295</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>The Dome and Apse of San Rufino from the +Canon's Garden</i></td> +<td class="tdpage"><a href="#illo316">298</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Campanile of Sta. Maria Maggiore</i></td> +<td class="tdpage"><a href="#illo327">309</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Church of Sta. Maria Maggiore</i></td> +<td class="tdpage"><a href="#illo328">310</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Church of S. Pietro</i></td> +<td class="tdpage"><a href="#illo331">313</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Confraternity of San Francescuccio in Via +Garibaldi</i></td> +<td class="tdpage"><a href="#illo333">315</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Monte Frumentorio in the Via Principe di +Napoli</i></td> +<td class="tdpage"><a href="#illo338">320</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>House of the Comacine Builders in the Via +Principe di Napole</i></td> +<td class="tdpage"><a href="#illo340">322</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Looking across the Assisan roofs towards the +East</i></td> +<td class="tdpage"><a href="#illo343">325</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>View of San Francesco from beneath the Castle +Walls</i></td> +<td class="tdpage"><a href="#illo350">332</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>The Garden of the Roses at Sta. Maria degli +Angeli</i></td> +<td class="tdpage"><a href="#illo357">339</a><span class="pagenum"><a name="Page_xiv" id="Page_xiv">xiv</a></span></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>The Fonte Marcella by Galeazzo Alessi</i></td> +<td class="tdpage"><a href="#illo364">346</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>An Assisan Garden in Via Garibaldi</i></td> +<td class="tdpage"><a href="#illo365">347</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Umbrian Oxen</i></td> +<td class="tdpage">349</td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Women from the Basilicata</i></td> +<td class="tdpage"><a href="#illo369">351</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>San Francesco</i></td> +<td class="tdpage"><a href="#illo374">356</a></td> +</tr> +<tr> + +<td class="tdtitle" colspan="2"><i>Plan of Assisi</i></td> +<td class="tdpage"><a href="#Map">372</a></td> +</tr> +</table> + +<p class="center b200 p6">The Story of Assisi</p> +<p><span class="pagenum"><a name="Page_1" id="Page_1">1</a></span></p> +<hr /> +<p class="center b125">CHAPTER I</p> + +<p class="center b175"><i>War and Strife</i></p> + +<div class="blockquot"><p> +"C'était le temps des guerres sans pitié et des inimitiés +mortelles." <span class="smcap">H. Taine.</span> <i>Voyage en Italie.</i> <i>Perouse et Assise.</i> +</p> +</div> + +<p><span class="dropcap">A</span>ll who ascend the hill of the Seraphic City +must feel its indescribable charm—intangible, +mysterious, and quite distinct from the beauty of the +Umbrian valley. "Why," we ask ourselves, "this +stillness and sense of marvellous peace in every church +and every street?" And, as though conscious of our +thoughts, a young Assisan, with a gesture of infinite +sadness towards the large, desolate palaces and broad +deserted streets, said, as we lingered on our way: +"Ah! Signore mie, our city is a city of the dead—of +memories only." As he spoke a long procession of +a grey-clothed confraternity, bearing on their breasts +the franciscan badge, preceded by a priest who walked +beneath a baldachino, streamed out of a small church. +Slowly they passed down the road, and then the priest +turned into a wayside cottage where lay a dying woman, +while the others waited outside under the olive trees. +But the sound of their chanting and the tinkling of +the small bell came to us as we leaned over the city +walls. Of a truth we felt the religious life of the town +was not dead: perchance, down those streets, now so +<span class="pagenum"><a name="Page_2" id="Page_2">2</a></span> +still, men had passed along to battle during the sad +turmoil of the middle ages, had hated and loved as +well as prayed, with all the fervour of their southern +nature. We must turn to the early chroniclers to +find in their fascinating pages that Assisi has had her +passionate past and her hours of deepest trial.</p> + +<p>Her origin goes back to the days when the Umbrians, +one of the most ancient people of Italy, inhabited the +country north and south of the Tiber, and lived a wild +life in caves. But the past is very dim; some +Umbrian inscriptions, a few flint arrow heads, and +some hatchets made of jade found on the shore of +lake Thrasymene are the only records we possess of +these early settlers.</p> + +<p>If written history of their ways and origin is lacking, +the later chroniclers of Assisi endeavour to supply with +their gossip, what is missing. Rambling and strange as +their legends often seem to us, nevertheless they contain +a germ of truth, an image, faint but partly true +of a time so infinitely far away. Most of the local +Umbrian historians have awarded the honour of the +foundation of their own particular town to the earliest +heroes whom they happen to know of, and these are +invariably Noah and his family. It is, therefore, +curious to note that the Assisan chroniclers have departed +from this custom and have woven for themselves +a legend so different from the usual friar's tale: +"Various are the opinions," says one of them, "concerning +the first building of our city; but the most +probable, and the most universally accepted by serious +writers, is the one which gives Dardanus as her founder. +In the year 713 after the Deluge, and 865 years before +the foundation of Rome, the first civil war in Italy broke +out between the brothers Jasius and Dardanus, both sons +of Electra; but the father of Jasius was Jupiter, while +Dardanus was the son of Corythus, King of Cortona." +<span class="pagenum"><a name="Page_3" id="Page_3">3</a></span> +The people of Umbria took sides, as some would have +it that Jasius ought to be king in the place of the dead +prince Corythus. +Now it happened that +Dardanus had +pitched his tent on +the slope of Mount +Subasio, when a +dream came to him +that Jupiter and +Minerva were preparing +to assail the +enemy, and that Jasius +would be vanquished. +On waking he determined, +should his +dream be true, to raise +a temple to the goddess +on the spot where +he had slept. He +went forth to battle, +and with the help of +the goddess drove the +enemy back with great +slaughter; Jasius was +killed and they buried +him on the field of +battle. "Full well did Dardanus keep his vow, for in +a few months there arose a wonderful building, now +known as the sacred temple, dedicated to the true +Minerva of Heaven, under the name of Santa Maria +Sopra Minerva. Thus it is that the country round Assisi +has been called <i>Palladios agros</i>, the fields of Pallas."<a name="FNanchor_1" id="FNanchor_1" href="#Footnote_1" class="fnanchor">[1]</a></p> + +<div class="figright"><a name="illo019" id="illo019"></a> +<img src="images/illus019.jpg" width="300" height="446" alt="THE TEMPLE OF MINERVA" /> +<p class="caption">THE TEMPLE OF MINERVA</p> +</div> + +<p><span class="pagenum"><a name="Page_4" id="Page_4">4</a></span></p> + +<p>And thus the monk dreams on about the Seraphic +Province of Umbria; and we dream with him of the +Umbrians who forsook the chase and their shepherd +huts on the heights about Subasio, to gather round the +marvellous temple built by the hero ere he went forth to +found the city of Troy. People came from afar to look +at the six-fluted columns, and while marvelling at a +thing so fair, they resolved to build their homes within +sight and under the shadow of the sacred walls. Here +was the nucleus of a future town. The simple shelters +of cane and brushwood were soon replaced by huts of +a neater pattern made of wattle and clay, with earthen +floors, rounded porches and pent roofs. The dwellers +by the temple throve and prospered, and all was peace +for a while, until the van-guard of that mysterious +people, the Etruscans, appeared on the Umbrian +horizon. We are told how Dardanus, while visiting +the King of Lydia on his way to Troy, drew such a +highly-coloured picture of the loveliness of Tuscany, +the fruitful qualities of the soil, and the lightness of the +air, that Tyrrhenus, the king's son, was immediately +sent with a large army to take possession of so rich a +province. Then came a struggle, and the Umbrian +tribes were driven back south of the Tiber, which +henceforth strictly defined the boundary between +Umbria and Etruria.</p> + +<p>Immediately to the west of Assisi, and on the longest +spur of hills which juts out into the valley of the Tiber, +stood the now Etruscan city of Perugia, to which a +band of Etruscans had lately immigrated. The huge, +grim walls which grew up round it after the advent +of the new settlers, the narrow pointed gateways, +some guarded by heads of stern and unknown deities, +the general menacing and ferocious aspect of its buildings, +soon warned the smaller Umbrian cities of what +they might in coming ages expect from her inhabitants. +<span class="pagenum"><a name="Page_5" id="Page_5">5</a></span> +It is probable that skirmishes were frequent between +the neighbouring towns of Assisi and Perugia, and to +judge from the subterranean passages which still exist +beneath the streets of the former place, we may gather +that she was open to constant attacks, and that her inhabitants +found it more prudent to disappear underground +at the approach of enemies than to meet them in open +battle. These subterranean galleries, cut in the soft +tufa, extend for miles under the present city: branching +out in all directions they form a veritable labyrinth +of secret passages. Here swiftly and silently as the +foe advanced, men and women with their children +would disappear into the bowels of the earth, some +being occasionally buried beneath masses of soil shaken +down by the tramp of many feet above them. Repeated +dangers of this sort at last decided the Assisans to meet +their enemies in more war-like fashion, and to surround +themselves—as Perugia had done—with stones and +mortar. Soon the town bristled with towers and +turreted gateways, and the houses, no longer built of +wattle and mud, began to foreshadow the strongly +fortified palaces of a later date. None too soon did +Assisi prepare for war. In the year 309 <span class="smcap">b.c.</span> the +shrill sound of the Roman clarion echoed through the +Cimminian forest. It roused Etruria to arms, proclaiming +the fact that the Romans had dared to penetrate +beyond this dangerous barrier which hitherto had been +deemed impassable. The Etruscans and Umbrians, +forgetting all their former strifes, now joined against +the new power which threatened to crush their liberties. +The battles which followed beneath the walls of +Perugia, and by Bevagna in the plain of the Clitumnus, +brought all Umbria, in the space of a single year, under +the yoke of Rome.</p> + +<p>And now, although we leave the fields of legend +and enter those of history, we find but little mention +<span class="pagenum"><a name="Page_6" id="Page_6">6</a></span> +of Assisi: this is, however, easily accounted for. Built +upon the unfrequented slopes of Mount Subasio, like a +flower gradually opening to the sun's rays, she was +far more secure than her neighbour Perugia who, commanding +and commanded by the road from Rome to +Ravenna, along which an army passed, stood in haughty +and uncompromising pre-eminence. The comparatively +obscure position of Assisi therefore gave her long +periods of peace, and these she employed in building +innumerable temples, a theatre, and a circus. It is +impossible to excavate in any part of Assisi without +coming upon relics of that time. Statues and busts +of the Cæsars, of gods and of consuls, are lying in +dark corners of the communal palace, and broken +fragments of delicately-wrought friezes and heads of +goddesses, half buried in bushes of oleander, adorn +the Assisan gardens. Beneath the foundations of the +more modern houses, mosaic floors and frescoed walls +have been found, showing that Assisi had her years +of early splendour. But full of life and action as this +Roman period was, it is as completely hidden from us +as are the temples now buried beneath the present +town. It passed rapidly away, and yet is of some +importance in the history of the world as having witnessed +the birth of Sex. Aurelius Propertius, great +among the poets even at a time when Virgil, Horace, +and a host of others were filling Italy with their song.</p> + +<p>Many an Umbrian town prides itself on being the +birthplace of Propertius. The people of Spello have +even placed a tablet in their walls to claim him as her +son; but the Assisans, ignoring the rivalry of others, +very quietly point to the many inscriptions of the +Propertius' family collected beneath the portico of the +Temple of Minerva. One may be noticed referring to +C. Passennus Sergius Paullus Propertius Blaesus, said +to be a lineal descendant of the poet, who is supposed +<span class="pagenum"><a name="Page_7" id="Page_7">7</a></span> +to have married after the death of the fair Cynthia, +and returned to his native valley to pass his last days +in domestic tranquillity. Angelo Poliziano, on the +margin of an early edition of the poet's works now in +the Laurentian Library of Florence, has made a note +to the effect that Propertius, as well as St. Francis, was +born at Assisi; and certainly modern writers assign the +honour to Assisi.</p> + +<p>The somewhat vague utterances of Propertius as to +his native town seem to show that the position of +Assisi, with regard to Perugia and the plain, more +nearly coincides with his description than that of any +other city in the valley or on the hills. To one inquisitive +friend he answers: "Tullus, thou art ever +entreating me in the name of our friendship to tell +thee my country and my descent. If thou knowest +Perusia, which gave a field of death and a sepulchre +to our father and in Italy's hour of affliction, when +domestic discord drove Rome's own citizens one +against the other—(Ah! hills of Etruria, to me +beyond measure have ye given sorrow, for ye suffered +the limbs of my kinsman to be cast aside unburied, and +denied the handful of dust to cover his bones)—there +it was that, close above the margin of her plain +spread below, Umbria, rich in fertile domains, gave +me birth."<a name="FNanchor_2" id="FNanchor_2" href="#Footnote_2" class="fnanchor">[2]</a> The kinsman spoken of here is a certain +Gallus, who lost his life in <span class="smcap">b.c.</span> 41, when Lucius +Antonius was besieged in Perugia by Augustus. The +horrors of the general massacre which followed the fall +of the city left sad memories in the mind of Propertius, +then a mere child. In the general confiscation of property +after the battle of Philippi his family lost their +estates. But poor as they were, Propertius was sent +to Rome to study, where, recognised as the leader of +<span class="pagenum"><a name="Page_8" id="Page_8">8</a></span> +a new school of poetry, he remained until shortly +before his death, at the age of thirty-five. His paternal +estates having been restored to him, he forsook the +splendour of the Augustan court, the patronage of +Maecenas, the friendship of Virgil, and returned to +the Umbrian country where his first inspirations had +been awakened. The contrast between a house and +garden on the Palatine hill, in the midst of the stir +of Roman life, and a farm by the silent stream flowing +through the stillest of valleys, must have been great. +But, judging from his description of the country, he +seems to have fallen readily into rural ways, and loved +to watch the herds of white oxen, dedicated to the +service of the goddesses, grazing close to the banks +of the Clitumnus. We may infer that he hunted the +"timorous hare and birds" in the thick oak forest +of the Spoletan valley, but, as he playfully tells us, he +left "the hazardous boar alone," for physical courage +was not one of his characteristics.</p> + +<p>From the plain his eyes were often raised in the +direction of Assisi, and to his familiarity with her +towers we owe this exquisite description of his birthplace, +which, perhaps out of modesty, as he alludes to +his own fame, he places in the mouth of a soothsayer: +"Ancient Umbria gave thee birth from a noted household. +Do I mistake, or do I touch rightly the region +of your home, where misty Mevania stands among the +dews of the hill-girt plain, and the waters of the +Umbrian lake grow warm the summer through, and +where on the summit of mounting Asis rise the walls +to which your genius has added glory."<a name="FNanchor_3" id="FNanchor_3" href="#Footnote_3" class="fnanchor">[3]</a></p> + +<p>Nothing happens, or at least nothing is mentioned +<span class="pagenum"><a name="Page_9" id="Page_9">9</a></span> +in Assisan chronicles until Christianity stealthily worked +its way up from Rome about the third century. Then +bloodshed followed during a period of darkness when +Christians and pagans divided the town into factions by +their bitter fights for religion. At first the Christians +suffered, and many were martyred in the Umbrian +rivers, but only to triumph later when Roman Assisi +soon vanished and Christian basilicas were built on the +site of pagan temples. Although, after the Roman +period, we find Assisi more nearly linked with the +general history of Italy, she appears uninfluenced by +outside events, and her atmosphere of remoteness +remains unimpaired. Thus we may say that Huns, +Franks, and Lombards merely passed by and left no +lasting mark upon the city. For a moment she was +suddenly aroused by the tempestuous arrival of one or +other of their leaders, but once the danger was past she +returned to her calm sleep upon the mountain side.</p> + +<p>In 545 Totila, on his march to Rome, arrived before +the walls of Assisi which were gallantly defended for +the Emperor Justinian by Siegfried the Goth, but +unfortunately he being killed in a skirmish with the +Huns, the disheartened citizens reluctantly opened +their gates to the enemy. For the first time in her +annals (the Roman occupation had been peaceful +enough) a foreigner—a tyrant set foot in her streets +as master. But the restless Totila soon began to scan +the country round for other cities to attack. Becoming +aware of the large and wealthy city of Perugia perched +upon the western hill, he sallied forth to capture a +bigger prey, and Assisi enjoyed a further spell of peace.</p> + +<div class="figcenter"><a name="illo026" id="illo026"></a> +<img src="images/illus026.jpg" width="468" height="550" alt="THE EASTERN SLOPE OF ASSISI WITH THE CASTLE, FROM THE +PORTA CAPPUCCINI" /> +<p class="caption">THE EASTERN SLOPE OF ASSISI WITH THE CASTLE, FROM THE +PORTA CAPPUCCINI</p> +</div> + +<p>In reading the long-winded chronicles it is often +difficult to gather to which power the various small +towns at this time belonged. One point is, however, +clear, that during endless contentions between the Popes +and the Greek, and later the German Emperors, the +<span class="pagenum"><a name="Page_10" id="Page_10">10</a></span> +Umbrian cities were often left to manage their own +affairs, and because of the periods of rest which they +thus enjoyed and used in their individual ways, we are +inclined to speak of them as republics. For a long +<span class="pagenum"><a name="Page_11" id="Page_11">11</a></span> +time Assisi remained annexed to the Duchy of Spoleto, +then under the rule of the Lombard Dukes whose +advent had filled the different cities in the valley with +Arian Christians, unfriendly to the Papacy. Assisi, +together with other towns swerved from her allegiance +to the Pope, and it is perhaps on this account that +Charlemagne in 773 with his "terrible and fierce +followers" came to besiege her. They laid the country +waste, and made many attacks upon Assisi which +met with stout resistance; but while prowling round +the walls one night they found the main drain, and +stealing through it they were able to discover the +weakest part of the town. Next night they returned +well armed, slew the guards who were keeping watch +by the midnight fires, and before the citizens could rush +to arms, the gates were opened to Charlemagne. The +army passed in, her citizens were put to the sword, and +the town razed to the ground.</p> + +<p>"Thus," says a chronicler, "Assisi bereft of her +inhabitants, found herself an unhappy widow. Then +was the most clement emperor grieved, and ordering +that the city should be rebuilt, he placed therein a +new colony of Christians of the Roman faith, and the +city was restored, and in it the Divine Worship."<a name="FNanchor_4" id="FNanchor_4" href="#Footnote_4" class="fnanchor">[4]</a></p> + +<p>A small arched doorway ornamented with a delicate +frieze of foliage still remains as a record of the rebuilding +of the city by Charlemagne's Lombard workmen. +The stone is blackened, the tracery worn away. Few +find this dark corner in the Piazza delle Rose, and the +people wonder at those who stop to look, for "it is +ugly and very old," they say.</p> + +<p>It was probably at this time, towards the end of +the eighth century, that the Rocca d'Assisi was built. +This made her a more important factor in Umbrian +<span class="pagenum"><a name="Page_12" id="Page_12">12</a></span> +politics; and leaders of armies, who hitherto had paid +her but a hurried visit, now vied with each other to +possess a city with so fair a crown. The citizens had +chosen for the site of the castle the part where the +hill rises in a sudden peak above the town, looking to +the north across a deep ravine towards the mountains +of Gualdo and Nocera. Above the main building and +the four crenelated towers soared the castle keep; from +the ramparts started two lines of walls which, going +east and west, gathered the town as it were within a +nest. At intervals rose forts connected by a covered +passage, and tall towers guarded the walls where they +joined the city gates. The Rocca d'Assisi with this +chain of walls bristling with iron spikes and towers, +complete in strength and perfect in architecture, looked +down upon the town like some guarding deity, and was +the pride of every citizen. It was no gloomy stronghold +such as the French kings erected in the woods +of Tourraine, but built of the yellow Subasian stone +it seemed more like a mighty palace with windows +large and square, whence many a <i>condottiere</i> and many a +noble prisoner leant out to look upon the splendid sweep +of country from Perugia to Spoleto.</p> + +<p>Proud as the citizens were of their new-born importance +they soon regretted the calmer days of their +obscurity. By the twelfth century they were torn +between the Pope, the Emperor, and their own turbulent +factions, for even in the smaller towns the cries of +Guelph and Ghibelline were beginning to be heard. +Whenever German potentates—"the abhorred Germans" +as the chroniclers call them—had their hands +well clenched upon an Umbrian town, the citizens +turned imploring eyes towards Rome. The promise of +municipal liberty was the bait which every pontiff +knew well how to use for his own profit. The German, +on the other hand, troubled not to use diplomacy as a +<span class="pagenum"><a name="Page_13" id="Page_13">13</a></span> +means to gain his ends, but brought an army to storm +the town, and took up his residence in the castle, +whence he could hear the murmurings of the citizens +below planning to drive him out of their gates. The +first distinguished but unwelcome guest in the Rocca +d'Assisi was Frederick Barbarossa. He was, however, +too much occupied in his career of conquest to waste +more than a few weeks in Umbria, and in 1195 we +find Conrad of Suabia, who in the annals of the time +is known by the nickname of "the whimsical one," in +charge of the castle, with the title of Count of Assisi. +Conrad was also Duke of Spoleto, but he preferred the +fortress of Assisi as a residence and spent some two +years there to the annoyance of the citizens, who were +constrained to be more or less on their good behaviour. +With him in those days was a small but important +person, who, at the age of two, had been elected King +of Germany and Italy. This was Frederick II, and +the legend recounts how he was born in the Piazza +Minerva beneath a tent hastily erected for the occasion, +and in his third year was baptised in the Cathedral +of San Rufino, amidst a throng of cardinals, bishops, +Assisan priors and nobles. It would, indeed, be +strange that he, who later was to prove a thorn in +the side of many a Pope, should have been born and +nurtured in the Seraphic City.</p> + +<p>The Assisans soon wearied of the German yoke, +but unaided they could not throw it off and it needed +the timely intervention of Innocent III, to rid them of +Conrad's presence. The Pope, who had been quietly +waiting an opportunity to regain his lost Umbrian +towns, felt himself powerful enough now that the +Emperor Henry VI, was dead, to send haughty commands +to Conrad. He was bidden to meet Innocent +at Narni where he solemnly made over his possessions +to the Church. Thus left to themselves, the Assisans, +<span class="pagenum"><a name="Page_14" id="Page_14">14</a></span> +with cries of "Liberty and the Pope," rushed on the +castle to tear it down. Built to be their safeguard, it +proved their greatest danger, and they determined that +no other tyrant should find shelter within its walls. +While the Assisans were rejoicing in their freedom, +and endeavouring to guard against the constant attacks +of the Perugians, the big world outside was being torn +and rent by a medley of events which was carrying +men's thoughts forward in the swift current of a fresh +era. Everywhere a new spirit was spreading—"the +fraternising spirit" it has been called. In the cities +men were joining together in guilds, heralding the +commonwealths; while, in the country, bands of people, +under the names of Patarins, Albergenses, Poor Men +of Lyons, etc., raised the standard of revolt yet higher +against their feudal and spiritual lords. A contemporary +writer speaks of thirty-two heresies as being +rampant in Italy at this time. Men were eager and +full of energy, finding relief through many channels +that set all Italy in a ferment. But amidst the confusion +of wars and heresies the Papal power grew ever +stronger, until, with the accession of Innocent III, +the claims of a temporal ruler were blended with +spiritual rights. The Marches of Ancona, Umbria, +and the seven hills of Rome belonged alike to him, +while he was powerful enough to excommunicate +cities, kingdoms, and emperors at his pleasure, and +rule all with a rod of iron. The magnificent designs +planned by Hildebrand seemed to triumph under Innocent, +and yet the papal horizon was not without its +clouds.</p> + +<div class="poem"> +<p class="o1">"Ah Constantine! of how much ill was cause,</p> +<p>Not thy conversion, but those rich domains</p> +<p>That the first wealthy Pope received of thee,"<a name="FNanchor_5" id="FNanchor_5" href="#Footnote_5" class="fnanchor">[5]</a></p> +</div> + +<p> <span class="pagenum"><a name="Page_15" id="Page_15">15</a></span></p> + +<p>groans Dante, in writing of the condition of the +Church, and his cry reaches back to the time of which +we write. Jacques de Vitry, who was often at the +court of Innocent, also speaks with bitterness of the +depravity of the priests. They were, he tells us, +"deceiving as foxes, proud as bulls, avaricious and +insatiable as the minotaur."</p> + +<p>Innocent III, though scheming and ambitious, was a +man of lofty character, and no one watched with so +much anguish the rising storms which threatened to +shake the mighty fabric of the Papacy. In a moment +of discouragement he is said to have exclaimed that +fire and sword were needed to heal the wounds made +by the simoniacal priests, and for a long time he in +vain sought a remedy for those ills. But salvation +was at hand, and it came from the Umbrian mountains, +as the fresh breeze comes which suddenly breaks +upon the budding trees in springtime.</p> + +<p>Within the narrow circuit of the Assisan walls arose +a figure of magical power who drew men to him by +the charm of his mysticism and the spell of his ardent +nature. It is the sweet-souled saint of mediæval Italy—St. +Francis of Assisi—who now illuminates this +quiet corner of the world.</p> + +<p>Francis Bernardone was born in the year 1182, +when, as we have seen, the Church was harrowed by +a hundred ills. He passed a gay youth, free from +every care, and tested all the pleasures that riches +could procure. Though the son of a merchant he +consorted with the noblest of the Assisan youths, +who, partly on account of his father's wealth, partly +because of his gaiety and love of splendour, were glad +to accept him as an equal. All looked to the high-spirited, +gifted Francis as the leader at every feast, the +organiser of every entertainment, and when Perugia +blew her war-trumpet he rode out to battle side by +<span class="pagenum"><a name="Page_16" id="Page_16">16</a></span> +side with the Assisan cavaliers. Such, in a few words, +was his position in Assisi when in his twenty-second +year, after a severe illness which brought him to the +brink of the grave, he resolved to follow to the letter +the precept of the Gospel and lead the life of the first +apostles. So complete was his conversion that he, +the rich merchant's son, was to be seen walking through +the streets with bricks on his back for the repair of the +ruined churches of Assisi, while his former companions +drew back and laughed as he passed them. But their +derision was of short duration, for the charm they had +felt in former days had by no means passed away. +Holiness could never make him sad, and in the human +tenderness and joyousness of his nature lay the secret +of that power which was strong enough, the Assisans +soon discovered, to lead them where he would—though +it was now by a new road he travelled.</p> + +<p>The great movement, which began at Assisi and +spread throughout Europe in a very few years, can +only be likened to that witnessed by the lake of +Galilee. Rich citizens gave all to the poor; the +peasants left the vintage and sold their oxen, to join +the ever-swelling crowd of bare-footed disciples who +wandered through cities and into distant lands bringing +comfort and words of peace to all they met. Like a +ray of brilliant sunshine St. Francis dispersed the gloom +of the middle ages, teaching men that the qualities of +mercy and love were to be looked for from God +instead of the inflexible justice that had overshadowed +a religion intended to be all light. He walked the +earth with joyous steps, inviting all to come with him +and see how beautiful was the world; he looked +upwards, praising God in bursts of eloquent song for +the rain that fed the flowers, the birds that sang to +him in the woods, and the blueness of his Umbrian sky. +How different from the stern, orthodox saints who +<span class="pagenum"><a name="Page_17" id="Page_17">17</a></span> +passed through the loveliest valleys with downcast eyes +for fear of some hidden temptation or of some interruption +to their prayers! With such a founder it is +hardly surprising that the order of St. Francis spread +and multiplied, becoming a great world force, as +great and perhaps greater than that of St. Dominic. +We get an interesting picture of the change he wrought +throughout Italy and of the enthusiasm he kindled +among his followers in a letter of Jacques de Vitry; +from this we quote at length, for, being written by a +contemporary of the saint, its value is very great.</p> + +<p>"While I was at the pontifical court I saw many +things which grieved me to the heart. Everyone +is so preoccupied with secular and temporal things, +with matters concerning kings and kingdoms, litigations +and lawsuits, that it is almost impossible to talk on +religious matters.</p> + +<p>"Yet I found one subject for consolation in those +lands: in that many persons of either sex, rich, and +living in the great world, leave all for the love of +Christ and renounce the world. They are called the +Friars Minor, and are held in great respect by the +Pope and the Cardinals. They, on their part, care +nought for things temporal, and strive hard every day +to tear perishing souls from the vanities of this world +and to entice them into their ranks. Thanks be to +God, their labour has already borne fruit, and they have +gained many souls: inasmuch as he who listens to them +brings others, and thus one audience creates another.</p> + +<p>"They live according to the rule of the primitive +church, of which it is written: 'The multitude of +believers were as one heart and one soul.' In the day +they go into the cities and the villages to gain over +souls and to work; in the night they betake themselves +to hermitages and solitary places and give themselves +up to contemplation. +<span class="pagenum"><a name="Page_18" id="Page_18">18</a></span></p> + +<p>"The women live together near to cities in divers +convents; they accept nought, but live by the labour +of their hands. They are much disturbed to find +themselves held in greater esteem, both by the clergy +and the laity, than they themselves desire.</p> + +<p>"The men of this order meet once a year in some +pre-arranged place, to their great profit, and rejoice +together in the Lord and eat in company; and then, +with the help of good and honest men, they adopt and +promulgate holy institutions, approved by the Pope. +After this they disperse, going about in Lombardy, +Tuscany, and even in Apulia and Sicily, for the rest of +the year.... I think it is to put the prelates to shame, +who are like dogs unable to bark, that the Lord wills +to save many souls before the end of the world, by +means of these poor simple friars."<a name="FNanchor_6" id="FNanchor_6" href="#Footnote_6" class="fnanchor">[6]</a></p> + +<p>Certainly one of the most remarkable events in +mediæval history was the result of the teaching of +St. Francis upon his own and future generations. In +his native city the strength of his personal influence and +the love and veneration which he excited was extraordinary. +But we notice even a stranger fact; with +his death this holy influence apparently vanished, and it +is possible that the memory of the saint is dearer to +the hearts of the Assisans in what we are inclined to +call the prosaic tedium of our trafficking nineteenth +century, than it was in the years immediately following +his death. Later centuries have shown us that his +teaching and his presence there were not in vain. +Assisi, down to our own times, has continued to be +the Mecca of thousands of pilgrims. Her churches +bear the record of infinite early piety, for when art +was in its early prime the most famous masters from +<span class="pagenum"><a name="Page_19" id="Page_19">19</a></span> +Tuscany were called upon to decorate the Franciscan +Basilica and leave their choicest treasures there as +tributes to the immortal glory of the saint. But the +note of war rings louder than the song of praise and +love for many years to come in all the Assisan +chronicles, and grass and weeds grow up to choke, +though not to kill, the blessed seed that Francis sowed +and did not live to tend. No sooner did the gates of +death close upon that sweet and genial spirit, than war, +lust, strife and pestilence burst upon the very people +he had so tenderly loved. The story of Assisi becomes, +as it had never been before, a list of murders—of +struggles to the death for individual power, and of +wars which made the fair Umbrian country a desolate +and cruel waste for months and even years.</p> + +<p>Each town looked with hatred upon its powerful +rival, and the communal armies were for ever meeting +in the plain by the Tiber to match their strength and +see if some small portion at least of a city's domains +could not be wrested from her. The bitterest and +most pronounced enemies in the valley were undoubtedly +Assisi and Perugia. Their feuds date back +to the twelfth century; but even before the Christian +era these two cities of the hills had marked each other +as a foe for the one was Umbrian, the other Etruscan, +and they merely continued the rivalry of their founders. +It is often difficult to discover the cause of each separate +war, but it may, as a general rule, be traced to Perugia's +inborn love of fighting, and to her restless spirit which +led her to storm each town in turn. From her eyrie +she looked straight down upon half the Umbrian +country, and gazing daily on so fair a land the desire +for possession grew ever stronger. Many towns were +forced to submit to her sway, and by the thirteenth +century she was the acknowledged mistress of Umbria. +It is, therefore, with surprise and admiration that we +<span class="pagenum"><a name="Page_20" id="Page_20">20</a></span> +watch the undaunted struggle of Assisi against a tyrant +whom she hated with a hatred quite Dantesque in its +bitterness and strength. Many menacing towers were +built on either side of the valley, and heralds were +continually sent between the two towns with insulting +messages to goad the citizens forward into battle. +When Perugia was known to be preparing for an +attack upon Assisi, the castles and villages around +hastened to break their allegiance to the weaker city +and ally themselves with the Perugian griffin. Assisi +was thus often obliged to defend herself unaided +against the Umbrian tyrant. When, in 1321 Perugia +declared war against "this most wicked city of Assisi" +whose crime consisted in having fallen under the rule +of the Ghibelline party of her citizens,<a name="FNanchor_7" id="FNanchor_7" href="#Footnote_7" class="fnanchor">[7]</a> both communes +were in need of money as their bellicose habits had +proved expensive. Busily, therefore, they set to work +about procuring it, and in a highly characteristic +manner Perugia sold her right of fishing in Thrasymene +for five years, while the citizens of the Seraphic +City entered by force into the sacristy of San Francesco +and carried off a quantity of sacred spoils. Gold +ornaments, censers, chalices, crucifixes of rare workmanship +and precious stuffs, were divided into lots +and sold, partly to Arezzo for 14,000 golden florins, +and partly to Florence for a larger sum. Now these +things did not even belong to the Franciscans, but had +been carefully stored in the sacristy by the Pope and +his cardinals during their last visit to the town. Great, +therefore, was the wrath at the Papal Court when +news came of the sacrilegious robbery, and without a +<span class="pagenum"><a name="Page_21" id="Page_21">21</a></span> +moment's delay a bull of excommunication was fulminated +from Avignon. For thirty-eight years Assisi +lay under the heavy sentence of an interdict, and, except +for the feast of the "Pardon of St. Francis," the +church doors were closed and the church bells were +silent. But not a whit did the people care for the +anger of a distant Pope, and it is related that when +the two friars brought the bull of excommunication to +Ser Muzio di Francesco, the leader of the robbers, +they were flogged within an inch of their lives, and +further, they were made to swallow the seals of lead +which hung from the Papal document.</p> + +<p>The Assisans, having obtained the necessary funds, +set to work to defend themselves against the enemy +who were to be seen rolling their heavy catapults along +the dusty roads. A proud historian says, "they saw +without flinching 500 horsemen galloping round their +walls," and with a heroism worthy of so good a cause, +determined to be buried in the ruins of their city sooner +than cede one step to their abhorred enemies the +Perugians. They closed the shops, barred the houses +and threw the chains across the streets to stop advancing +cavalry; every artisan turned soldier, every noble +watched from the tower of his palace. Not only were +they guarding their own liberties, but they feared for +the safety of the body of St. Francis, which the +Perugians, ever prowling day and night about the walls, +were anxious to carry off. The siege, it is said, lasted +a year, when the Assisans were forced to give way and +open their gates to the enemy, who sacked the town, +"killing more than one hundred of the most wicked +citizens, to wit, all those who fought against the city of +Perugia." Then came a perilous moment, for many, not +content with a barbarous pillage, wished to destroy Assisi +altogether. Fortunately a wily Perugian, Massiolo di +Buonante, stood up in her defence, arguing that "Assisi +<span class="pagenum"><a name="Page_22" id="Page_22">22</a></span> +being now in their power, it were better to possess her +fortified, and well provided against any new attack of +the Ghibelline party."<a name="FNanchor_8" id="FNanchor_8" href="#Footnote_8" class="fnanchor">[8]</a> His words had due effect, but +still the town suffered horribly, and her walls only lately +built were in greater part razed to the ground. The +chains that guarded the streets together with the bars +and keys of the gates were taken back to Perugia, +where, until a century ago, +they hung "as glorious +trophies" from the claws +of the bronze griffon outside +the Palazzo Pubblico. +Before leaving, the Perugians +gave their orders to +the now submissive city. +The Guelphs were to live +within the ancient circle +of walls in the upper and +more fortified part of the +town, while the Ghibellines +were left in the +undefended suburbs.</p> + +<div class="figleft"><a name="illo038" id="illo038"></a> +<img src="images/illus038.jpg" width="200" height="263" alt="THE GUELPH LION OF ASSISI" /> +<p class="caption">THE GUELPH LION OF ASSISI</p> +</div> + +<p>They further commanded +that each year, on the feast +of St. Ercolano, the Assisans should bring them a +banner "worth at least 25 golden florins, <i>in signum +subjectionis</i>." This was the greatest ignominy of all, +and rankled even more deeply in the hearts of the +citizens of Assisi than the fact of their being governed +by Perugian officials. The delivery of the yearly +tribute was performed in a manner highly characteristic +of the times and of the love of petty tyranny and display +peculiar to the mediæval towns. An Assisan +horseman mounted on a splendidly caparisoned charger +brought the hated emblem to lay before the Priors of +<span class="pagenum"><a name="Page_23" id="Page_23">23</a></span> +Perugia, who robed in crimson, with heavy golden +chains about their necks, waited at the foot of the +campanile of San Lorenzo. Close to them stood +four mace bearers and trumpeters with white griffins +painted on the red satin streamers which hung from the +silver trumpets. Nothing was neglected that would +impress her subjects with the dignity of her hill-set +city. All the Perugians were assembled, and in their +name the Priors promised to defend Assisi against her +enemies and to preserve her from the yoke of tyrants. +Having uttered this solemn mockery, they gave the +Podestà of Assisi a sealed book wherein were written +the laws to be observed in return for the inestimable +favours granted; the book was not to be opened until +he and his retinue had returned to their own city. The +spirit of the Assisans was by no means crushed by their +misfortunes, and shortly after the events we have just +narrated they issued an edict with a pomp worthy of +Perugia herself which fairly puzzled the Priors of +that city. All Perugians holding land in Assisi were +herein ordered to pay the taxes usually demanded of +"strangers" possessing property in the territory; further, +the Assisans proclaimed their firm determination no +longer to observe any orders given to them by the +Commune of Perugia. This audacity was, however, +soon checked. Perugia issued an order to the effect +that these statutes, and these alone, which were decreed +by herself were to be valid in Assisi, all others were +worthless. Assisi therefore remained subject to Perugia +till 1367, when Cardinal Albornoz who was engaged +in recovering the allegiance of the Papal States, entered +her gates. He was received with wild enthusiasm by +the citizens, for they hailed him as their deliverer from +the hated yoke of the Perugians. The Assisans had +every reason to rejoice in this change of masters, as the +Cardinal allowed them to govern their town like a free +<span class="pagenum"><a name="Page_24" id="Page_24">24</a></span> +republic; he rebuilt the walls destroyed during the last +siege, and the castle which had also suffered much from +the Perugian soldiery. The people were delighted, +and their artists were soon busily employed in painting +the gilded arms of the church on gateways and on +palaces.</p> + +<p>During his brief sojourn in Assisi the war-like +Cardinal had found such peace as he had probably not +often known before, and such was his love for the +church of San Francesco that he added to it several +chapels and chose a place for his tomb within its walls. +He died at Viterbo; and only five months after the +Assisans had welcomed him with such rejoicing, they +went with torches and candles, to bear his dead body +back to San Francesco, the Priors, says a chronicler, +spending 145 florins upon the crimson gowns they +bought for this occasion.</p> + +<p>Days of peace and liberty were short, and the +Assisans were soon groaning beneath the enormous +taxes laid upon them by the zealous ministers of the +Pope. In 1376 their indignation rose to such a pitch +that they broke into open rebellion, and joined in the +war-cry against the Church, which was to be heard in +other towns of Tuscany and Umbria. The citizens +besieged the Legates in their palaces and ordered them +with haughty words to depart; so seeing it was safer to +obey, they returned to Rome without a word. "Because +of their love for the holy Pontiff, whose servants +they were, the Assisans used no violence towards them," +but having got their way with polite bows accompanied +them safely beyond the city gates. But at this time, +when all was war and conspiracy, there seemed no +chance of a free life again for the people. No sooner +had one tyrant been disposed of than another rose to +take his place. When news of these events reached +the Perugians they thought it a good opportunity to try +<span class="pagenum"><a name="Page_25" id="Page_25">25</a></span> +and again get possession of the town, accordingly envoys +were sent "just to put things in order" as they +expressed it; but the Assisans shut the gates of the +city in their faces and informed them that in future +they intended to manage their own affairs. We cannot +say that their endeavours were crowned with success, +the nobles fought among themselves, while the mob +was ever ready for any kind of novelty. It is related +how in the year 1398 the Assisans changed their mind +three times in one day as to who should be their lord. +"<i>Evviva</i> the Church" was the first cry; the second, +"<i>Evviva</i> the people of Perugia"; and lastly, "<i>Evviva</i> +Messer Imbroglia," a roving adventurer who alternately +fought for the Duke of Milan and the Pope, and finally +entered Assisi at the head of a large cavalcade as +Captain and Gonfalonier of the city.</p> + +<p>In the early centuries Assisi had bravely fought for +her independence and held her own fairly well; but in +the fourteenth century a sudden whirlwind swept across +the country threatening to destroy the last remnant of +her freedom. At this time the <i>condottieri</i> were busy +carving out principalities for themselves, and one after +another they marched through the land forcing the +towns to bear their yoke. Assisi, not without a sharp +struggle, fell a prey to Biordo Michelotti and Braccio +Fortebraccio, successive despots of Perugia; and the +citizens found themselves for the next twenty years +in turn the vassals of Guidantonio of Montefeltro, +of Sforza, and of the Pope. In 1442 Perugia was +governed, in the name of the Pope, by Niccolò +Piccinino, successor to Fortebraccio as the leader of +the Bracceschi troops, and consequently a successor +to the rivalry with Francesco Sforza, Duke of Milan. +Assisi, therefore, who had spontaneously given herself +to Sforza, preferring the tyranny of strangers to the +yoke of Perugia, was not likely to be favourably +<span class="pagenum"><a name="Page_26" id="Page_26">26</a></span> +looked on by Piccinino, and sooner or later he determined +to besiege her. But just at this time Perugia +had made peace with all the world, and, delighted with +this novel state of things, she rang the great bell of the +Commune, lit beacon fires on the hills, and sent a +special messenger to Assisi to proclaim the fact. The +Assisans, with more courage than discretion, cursed +the messenger and those who sent him, saying they had +half a mind to kill him. "Return with this message," +they cried, "say unto those who sent thee, that they try +to wipe us from the face of the earth and then send words +of peace. But we will have war and only war." This +insulting message was duly delivered to the astonished +priors, and that night the beacon fires were extinguished. +When news reached Assisi of the vast preparations in +Perugia for war, these hasty words were regretted. +Luckily Francesco Sforza sent the Assisans a good +supply of troops, and every day they hoped for the +arrival of his brother Alessandro.</p> + +<p>The month that followed was disastrous to Assisi, +and the account of the war given us by the Perugian +chronicler Graziani who took part in the siege, brings +before us vividly the many stages she had to pass +through before arriving at the calm, seraphic days of +later years.</p> + +<p>By the end of October 1442, Niccolò Piccinino, +alluded to always as <i>el Capitano</i>, arrived in the plain +below Assisi with some 20,000 men, and took up his +quarters in the Franciscan monastery of San Damiano. +His first intention was to take the town by assault, but +on surveying the fortifications and walls and the impregnable +castle, he deemed it wiser to wait quietly +until hunger should have damped the valour of the +citizens. Help, however, came to him from another +quarter. It is believed that a Franciscan friar, perhaps +one of those with whom he lodged at San Damiano, +<span class="pagenum"><a name="Page_27" id="Page_27">27</a></span> +betrayed to him a way into the town by means of an +unused drain.</p> + +<p>"On Wednesday, being the 28th day of November, +the Captain's people entered Assisi by an underground +drain, which, beginning below the smaller fortress +towards the Carceri, enters Assisi near the market-place +below the castle. There Pazaglia, Riccio da +Castello, and Nicolo Brunoro, with more than 300 +men-at-arms, had seen to clearing the said sewer and +cutting through some iron bars at the exit placed by +the Assisans so that none might enter; and Pazaglia +and his companions worked so well that they entered +with all their people one by one. And when they had +entered they emerged inside the walls, and advanced +without any noise, holding close to the side of the said +walls so as not to be seen, although the darkness of the +night was great and drizzling rain was falling. But it +happened that one of those within passed by with a +lighted torch in his hand, and, hearing and seeing +people, said several times: 'Who goes there.' At +last answer was made to him: 'Friends, friends.' +The bearer of the torch went but a little farther before +he began to cry out: 'To arms, to arms. Awake, +awake, for the enemy is within.' So a great tumult +arose throughout the town. Then Pazaglia and his +companions, finding they were discovered, mounted the +walls and shouted to those outside: 'Ladders, ladders. +Enter, enter.'"<a name="FNanchor_9" id="FNanchor_9" href="#Footnote_9" class="fnanchor">[9]</a></p> + +<p>With cries of "Braccio, Braccio," the captain led +his men rapidly through the town, burning the gate, +killing the citizens, and pillaging every palace as they +passed along. When Alessandro Sforza who had +stolen into Assisi the night before, "to comfort and +encourage the citizens," found that the enemy was +within he hurried with a few Assisan notables to take +<span class="pagenum"><a name="Page_28" id="Page_28">28</a></span> +refuge in the castle. From the tower-girt hill he +looked down upon the scene of carnage—and what a +sight it was as pictured by Graziani!</p> + +<p>"The anguish, the noise, and the screams of women +and children! God alone knows how fearful a thing +it was to see them all dishevelled; some tearing their +faces, some beating their breasts, one weeping for a +father, one for a son, another for a brother, as, crying +with loud voices, they prayed to God for death.... +But, in truth, these same Assisans did themselves +much injury, greatly adding to their own trouble. +They might have saved many more of their chattels +had they trusted the Perugians, but rather did they +trust the strangers, and this to their undoing, for the +said strangers deceived them. Thus was proved the +truth of that proverb which says: 'The offender +never pardons.' Often aforetime had they offended +the Commune of Perugia as we have seen. Even at +this moment, when its forces were encamped outside +Assisi, they constantly stood on their walls and hurled +insulting and menacing words at the Perugians, defying +and threatening them, whom for this reason peradventure +they did not trust.... Also on the same day, while +the city was being sacked, a multitude of women +with their children and goods, took sanctuary in Santa +Chiara; and when the captain passed and saw so many +women and children sheltered there, he said to the +women, especially to the nuns of Santa Chiara, that +it was no longer a safe refuge for them, and if they +would choose where they wished to go he would send +them thither in safety. Then, naming to them all the +neighbouring towns, he lastly offered to place them in +safety in the city of Perugia. But when they heard +the name of Perugia, first the nuns and then the other +women replied, 'May Perugia be destroyed by fire.' +And when the captain heard this answer, he immediately +<span class="pagenum"><a name="Page_29" id="Page_29">29</a></span> +cried, 'Pillage, pillage!' Thus was everything +plundered and ruined—the convent with the nuns, +the women and the children, and much booty was +there...."<a name="FNanchor_10" id="FNanchor_10" href="#Footnote_10" class="fnanchor">[10]</a></p> + +<p>Assisi, now the shell of her former self, seemed +indeed a city of the dead. Through her deserted +streets, running with the blood of the slain, echoed +the sound of falling rafters and crumbling palaces, +while bon-fires flamed on the piazza fed with the +public archives by the destroying Perugians. Across +the Tiber were to be seen the unhappy citizens being +driven like droves of cattle by their captors up the +hill to the city they hated. There the women, with +their children clinging round their necks, were sold in +the market-place as slaves, and exposed to the cruellest +treatment by their masters. Even tiny children of four +and five years old were sold; a maiden, we are told, +fetched fifteen ducats, and many were bought, sometimes +for the love of God, and sometimes as maidservants. +Every day fresh booty was brought in, and +the Perugians fought over the gold chalices, missals, +and other treasures robbed from churches and convents; +but these brought lower prices, for even Perugian consciences +seem to have been troubled with scruples, and +superstitious fear kept them from buying stolen church +property. While the slave market was proceeding +amidst the clanging of bells proclaiming the victory, +the Priors of Perugia sat in their council hall of the +great Palazzo Pubblico discussing how they could bring +about the total annihilation of Assisi. The following +curious letter was finally written, sealed, and sent to +Niccolò Piccinino by five ambassadors who were to +tempt him to do the deed with a bribe of 15,000 +ducats:</p> + +<p>"Your illustrious Signory being well aware how that +<span class="pagenum"><a name="Page_30" id="Page_30">30</a></span> +city has ever been the scandal of this one, and that +now the time has come to take this beam from out +of our eyes, we pray and supplicate your illustrious +Signory, in the name of this city and of the State, +that it may please you to act in such wise that this +your city shall never again have reason to fear her; +and so, as appears good to all the community, it will +be well to raze her to the ground, saving only the +churches. And this will be the most singular among +other favours that your illustrious Signory has ever +done to us."<a name="FNanchor_11" id="FNanchor_11" href="#Footnote_11" class="fnanchor">[11]</a></p> + +<p>"Trust in my words and trust in my deeds," replied +Piccinino to the bearers of this truly mediæval letter; +but, adds the chronicler, he refused his consent to their +cowardly scheme for the destruction of the town. It +is believed that he was acting upon orders received +from Eugenius IV, who appears as the benevolent +genius of Assisi, until, as the local historians tell us +with rage, the Pope offered to sell them to the Commune +of Perugia, when his clemency seems due solely +to the fact that the papal coffers were sadly empty. +Luckily the Perugians, somewhat in debt owing to +the late war, were unable to pay the price, and Assisi +thus escaped being given "like a lamb to the butcher," +while her enemy missed the chance "of removing that +beam from out of her eye."</p> + +<p>From this time onward Assisi remained in the possession +of the Church, and many of the Popes, touched +by the miserable condition of the town, supplied money +to rebuild its ruined walls and palaces, and thus induce +the citizens to return and inhabit the desolate city. +But hardly had the Assisans succeeded in getting back +some kind of order and prosperity than new wars +appeared to ruffle the onward flow of things. This +time the danger came from within, and in Assisi, as +<span class="pagenum"><a name="Page_31" id="Page_31">31</a></span> +in so many of the cities of Italy, it was the feud between +the nobles themselves that drenched the streets +with blood and crushed the struggles of a people +whose cries for liberty were now only faintly heard. +All sank beneath the heavy hand of the despot. The +Perugian citizens were being tyrannised over by the +powerful family of the Baglioni, whose name brings +up a picture of crime and bloodshed that has hardly +been equalled in any town in Italy.<a name="FNanchor_12" id="FNanchor_12" href="#Footnote_12" class="fnanchor">[12]</a> In Assisi the +balance of power lay between the two families of +Fiumi and Nepis, who, in the irregular fashion of the +time, alternately ruled the city in opposition to the +legal sovereignty of the Papacy. The city was sharply +divided into the Upper town, where the Nepis had +their palaces near the castle and San Rufino, and the +Lower town, inhabited entirely by the Fiumi and +their adherents, which clustered round the church of +Santa Chiara and down to San Francesco. These +two families sought perpetually to outshine each other, +and such was the reputation they gained among the +people in the country round that even the Perugian +chroniclers speak of them as "most cultured and +splendid citizens," praising their horsemanship and +the magnificence of their dress. So great was the +rivalry between the members of the two families +Fiumi and Nepis that, when they met in the piazza +of Assisi where the nobles often walked in the evening, +they would provoke each other with scornful looks +and words, and often this was a signal for a skirmish. +The <i>bravi</i> would gather round them, and in an instant +the whole town be roused to arms. After a sharp +<span class="pagenum"><a name="Page_32" id="Page_32">32</a></span> +fight one party was driven to retire to its strongholds +in the open country, while the victorious nobles seized +the reins of government, and the weary citizens sank +beneath the rule of the despots. Assisi presented a +most melancholy spectacle at the end of one of these +encounters. Most of the dwellings of the exiled nobles +lay in ruins, the churches were shut in consequence of +the perpetual bloodshed, and the palaces, barred and +chained, with the gratings drawn up before the entrance, +seemed to be inhabited by no living being. Franciscan +friars stole along the streets on their errands of mercy +among the distressed citizens, who, besides the horrors +of the city feuds, suffered from the pestilence and +famine which decimated nearly all the towns of Italy +at this period. But this death-like silence within the +town was never of long duration. The exiled party, +ever on the alert to regain possession of their homes, +would creep into the town at some unguarded moment +and once more stir a people to fight who were beginning +to chafe beneath the irksome rule of the rival despots.</p> + +<p>A climax of evils came when, in addition to a +hundred other ills, the Baglioni of Perugia took upon +themselves to interfere.</p> + +<p>In 1494 we find the Fiumi and the Nepis living +peaceably in their palaces, dividing the power in Assisi, +until at last the hot-headed Fiumi grew weary of the +even balance of things, and determined at one stroke +to rid themselves of every foe. In open combat they +had attempted this and failed, so a treacherous plot +was hatched. Jacopo Fiumi, head of the house, and +his brother Alessandro, persuaded their friends, the +Priors of the city, to prepare a great banquet in the +Communal Palace and invite all the members of the +rival family to be present. Unarmed, and not dreaming +of danger, the Nepis entered the big hall. No +sooner had they thrown off their cloaks than the +<span class="pagenum"><a name="Page_33" id="Page_33">33</a></span> +Fiumi rushed upon them with drawn swords and +knives. Angered by such wanton treachery, the +citizens drove the murderers from the city; and the +Priors, protected by the darkness of the night, fled +into the open country to seek a refuge in some neighbouring +town.</p> + +<p>Now this event, like many others, might have subsided +and been followed by a period of peace, only it +happened that the Baglioni were allies of the Nepis +and ready to avenge them in Assisi. They had, moreover, +old scores to settle with Jacopo Fiumi, who, +Matarazzo tells us, in pained surprise, "was a most +cruel enemy of the house of Baglioni and of every +Perugian, and studied day and night how he might +injure those of Perugia, so that he was the cause of +much trouble to the magnificent house of Baglioni."<a name="FNanchor_13" id="FNanchor_13" href="#Footnote_13" class="fnanchor">[13]</a> +This was therefore a good opportunity for the Baglioni +to lay siege to Assisi, and perpetual skirmishes took +place in the plain, which sapped the life-blood of the +citizens and laid waste the Umbrian country for many +miles around. The peasants, whose grain had been +trampled down by the Baglioni, were driven half-naked +into the woods, and watched the high roads from +the heights above Assisi like birds of prey, swooping +down to rob or kill travellers passing by. Badgers, +wolves, and foxes roamed unmolested in the plain, and +fed upon the unburied bodies of the murdered travellers +and of those who fell in battle; while, in the dead of +night, the friars of the Portiuncula stole out to bury +what bones the wild beasts had left. Things had come +to such a pass that the Assisans, as we are told, knew +not what to say or do, so many of their number were +dead or taken captive and the enemy was ever at their +gates. Giovan Paolo, mounted on his black charger, +"which did not run but flew," led the Perugians to +<span class="pagenum"><a name="Page_34" id="Page_34">34</a></span> +storm the town and draw the citizens out to battle. +He was one of the fiercest of the Baglioni brood +and a famous soldier, and yet it was in vain he sought +to inspire the Assisans with fear. "Indeed," says +Matarazzo, "each one proved himself valiant on either +side; for the Assisans had become warlike and inured +to arms, and they were all iniquitous and desperate."<a name="FNanchor_14" id="FNanchor_14" href="#Footnote_14" class="fnanchor">[14]</a> +The foes were of equal strength and courage, and the +war, which had already lasted three years, seemed +likely to have no end. But one day the Assisans, +watching from their ramparts, saw a large squadron +of soldiers hurrying from Perugia to the aid of the +Baglioni, and they began to ring the city bells as a +signal that the moment had come for the final stand. +Those who were skirmishing in the plain against +Giovan Paolo began to lose heart when they heard +the clanging of the bells, and the Perugians, perceiving +their advantage, took new courage, so that "each one +became as a lion." More than sixty Assisans were +slain that day, while the prisoners suffered cruelly under +the vengeance of those who took this opportunity of +remembering offences of past years. "And thus did +his lordship, the magnificent Giovan Paolo, return +victorious and joyful from this great and dangerous +battle."<a name="FNanchor_15" id="FNanchor_15" href="#Footnote_15" class="fnanchor">[15]</a></p> + +<p>Once the gates of Assisi were forced open, the +Baglioni and their <i>bravi</i> scoured the streets from end +to end, killing all they encountered, and dragging from +the churches the poor women who sought shelter and +protection. The blood-thirsty brood did not even +respect the Church of San Francesco; and the friars, +in a letter to their patron Guidobaldo, Duke of +Urbino, complain most bitterly of the crimes committed +within the sacred edifice, even on the very +<span class="pagenum"><a name="Page_35" id="Page_35">35</a></span> +steps of the altar. "The poor city of Assisi," the +letter says, "has known only sorrow through the perpetual +raids of the Baglioni, whose many crimes would +be condemned even by the infidel Turks. They rebel +against the holy Pontiff, and such is their ferocity that +they have set fire to the gates of the city—even unto +that of the Basilica of San Francesco. They do not +shudder to murder men, cook their flesh, and give it +to the relations of the slain to eat in their prison +dungeons."<a name="FNanchor_16" id="FNanchor_16" href="#Footnote_16" class="fnanchor">[16]</a> Matarazzo also dwells on the sad conditions +of Assisi during her final struggle for independence. +"So great was the pestilence and the famine +within the walls that human tongue could not describe +it, for great woe there was, and such scarcity and +penury in Assisi as had never been known. I myself +have talked to men who were in Assisi at that time, +and who, on remembering those days of famine, pestilence, +and war were bathed in tears; and, if the subject +had come up a thousand times in a day, a thousand +times would they have wept bitterly, so dark was the +memory thereof. Not only did they weep, but those +also who listened to them, for they would recount +how they wandered by the walls of the town, and +down to the hamlets, and in every place searching for +herbs to eat; and how, forced by hunger, they ate all +manner of cooked herbs, and many people sustained +themselves with three or four cooked nuts dipped in +wine, and with this they made good cheer."<a name="FNanchor_17" id="FNanchor_17" href="#Footnote_17" class="fnanchor">[17]</a></p> + +<p>In reading the terrible chronicle of these years, one +asks, "How did any life survive in the face of such +ghastly suffering?" The strange fact remains that life +not only survived, but that the Assisans even flourished +during the period, and, like half-drowned birds, who, +rising to the surface, bask for a while in the sunshine and +<span class="pagenum"><a name="Page_36" id="Page_36">36</a></span> +then spread their wings for a fresh flight, they too arose +and prospered. But the time was drawing near when +these continual efforts were no longer needed. The +rival factions had reached the summit of their savage +strength, and the city despots were soon to be swept +from the land by the whirlwind they themselves had +raised.</p> + +<p>In the year 1500, during one awful night of carnage +at Perugia, the Baglioni were nearly all murdered +through the treachery of some of their own family. +The manner in which the clansmen sought out their +victims and stabbed them in their sleep, driving their +teeth into their hearts in savage fury, sent a thrill of +horror throughout Italy. The downfall of this powerful +house affected the destiny of Assisi, for Perugia +was brought under the immediate dominion of the +church, and with the advent of Paul III, she lost her +independence, which she never again recovered. A +mighty fortress was erected on the site of the Baglioni +palaces, and the significant words "<i>Ad coercendam +Perusinorum audacam</i>" were inscribed upon its walls. +The Farnese Pope meant to warn, not only the citizens +of that proud city which he had brought so successfully +within his net, but also the Assisans and the other +Umbrians who, with anxious eyes, were watching the +storms that wrecked Perugia.</p> + +<p>With this new order of things the last flicker of +mediæval liberty was being extinguished, and when +Paul III, ordered the cannons from the castle of +Assisi to be transferred to his new fortress at Perugia, +the Assisans felt that a crisis had been reached and +that henceforth they must be guided by the menacing +finger of an indomitable pontiff. One last effort she +did indeed make to save her dignity: she begged to be +governed independently of her old rival Perugia. To +this the Pope agreed, and a Papal Legate came with +<span class="pagenum"><a name="Page_37" id="Page_37">37</a></span> +great pomp and was met outside the gates by the Priors, +nobles, and citizens of Assisi. With that great Farnese +fortress looming in the distance they were forced to +make some show of gladness as they followed him in +solemn procession through the town and up the steep +hill to the Rocca Maggiore. Here the Legate walked +round the ramparts and through the spacious halls of +the castle, taking possession of all in the name of the +Church of Rome. Then the Castellano knelt down +before him, and as he handed the keys over to his +keeping, the history of war and strife in Assisi abruptly +closed.</p> + +<div class="figcenter"><a name="illo053" id="illo053"></a> +<img src="images/illus053.jpg" width="261" height="264" alt="THE ARMS OF ASSISI" /> +<p class="caption">THE ARMS OF ASSISI</p> +</div><p> +<span class="pagenum"><a name="Page_38" id="Page_38"></a></span></p> + +<div class="figcenter p6"><a name="illo054" id="illo054"></a> +<img src="images/illus054.jpg" width="550" height="390" alt="ASSISI IN THE TIME OF ST. FRANCIS" /> +<p class="caption">ASSISI IN THE TIME OF ST. FRANCIS</p> +</div> + +<p class="p6"> +<img src="images/illus055_a.jpg" width="144" height="198" alt="" class="floatl" /> +<img src="images/illus055_b.jpg" width="325" height="198" alt="O" class="floatl" /> +<img src="images/illus055_c.jpg" width="144" height="100" alt="" class="floatl" /> +</p> + +<p class="center b125 p6">CHAPTER II</p> +<p><span class="pagenum"><a name="Page_39" id="Page_39">39</a></span></p> +<p class="center b175"><i>The Umbrian Prophet</i></p> + +<div class="blockquot"> +<p>"Fra santi il pui santo, e tra i peccatori quasi +uno di loro."—Celano. <i>Vita</i> I. cap. xxix.</p> +</div> + +<p class="p6">ften while reading +the Italian +chroniclers we forget +that a life of +chivalry, song, +tournament, and +pagan pleasure-making +was passed +in a mediæval town even while war, +pestilence, and famine cast a settled +gloom on every home. Lazar-houses stood +at the gates of the city while sumptuous +feasts were spread in the banqueting halls +of palaces. Men rebelled against the ugliness and +squalor produced by a hundred ills that swept over +Italy during the twelfth century,<a name="FNanchor_18" id="FNanchor_18" href="#Footnote_18" class="fnanchor">[18]</a> and so it came +about that in the darkest hours of a city's history, +scenes of maddest revelry were enacted. At this +period were founded the Brigate Amorose, or Companies +<span class="pagenum"><a name="Page_40" id="Page_40">40</a></span> +of young nobles, whose one aim in life was +amusement. There were few towns in Italy, however +small, in which these gay youths did not organise +magnificent sports and tournaments<a name="FNanchor_19" id="FNanchor_19" href="#Footnote_19" class="fnanchor">[19]</a> to which +the ladies came in gowns of rich brocades or "fair +velvet," their tresses garlanded with precious jewels +and flowers. Or knights, ladies, and other folk +would meet in the piazzas and pass the summer evenings +with</p> + +<div class="poem"> +<p class="o1">"Provençal songs and dances that surpass;</p> +<p>And quaint French mummings: and through hollow brass</p> +<p>A sound of German music in the air."<a name="FNanchor_20" id="FNanchor_20" href="#Footnote_20" class="fnanchor">[20]</a></p> +</div> +<p>Late at night after a splendid banquet, the nobles +wandered through the streets singing as they followed +the lead of one chosen by themselves, whom they +called the Lord of Love. Sometimes their ranks +were swelled by passing troubadours from Provence +who sang of the feats of Charlemagne and of King +Arthur and his knights. For it was the time when +Bernard de Ventadour was singing some of his sweetest +love lyrics, and people were alternately laughing at the +whimsicalities of Pierre Vidal and weeping at the tender +pathos of his poems.<a name="FNanchor_21" id="FNanchor_21" href="#Footnote_21" class="fnanchor">[21]</a> Those who listened to these +songsters were, for the moment, deceived into thinking +life was full of love and mirth, and sorrow only touched +them when their lady frowned. The music of Provence +found a way across the Alps to the feudal courts +of Este and Ferrara, to Verona, and later, southwards +to Sicily, where Frederick the Great was king. It +came even to the towns which lay hidden in the folds +of the Umbrian mountains, and some of its sweetest +<span class="pagenum"><a name="Page_41" id="Page_41">41</a></span> +strains were echoed back again from Assisi. Her +troubadour was Francis Bernardone, the rich merchant's +son, leader of the young nobles who, in their carousals, +named him Lord of Love, and placed the kingly +sceptre in his hand as he walked at their head through +the streets at night, rousing the sleepy Assisan burghers +with wild bursts of song.</p> + +<p>Francis had learned the Provençal language from his +mother, Madonna Pica, whom Pietro Bernardone<a name="FNanchor_22" id="FNanchor_22" href="#Footnote_22" class="fnanchor">[22]</a> is +said to have met while journeying from castle to castle +in Provence, tempting the ladies to buy his merchandise +as he told them news of Italy. The early writers do +not mention her nationality, they only allude to her as +<i>Madonna</i>, which might imply that she was of noble +birth; the later legend, which says that she was of the +family of the counts of Bourlemont, is without foundation. +We know she was a good and tender mother to +Francis, who was left mostly in her charge, as Pietro +Bernardone was so often absent in France. She taught +him to love the world of romance and chivalry peopled +by the heroes of the troubadours, and there he found +an escape from the gloom that enveloped Assisi during +those early days of warfare which were enough to +sadden that joyous nature rarely found among saints. +Celano gives a graphic picture of the temptations to +which the youths of the middle ages were exposed, +even in infancy in their own homes. This danger +Francis escaped, but the companions with whom he +spent the first twenty years of his life in gay living had +not been so well guarded, and Francis was not slow to +<span class="pagenum"><a name="Page_42" id="Page_42">42</a></span> +feel the influence of his time. We must remember +that the accounts we have of him were written under +the papal eye, and it is patent that both as sinner and +as saint he took a leading part.</p> + +<p>"He was always first among his equals in all +vanities," says Celano, "the first instigator of evil, and +behind none in foolishness, so that he drew upon himself +the attention of the public by vain-glorious extravagance, +in which he stood foremost. He was not +chary of jokes, ridicule, light sayings, evil-speaking, +singing, and in the wearing of soft and fine clothes; +being very rich he spent freely, being less desirous of +accumulating wealth than of dissipating his substance; +clever at trafficking, but too vain to prevent others +from spending what was his: withal a man of pleasant +manners, facile and courteous even to his own disadvantage; +for this reason, therefore, many, through his fault, +became evil-doers and promoters of scandal. Thus, +surrounded by many worthless companions, triumphantly +and scornfully he went upon his way."<a name="FNanchor_23" id="FNanchor_23" href="#Footnote_23" class="fnanchor">[23]</a></p> + +<p>His early years passed away in feasting and singing +with an occasional journey to a neighbouring town to sell +the Bernardone wares, until 1202 when war broke out +between Perugia and Assisi, and the big bell of the +cathedral called the citizens to arms in the Piazza della +Minerva. Men gathered round their captain, while +from the windows of every house women gesticulated +wildly, almost drowning the clank of armour and the +tramp of horses by their shrill screams. Francis, on a +magnificent charger, rode out of the city gates abreast +with the nobles of Assisi, filling the bourgeois heart of +Pietro with delight, that a son of his should be thus +honoured. It was a beautiful sight to see the communal +armies winding down to the plain, one coming +from the western hill, the other from the southern, to +<span class="pagenum"><a name="Page_43" id="Page_43">43</a></span> +match their strength by the Tiber. They were "troops +of knights, noble in face and form, dazzling in crest +and shield; horse and man one labyrinth of quaint +colour and gleaming light—the purple, and silver, and +scarlet fringes flowing over the strong limbs and clashing +mail like sea waves over rocks at sunset."<a name="FNanchor_24" id="FNanchor_24" href="#Footnote_24" class="fnanchor">[24]</a></p> + +<p>The Assisans were vanquished: no details of the +fight have come down to us, but we know that the +nobles lay in a Perugian prison for a year and that it +was Francis who cheered them, often astonishing them +with his wild spirits. They told him he was mad to +dance so gaily in a prison, but nothing saddened him +in those days.</p> + +<p>When peace was at last made, with hard terms for +Assisi, the prisoners returned home and threw themselves +with renewed vigour into their former pursuit of +pleasure, and soon afterwards Francis fell ill of a fever +which brought him near the grave. Face to face with +death he stood a while, and the result of the danger he +had passed through worked an extraordinary change in +his nature. His recovery was in reality a return to a +new life, both of body and soul. Celano tells us that +Francis "being somewhat stronger and able to walk +about the house leaning on a stick, in order to complete +his restoration to health one day went forth and +with unusual eagerness gazed at the vast extent of +country which lay before him; yet neither the charm +of the vineyards or of aught that is pleasant to look on, +were of any consolation to him."<a name="FNanchor_25" id="FNanchor_25" href="#Footnote_25" class="fnanchor">[25]</a></p> + +<p>It was probably from the Porta Nuova, close to +where the church of Santa Chiara now stands, that he +looked out on the Umbrian country he loved so well. +Here Mount Subasio rises grey and bleak above the +olive groves which slope gradually down to the valley +<span class="pagenum"><a name="Page_44" id="Page_44">44</a></span> +where a white road leads past Spello to Foligno in the +plain and on to Spoleto high up in the mountain gorge +which brings the valley to a close. All these towns +were dear and familiar to Francis. He had watched +them in spring time when the young corn was ripening +near their walls and the children came out to look for +the sweet scented narcissi. While wandering on the +hill sides at dawn he had seen the brown roofs warmed +by the first rays of the sun and each window twinkle +like so many eyes across the plain in answer to the +light. But as he looked now upon the same scene a +great sadness came over him, and we are told he wondered +at the sudden inward change. That hour in the +smiling Umbrian landscape was the most solitary he +ever experienced; ill and weak he awoke to the +emptiness of the life he had hitherto led, and in the +bitterness of his soul he did not know where to turn +for comfort.<a name="FNanchor_26" id="FNanchor_26" href="#Footnote_26" class="fnanchor">[26]</a></p> + +<p>It is a remarkable fact that Celano does not from +this moment picture Francis as an aureoled saint, but +allows us to realise the many difficulties he had to overcome +before he stands once more among the vineyards +with a song of praise upon his lips, and a look of victory +in his eyes.</p> + +<p>Although Francis began to "despise those things he +had formerly held dear," he was not altogether freed +from the bonds of vanity, nor had he "thrown off the +yoke of servitude"; for when restored to health he +was full of ambitious projects to make a great career +for himself in the world. The realisation of his dreams +seemed indeed near, as it happened at this time that a +noble knight of Assisi was preparing to join the army +<span class="pagenum"><a name="Page_45" id="Page_45">45</a></span> +of Gauthier de Brienne, then fighting the battles of +Pope Innocent III, in Apulia. Francis, "greedy of +glory," determined to accompany the knight to the +wars, and began to prepare for the journey with more +than usual magnificence. He was all impatience to +start, and his mind was full of the expedition when he +had a dream which filled him with hope. In lieu of +the bales of silk in his father's warehouse, stood saddles, +shields, and lances, all marked with the red cross, and +as he marvelled at the sight a voice told him those +arms were intended for himself and his soldiers. Rising +next morning full of ambitious plans after such an omen +of good fortune, he mounted his charger and rode +through the town bidding farewell to his friends. He +smiled on all and seemed so light of heart that they +pressed round asking what made him so merry. +"I shall yet be a great prince," he answered, and he +passed out of the Porta Nuova, where but a short while +before he had stood looking down so sadly on the +valley he was now to traverse as an armoured knight. +At Spoleto he had a return of intermittent fever, and +while chafing at the delay a voice called to him: +"Francis, who can do the most good, the master or +the servant?"</p> + +<p>"The master," answered Francis, not in the least +astonished by the mysterious question.</p> + +<p>"Why then dost thou leave the master for the servant, +and the prince for the follower? Return to thy +country, there shalt thou be told what to do; for thou +hast mistaken the meaning and wrongly interpreted the +vision sent thee by God."</p> + +<p>Next morning, leaving the knight to continue the +journey alone, he mounted his horse and returned to +Assisi, where he was doubtless received with disappointment +by his parents, and with gibes by the citizens who +had listened to his boasts of future greatness. Once +<span class="pagenum"><a name="Page_46" id="Page_46">46</a></span> +again he went back to work in his father's shop, but +now when the young nobles called to him to join in +their revels he went listlessly, often escaping from their +midst to wander alone in the fields or pass long hours +praying in a grotto near the city. One day his friends, +in despair at his frequent absences, gave a grand banquet, +making him "King of the feast." He delighted them +all with fitful bursts of merry wit, but at last when the +revellers rushed out into the night to roam about the +town till dawn, Francis fell back from the gay throng, +and stood gazing up at the calm Umbrian sky decked +in all its splendour of myriad stars. When the others +returned in search of their leader, they, wondering at +the change that had come over the wildest spirit of +Assisi, assailed him with questions. "Are you thinking +of marrying, Francis," cried one jester, and amidst +the laughter of all came his quiet answer: "Yes, a +wife more noble and more beautiful than ye have ever +seen; she will outshine all others in beauty and in +wisdom." Already the image of the Lady Poverty +had visited him, and enamoured like a very troubadour +he composed songs in her honour as he walked in the +woods near Assisi.</p> + +<p>The kind heart of Francis had always been touched +at the sight of the poor lepers, who, exiled from the +companionship of their fellow creatures, lived in a lazar-house +on the plain, about a mile from the town. But his +compassion for their misery was mingled with a strong +feeling of repugnance, so that he had always shunned +these wretched outcasts. "When I was in the bondage +of sin," he tells us in his will, "it was bitter to me, +and loathsome to see, and loke uppon persouny enfect +with leopre; but that blessed Lord broughte me amonge +them, and I did mercy with them, and departing from +them, what before semyd bittre and lothesomme was +turned and changed to me in great sweetnesse and comfort +<span class="pagenum"><a name="Page_47" id="Page_47">47</a></span> +both of body and of soule, and afterwards in this +state I stode and abode a lytle while, and then I lefte +and forsooke the worldly lyf."<a name="FNanchor_27" id="FNanchor_27" href="#Footnote_27" class="fnanchor">[27]</a></p> + +<p>Pietro Bernardone now saw his son, clothed in rags, +his face pinched and white from long vigils spent in +prayer, going forth on errands of mercy, jeered at by +the citizens, pelted with stones and filth by the children. +There were many storms in the Bernardone household +which the gentle Pica was unable to quell; and when +finally Francis began to throw his father's money +among the poor in the same regal manner in which +he had once spent it among his boon companions, Bernardone +could bear it no longer, and drove his son +from the house. When they met he cursed him, and +the family bonds thus severed were never again renewed.</p> + +<p>Francis was still like a pilgrim uncertain of his goal, +or like a man standing before a heavy burden which +he feels unable to lift. What was he to do with his +life—how could he help the poor and suffering—were +questions he asked himself over and over again as he +vainly sought for an anchor in the troubled seas. The +answer came to him one day as he was attending mass +at the chapel of the Portiuncula on the feast of St. +Matthew the apostle, in the year 1209.</p> + +<p>"And as ye go, preach, saying, The kingdom of +heaven is at hand. Heal the sick, cleanse the lepers, +raise the dead, cast out devils: freely ye have received, +freely give. Provide neither gold, nor silver, nor brass +in your purses, nor scrip for your journey, neither two +coats, neither shoes, nor yet staves" ... read the +priest from the gospel of the day. Those simple words +were a revelation to Francis, who, when mass was over, +<span class="pagenum"><a name="Page_48" id="Page_48">48</a></span> +ran out into the woods, and, with only the birds in +the oak trees to witness his strange interpretation of +the gospel, threw away his shoes, wallet, staff and +well-filled purse. "This is what I desired; behold, +here is what I searched for and am burning to perform," +he cried, in the delirium of his new-found +joy.</p> + +<p>If the Assisans had been astonished at his former +eccentricities, as they termed his deeds of charity, they +were yet more amazed to see him now, clothed in a +coarse habit, with a knotted cord round his waist, and +with bare feet, begging his bread from door to door. +After a little while they grew accustomed to the +hurrying figure of the young mendicant as he passed +rapidly down the street greeting all he met with the +salutation of "Our Lord give thee His peace." The +words brought something new and strange into men's +hearts, and those who had scoffed at him most drew +near to learn the secret of their charm. The first to +be touched by the simplicity and joyous saintliness of +Francis was Bernardo di Quintevalle, a wealthy noble of +Assisi, who had known him as King among the young +Assisan revellers, and watched with astonishment his +complete renouncement of the world. He determined +to join Francis in ministering to the lepers, and began +his new mode of life by selling all his possessions for +the benefit of the poor. His conversion created a considerable +stir in the town; and people had not ceased to +gossip on the subject when another well-known citizen, +Pietro de Catanio, a canon of the cathedral, also offered +his services at the lazar-house. A few days later a +labourer named Egidio "beholding how those noble +knights of Assisi despised the world, so that the whole +country stood amazed," came in search of Francis to +beg him to take him as one of his companions. Francis +met him at the entrance of the wood by the lazar hospital, +<span class="pagenum"><a name="Page_49" id="Page_49">49</a></span> +and gazing on the devout aspect of Egidio, +answered and said: "Brother most dear, God has +shown Himself exceeding gracious unto thee. If the +Emperor were to come to Assisi and desire to make a +certain citizen his knight or private chamberlain, ought +not such a one to be exceeding glad? How much +more oughtest thou not to rejoice that God hath chosen +thee out to be His knight and well-beloved servant, +to observe the perfection of the Holy Gospel"?<a name="FNanchor_28" id="FNanchor_28" href="#Footnote_28" class="fnanchor">[28]</a> +and, taking him by the hand, he brought him to the +hut which was their home. Here a merchant's son, +a learned churchman, and a rich nobleman, welcomed +an Assisan labourer in their midst with the simple +brotherly love which was to be the keynote of the +franciscan order. After the reception of Egidio we +are told that Francis went with him to the Marches +of Ancona, "singing glorious praises of the Lord of +heaven and earth" as they travelled along the dusty +roads. Albeit Francis did not preach publicly to the +people, yet as he went by the way he admonished and +corrected the men-folk and the women-folk, saying +lovingly to them these simple words: "Love and fear +God, and do fit penance for your sins." And Egidio +would say: "Do what this my spiritual Father saith +unto you, for he speaketh right well."</p> + +<p>It was not long before the fame of Francis drew +quite a little community of brethren to the tiny hut in +the plain, and the question naturally occurs—Did +Francis plan out the creation of an order when he +gathered men around him? It was so natural a thing +for disciples to follow him that his biographers simply +note it as a fact, and, not being given to speculation in +those days, pass on to other events. We may be +allowed to conjecture that the same ambition which +some years before had stirred his longing to be a great +<span class="pagenum"><a name="Page_50" id="Page_50">50</a></span> +prince was not dead, only his dreams were to be +realised in another sphere of action. The qualities +which made him the brilliant leader among the gay +nobles of Assisi were now turned into another channel—he +became a prince among saints, a controller of +men's destinies.</p> + +<p>Varied indeed was the band of Francis' disciples, +and it is interesting to see how each one was allowed +to follow the bent of his nature. In this complete +sympathy with character lay one of the secrets of his +power. Egidio, who in the world had been a labourer, +was encouraged by his master to continue his life in the +open country. He gathered in the olives for the peasants, +helped them with their vintage, and when the +corn was being cut would glean the ears; but if anyone +offered him a handful of grain, he remarked: "My +brother, I have no granary wherein to store it." +Usually he gave away what he had gleaned to the +poor, so that he brought little food back to the convent. +Always ready to turn his hand to every job, one day +we find Egidio beating a walnut tree for a proprietor +who could find none to do the work because the tree +was so tall. But he set himself gaily to the task, and +having made the sign of the Cross, "with great fear +climbed up the walnut tree and beat it. The share that +fell to him was so large that he could not carry it in his +tunic, so taking off his habit he tied the sleeves and the +hood together and made a sack of it."<a name="FNanchor_29" id="FNanchor_29" href="#Footnote_29" class="fnanchor">[29]</a> With this load +on his back he returned towards the convent, but on +the way distributed all the nuts to the poor. Egidio +remains the ideal type of the franciscan friar. "He +is a Knight of my Round Table," said Francis one +day as he recounted some new adventure which had +befallen the intrepid brother, who was always journeying +<span class="pagenum"><a name="Page_51" id="Page_51">51</a></span> +to some southern town, and is said even to have +visited the Holy Land.<a name="FNanchor_30" id="FNanchor_30" href="#Footnote_30" class="fnanchor">[30]</a></p> + +<p>A very different man, drawn by the magic influence +of Francis into the Order at the beginning of its fame +in 1211, was Elias Buonbarone, the son of a Bolognese +mattress-maker who had for some time been settled in +Assisi. He is always represented by the biographers +as haughty, overbearing, and fond of controlling the +actions of others; in fact a strong contrast to the meek +brother Leo whom Francis lovingly named the little +lamb of God. But if lacking in saintly qualities, Elias +possessed a remarkable mind and determination of +character which enabled him afterwards to play a +considerable part in the history of his times. He +embodies the later franciscan spirit which grew up +after the saint's death, and of which we shall treat in +another chapter.</p> + +<p>When Francis found himself surrounded by some +dozen followers, all anxious to obey his wishes to the +very letter and waiting only to be sent hither and thither +as he commanded, it became necessary to write down +some rule of life. In simple words he enjoined all to +live according to the precepts of the Gospel, "and +they that came to reseyve this forme or manner of +lyvynge departyd and distributed that they had and +myght haue too powre people. And we were content +with oone coote pesyd bothe within forthe and without +forthe with oone corde and a femorall, and we wolde +<span class="pagenum"><a name="Page_52" id="Page_52">52</a></span> +not haue ony more. Our dyvyne servyse the clerkis +saide as other clerkis, and the lay bretherne said ther +Pater noster. And we fulle gladly dwelt and taried in +pour deserte and desolat churchys, and we were contente +to be taken as ideotis and foolys of every man, and I +did exercyse my self in bodily laboure. And I wille +laboure, and yt ys my wille surely and steadfastely that +alle the bretherne occupie and exercyse themself in +laboure, and in such occupation and laboure as belongeth +to honeste. And those that have no occupation +to exercyse themself with alle, shall lerne not for +covetis to resceyve the price or hier for their laboure, +but for to give good example and eschewe and put +away idlenesse. When we wer not satisfied nor recompensied +for our laboure, we went and had recourse +to the lord of oure Lorde, askynge almes from dore to +dore. Our Lorde by reualation tawghte me to say +this maner of salutation, 'Our Lorde give to thee His +peace.'"<a name="FNanchor_31" id="FNanchor_31" href="#Footnote_31" class="fnanchor">[31]</a></p> + +<p>The first rule which Francis and his companions +took in the summer of 1210 to be confirmed by Innocent +III, has not come down to us. In Rome they +fortunately met the bishop of Assisi, who promised to +obtain for them, through one of the Cardinals, an interview +with the Pope. A legend tells us how Innocent, +wrapt in deep meditation, was pacing with solemn step +the terrace of the Lateran, when this strange company +of ragged, bare-footed, dusty men was ushered into his +presence. He looked at them in surprise, his lip +curling in disdain as Francis stepped forward to make +his request. From an Umbrian pilgrim he heard for +the first time that power was not the greatest good in +life while in poverty lay both peace and joy, and the +great pope stood amazed at the new doctrine. "Who +can live without temporal possessions," sarcastically +<span class="pagenum"><a name="Page_53" id="Page_53">53</a></span> +asked the Cardinals who had been trained in the spirit +of Innocent, and the "Penitents of Assisi" bowed +their heads, and drawing their hoods forward, went +sorrowfully out of the pope's presence amid the jeers of +his court. That night Innocent had a dream in which +he saw the church of St John Lateran about to fall, +and its tottering walls were supported on the shoulders +of a man whom he recognised as the spokesman of the +band of Umbrians he had so hastily dismissed. Full +of strange visions the pope sent for Francis, who repeated +his desire to have his rule confirmed. "My +son," said Innocent, "your rule of life seems to us +most hard and bitter, but although we do not doubt +your fervour we must consider whether the road is not +too hard a one for those who are to follow thee." +Francis, with ready wit, answered these objections by +a tale he invented for the purpose. "A beautiful +but poor girl lived in a desert, and a great king, seeing +her beauty, wished to take her to wife, thinking by her +to have fine children. The marriage having taken +place, many sons were born, and when they were +grown up their mother thus spoke to them: 'My sons +be not ashamed, for you are sons of the king; go +therefore to his court and he will cause all that is +needful to be given to you.' And when they came, +the king, observing their beauty and seeing in them his +own likeness and image, said: 'Whose sons are you?' +And they answered; 'sons of a poor woman who lived +in the desert.' So with great joy the king embraced +them, saying: 'Be not afraid, for you are my sons, and +when strangers eat at my table how much more right +have you to eat who are my legitimate sons?' The +king then ordered the said woman to send all sons born +of her to be nourished at his court." "Oh, Messer," +cried Francis, "I am that poor woman, beloved of +God, and made beautiful through His mercy, by whom +<span class="pagenum"><a name="Page_54" id="Page_54">54</a></span> +he was pleased to generate legitimate sons. And the +King said to me that he will feed all the sons born of +me, for as He feeds strangers so He may well feed His +own."</p> + +<p>Thus did Francis describe his Lady Poverty, and +boldly hint that the crimson-robed princes of the Church +and the prelates of the Papal Court had strayed from +the teaching of the Gospel.</p> + +<p>Who can say whether Innocent, watching with keen +eyes the earnest face of the Umbrian teacher, began to +realise the power such a man might have in restoring +to the church some of its lost purity, and was planning +how to yoke him to his service. This at least we +know, that before Francis and his companions left +Rome they received the tonsure which marked them +as the Church's own, and with blessings and promises +of protection Innocent sent this new and strange militia +throughout the length and breadth of Italy to fight his +spiritual battles. The simplicity and the love of +Francis had conquered the Pope, and to the end continued +to triumph over every difficulty.</p> + +<p>Such was the desire of Francis and his companions +to return to Assisi with the good news, that they forgot +to eat on the way and arrived exhausted in the valley +of Spoleto, though still singing aloud for the joy in +their hearts. Somewhere near Orte they found an +Etruscan tomb—a delightful retreat for prayer. It so +pleased Francis that a strong temptation came over him +to abandon all idea of preaching and lead a hermit's +life. For there was that in his nature which drew him +into the deep solitude of the woods, and might have +kept him away from men and the work that was before +him. The battle in his soul waged fiercely as he +stood upon the mountain side looking up the valley +towards Assisi, but his heart went out to the people +who dwelt there, and the strong impulse he had to help +<span class="pagenum"><a name="Page_55" id="Page_55">55</a></span> +those who suffered and needed him won the day. The +die was cast; he left his Etruscan retreat to take up once +more the burden, and thus it was that, in the words of +Matthew Arnold: "He brought religion to the people. +He founded the most popular body of ministers of +religion that has ever existed in the church. He transformed +monachism by uprooting the stationary monk, +delivering him from the bondage of property, and sending +him, as a mendicant friar, to be a stranger and sojourner; +not in the wilderness, but in the most crowded +haunts of men, to console them, and to do them +good."</p> + +<p>When Francis began his mission among the people +of Italy it was the custom for only the bishops to preach; +but as they lived in baronial splendour, enjoying the +present, and amassing money which they extorted from +their poor parishioners to leave to their families, they +had little time to attend to spiritual duties. The people +being therefore left much to their own devices, sank +ever deeper into ignorance, sin, and superstition. They +saw religion only from afar until Francis appeared +"like a star shining in the darkness of the night" to +bring to them the messages of peace and love. He +came as one of themselves, poor, reviled and persecuted, +and the wonder of it made the people throng in crowds +to hear one who seemed indeed inspired. Those simple +words from the depths of a great and noble heart filled +all who listened with wonder. They were like the +sharp cries of some wild bird calling to its mate—the +people heard and understood them. When the citizens +of an Umbrian town looked from their walls across the +valley and saw the grey cloaked figure hurrying along +the dusty road, they rang the bells to spread the good +news, and bearing branches of olive went out singing to +meet him. All turned out of their houses to run to +the market-place where Francis, standing on steps, or +<span class="pagenum"><a name="Page_56" id="Page_56">56</a></span> +upon a low wall, for he was short of stature, would +speak to them as one friend does to another; sometimes +charming them by his eloquence, often moving the +whole multitude to bitter tears by his preaching on the +passion of Christ. With his eyes looking up to the +heavens, and his hands outstretched as though imploring +them to repent, he seemed to belong to another world +and "not to this century." They not only repented, +but many left the world to follow him and spread the +gospel of peace and love. The first woman who begged +him to receive her vows of renunciation was Chiara +Sciffi, of a noble Assisan house. Several members of +the family, besides others from near and far, followed +her into the cloister until she became the abbess of a +numerous sisterhood, the foundress of the Poor Clares +or Second Order of St. Francis.</p> + +<p>The first inspired messages of Francis were brought +to the Assisans, and then he left them for awhile to +journey further afield into other parts of Italy, where +he always met with the same marvellous success. In +the following account of his visit to Bologna we get a +vivid idea of his manner of appeal to the people; and +of their enthusiasm and astonishment that this poor and +seemingly illiterate man, the very antithesis of the +pedantic clergy, should have the power to hold and +sway an audience by the magic of his words. "I, +Thomas, citizen of Spalato, and archdeacon of the +cathedral church of the same city, studying at Bologna +in the year 1220, on the day of the assumption of the +Mother of God, saw St. Francis preach in the square +before the little palace, where nearly the whole town +was assembled. He spoke first of angels, of men, and +of devils. He explained the spiritual natures with +such exactness and eloquence that his hearers were +astonished that such words could come from the mouth +of a man so simple as he was. Nor did he follow the +<span class="pagenum"><a name="Page_57" id="Page_57">57</a></span> +usual course of preachers. His discourse resembled +rather one of those harangues that are made by popular +orators. At the conclusion, he spoke only of the +extinction of hatred, and the urgency of concluding +treaties of peace, and compacts of union. His garments +were soiled and torn, his person thin, his face pale, but +God gave his words unheard-of power. He converted +even men of rank, whose unrestrained fury and cruelty +had bathed the country in blood; many who were +enemies were reconciled. Love and veneration for the +saint were universal; men and women thronged around +him, and happy were those who could so much as touch +the hem of his habit."<a name="FNanchor_32" id="FNanchor_32" href="#Footnote_32" class="fnanchor">[32]</a></p> + +<p>Young knights and students stepped out of the crowd +after one of these burning discourses, resolved to don +the grey habit and renounce the world. The ranks of +the followers of St. Francis were swelled at every town +through which he passed; and he left some of his own +sweetness and gentleness among those who had listened +to his preaching, so that party feuds lay dormant for +awhile, enemies were reconciled, and all tried to lead +more Christian lives. <i>Pax et bonum</i> was the Franciscan +war-cry which fell indeed strangely on the air in a +mediæval town. Whenever Francis heard of tension +and ill-will between the nobles and the people he +hurried with his message of peace to quell the storm.</p> + +<p>But at Perugia he failed. Brother Leo tells us that, +"Once upon a time, when the Blessed Francis was +preaching to a great multitude of people gathered together +in the Piazza of Perugia, some cavaliers of the +city began to joust and play on their horses in the +piazza, thus interrupting his sermon; and, although +rebuked by those present, they would not desist. Then +<span class="pagenum"><a name="Page_58" id="Page_58">58</a></span> +the blessed Francis, in the fervour of his soul, turned +towards them and said, 'Listen and understand what +the Lord announces to you by me, his little servant, +and refrain from jeering at him, and saying, He is +an Assisan.' This he +said because of the +ancient hatred which +still exists between +the Perugians and the +Assisans...."<a name="FNanchor_33" id="FNanchor_33" href="#Footnote_33" class="fnanchor">[33]</a> Rebuking +the citizens +for their pride, he predicted +that if they +did not shortly repent +civil war would break +out in the city. But +the Perugians, who +fought ever better than +they prayed, continued +in their evil +ways until at length +the words of St. +Francis were verified. +A tumult arose between +the people of +Perugia, and the +soldiers were thrust +out of the city gates +into the country, which they devastated, destroying +trees, vineyards, and corn-fields, so that the misery in +the land was great.</p> + +<div class="figleft"><a name="illo074" id="illo074"></a> +<img src="images/illus074.jpg" width="325" height="475" alt="VIA DI S. MARIA DELLE ROSE" /> +<p class="caption">VIA DI S. MARIA DELLE ROSE</p> +</div> + +<p>In the course of a single day Francis often preached +at five different towns or villages; sometimes he went +up to a feudal castle, attracted by the sound of music +and laughter. "Let us go up unto this feast," he +<span class="pagenum"><a name="Page_59" id="Page_59">59</a></span> +would say to his companion, "for, with the help of +God, we may win some good harvest of souls." +Knights and ladies left the banqueting hall when they +heard of his arrival, and Francis standing on a low +parapet of the courtyard preached so "devoutly and +sublimely to them that all stood with their eyes and +their minds turned on him as though an angel of God +were speaking." And then the gay company returned +to their feast and the two friars went on their way +singing aloud from the joy in their hearts, and passed +the night praying in some deserted church or rested +under the olive trees on the hill-side. At dawn they +rose and "went according to their rule, begging bread +for the love of God, St. Francis going by one street +and Brother Masseo by another. But St. Francis, +being contemptible to look upon and small of stature, +was accounted but a vile beggar by those who knew +him not, and only received some mouthfuls of food +and small scraps of stale bread; but to Brother Masseo, +because he was tall and finely made, were given tit-bits +in large pieces and in plenty and whole slices of bread. +When they had done begging they met together outside +the town to eat in a place where was a fair spring, +and near by a fine broad stone whereon each placed +the alms they had gathered, and St. Francis seeing +the pieces of bread given to Brother Masseo to be +more numerous, better, and far larger than his own +rejoiced greatly...."<a name="FNanchor_34" id="FNanchor_34" href="#Footnote_34" class="fnanchor">[34]</a></p> + +<p>Masseo on one occasion wishing to try the humility +of Francis mocked him saying, "Why doth all the +world come after thee, and why is it that all men long +to see thee, and hear thee, and obey thee? Thou art +not a comely man, thou art not possessed of much +wisdom, thou art not of noble birth; whence comes +it then that the whole world doth run after thee?"</p> + +<p><span class="pagenum"><a name="Page_60" id="Page_60">60</a></span></p> + +<p>It is easy to see the naive wonder of the practical +Masseo in these words, a wonder doubtless shared by +others who looked on from the same standpoint, at the +extraordinary influence Francis obtained through his +preaching. Their astonishment must have reached its +height when Francis came to a little town near Bevagna +(perhaps Cannara) where he preached with such fervour +that the whole population wished to take the franciscan +habit. Husbands, wives, nobles, labourers, young and +old, rich and poor, rose up with one accord, ready to +leave their homes and follow him to the end of the +earth. Such an awakening by the simple words of a +road-side preacher had never before been seen, and was +the precursor of other popular demonstrations a few +years later.<a name="FNanchor_35" id="FNanchor_35" href="#Footnote_35" class="fnanchor">[35]</a> Francis, with extraordinary diplomacy, +held the enthusiastic crowd in check without extinguishing +their piety. He calmly viewed the situation +and solved the difficulty where another, with less knowledge +of human nature, might have been carried away +by the opening of the flood-gates. It is not without +amusement that one thinks of Francis coming to convert +sinners, and then finding he had called into being +an order of Religious who absolutely refused to separate +from him. He calmed the weeping crowd, and with +caution said to them: "'Be not in a hurry, neither +leave your homes, and I will order that which ye are +to do for the salvation of your souls:' and he then +decided to create the Third Order for the universal +salvation of all, and thus, leaving them much consoled +and well disposed to penitence, he departed...."</p> + +<p>At a time when war, party feuds, and the unlawful +seizure of property brought misery into the land, the +Tertiaries, united by solemn vows to keep the commandments +of God, to be reconciled to their enemies, and +<span class="pagenum"><a name="Page_61" id="Page_61">61</a></span> +to restore what was not rightfully theirs, became a +power which had to be reckoned with. The rule forbidding +them to fight, save in defence of the Church +or of their country, dealt a severe blow at the feudal +system, and therefore met with much opposition among +the great barons. Persecution only increased their +power, for so early as 1227 Gregory IX, protected +the Brothers of Penitence by a special Bull. The +enemies of the Church soon discovered that they had a +powerful antagonist in an Order which comprised the +faithful of every age, rank, and profession, and whose +religious practices, whilst creating a great bond of union +among them, were not severe enough to take them +away from social life in the very heart of the great +cities. They formed a second vanguard to the papacy, +and Frederick II, was heard to complain that this +Third Order impeded the execution of his plans +against the Holy See; while his chancellor Pier delle +Vigne in one of his letters exclaims that the whole +of Christendom seems to have entered its ranks.<a name="FNanchor_36" id="FNanchor_36" href="#Footnote_36" class="fnanchor">[36]</a></p> + +<p>Thus both from within and from without the world +was being moulded as Francis willed; all Italy responded +to his call, and everywhere rose songs of praise to God +from a people no longer oppressed by the squalor of +their evil living. His energy and desire to gain souls +drew him still further afield into the wilds of Slavonia, +into Spain, Syria, Morocco, and later into Egypt, for +the purpose of converting the Soldan. So great was +his eagerness to arrive at his destination and begin to +preach that, often leaving his companions far behind, +he literally ran along the roads. He was "inebriated +by the excessive fervour of his spirit," and on fire with +divine love, and yet he failed on these missions in +foreign lands. The reason probably lay in his total +<span class="pagenum"><a name="Page_62" id="Page_62">62</a></span> +ignorance of any language except Italian and Provençal, +so that his words must have lost all their eloquence +and power when delivered through the medium of an +interpreter, and we know that Francis never made use +of miracles to enforce his teaching.<a name="FNanchor_37" id="FNanchor_37" href="#Footnote_37" class="fnanchor">[37]</a></p> + +<p>He returned to Assisi bitterly disappointed, and so +despondent that for a while he was tempted to give up +all idea of preaching. In this uncertainty he turned +for council to Brother Sylvester and to St. Clare, who +both urged him to continue his mission to the people; +God, they said, had not elected him to work out his +salvation in the solitude of a cell but for the salvation +of all. He left the hermitage (perhaps the Carcere) +and filled with new courage by their words, started on +a fresh pilgrimage by "cities and castles," but this time +among the Umbrians who knew and loved him. As +he came near Bevagna in the plain a new crowd of +listeners awaited him—troops of fluttering birds—bullfinches, +rooks, doves, "a great company of creatures +without number." Leaving his companions in a state +of wonder on the road, he ran into the field saying, +"I would preach to my little brothers the birds," and +as he drew near, those that were on the ground did not +attempt to fly away, while those perched on the trees +flew down to listen to his sermon.</p> + +<p>"My little brethren birds," he said, after saluting +them as was his custom, "ye ought greatly to praise +<span class="pagenum"><a name="Page_63" id="Page_63">63</a></span> +and love the Lord who created you, for He provideth +all that is necessary, giving unto you feathers for raiment +and wings to fly with. The Most High God has placed +you among His creatures, and given you the pure air +for your abode; ye do not sow neither do ye reap, but +He keeps and feeds you."<a name="FNanchor_38" id="FNanchor_38" href="#Footnote_38" class="fnanchor">[38]</a> Stretching out their necks, +opening their beaks, and spreading their wings, the birds +listened while they fixed their eyes upon the saint and +never moved even when he walked in their midst +touching them with his habit, until he made the sign +of the Cross and allowed them to depart. He often +related this episode which had made such a happy day +in his life and had been of good augury at a time when +he was sad.</p> + +<p>The love of Francis for his "little brethren the +birds," and indeed for all creatures however small, was +one of the most beautiful traits in a character which +stands out in such strong relief in the history of the +middle ages. It was not only a poetical sentiment but +the very essence of his being; a power felt by every +living thing, from the brigand who left his haunts in +the forests to follow him, to the half-frozen bees which +crawled in winter to be fed with wine and honey from +his hands. An understanding so complete with Nature +was unknown until Francis stretched out his arms in +yearning towards her shrines and drew the people, +plunged in the gloom of Catharist doctrines, towards +what was a religion in itself—the worship of the +beautiful.</p> + +<p>"Le treizième siècle était prêt pour comprendre la +voix du poète de l'Ombrie; le sermon aux oiseaux clôt +le règne de l'art byzantin et de la pensée dont il était +l'image. C'est la fin du dogmatisme et de l'autorité; +c'est l'avenement de l'individualisme et de l'inspiration,"<a name="FNanchor_39" id="FNanchor_39" href="#Footnote_39" class="fnanchor">[39]</a> +<span class="pagenum"><a name="Page_64" id="Page_64">64</a></span> +says M. Paul Sabatier. No one mocked at the sermon +to the birds; no one wondered that leverets, loosed +from the snare of the huntsman, should run to Francis +for protection, or pheasants forsake the woods to seek a +shelter in his cell; for so great an awakening had taken +place in Italy that all understood the deep vein of +poetry in their saint.</p> + +<p>His biographers have transmitted these various anecdotes +with a tenderness and simplicity which cannot +fail to impress us with the belief that Francis, like +many in our own time, possessed a marked attraction +for all animals, a magnetism felt with equal strength by +man and beast. Love was the Orphean lute he played +upon, sending such sweet melody into the world that +its strains have not yet died away.</p> + +<p>Besides the feeling he had for the beautiful, the +small, or the weak, there was another influence at work +that made him walk with reverence over the stones, +gather up the worms from the path to save them from +being crushed, and buy the lambs that were being +carried to market with their poor feet tied together. +He saw in all things a symbol of some great truth +which carried his thoughts straight to God. One +day near Ancona he noticed a lamb following slowly +and disconsolately a large herd of goats which made +him think of Christ among the Pharisees. In pity +he bought it from the goat-herd, and in triumph +carried it to a neighbouring town where he preached +a parable to an admiring crowd, even edifying the +bishop by his piety.</p> + +<p>Speaking of his favourite birds he would say, +"Sister lark hath a hood like the Religious ... and +her raiment—to wit her feathers—resemble the earth.... +And when she soars she praises God most +sweetly." Such was his desire to protect them that +he once said if he could only have speech with the +<span class="pagenum"><a name="Page_65" id="Page_65">65</a></span> +Emperor he would entreat him to pass a special edict +for the preservation of his sisters the larks, and command +the "Mayors of the cities and the Lord of +the castles to throw grain on the roads by the walled +towns" on the feast of the Nativity, so that all the +birds should rejoice with man on that day. He found +great joy in the open fields, the vineyards, the rocky +ravines, and the forests which gave shelter to his +feathered brethren; running water and the greenness +of the orchards, earth, fire, air, and the winds +so invited him to divine love that often he passed +the whole day praising the marvels of creation. No +wonder he turned his steps more willingly up the +mountain paths to the hermitage of the Carceri than +towards the crowded cities. Nature was his companion, +his breviary the mirror wherein he saw reflected +the face of the Creator. In the song of the +nightingales, in the sound of their wings, in the petals +of a tiny flower, in the ever changing glory of his +own Umbrian valley he was always reminded of God, +and for this he has been rightly called a "Pan-Christian."</p> + +<p>There is not a corner in Umbria, one might almost +say in Italy, which does not bear some record of the +passage of the saint. The sick were brought to him +and cured, those in trouble laid their sorrows before +him and went away comforted. When anything went +wrong, a hasty message was sent to Francis, and all +with child-like simplicity trusted in him to set things +right. We even hear that the people of Gubbio, being +persecuted by a fierce wolf, had recourse to him, for +they failed to protect themselves though the men +sallied forth "as if going to battle." The saint had +little difficulty in persuading Brother Wolf to lead a +respectable life; and he, seeing the advantage of a +peaceful existence, bowed his head and placed his paw, +<span class="pagenum"><a name="Page_66" id="Page_66">66</a></span> +as a solemn seal to the compact, in the hand of Francis +amid the joyful cries of the people who marvelled +greatly at the "novelty of the miracle." After this +he could be seen walking gently through the streets +of Gubbio to receive his daily ration at every door, +cared for by the citizens "and not a dog would wag +even his tongue against him." When Brother Wolf +died there was bitter mourning in the city, for all felt +as if a friend had passed away, and there was none +left to remind them of the kindly saint who had +helped them in their need. "Am I expected to +believe these fairy tales?" some may ask with a sneer. +The exact events related—no—but the spirit of these +legends is more necessary to a true conception of the +saint and the times in which he lived than all the +histories that can ever be written about him. The +Umbrians pictured him as they saw and understood +him, and tradition going from mouth to mouth found +finally its perfect expression in the "Little Flowers of +St. Francis." Wonders and miracles are in every page, +it is true, but then the peasants will tell you all things +are possible in Umbria; the taming of wild beasts, +the silencing of garrulous swallows who chattered so +loudly while he preached, do not seem stranger to them +than the conversion of brigands and murderers, for did +not the very angels obey his wishes and play and sing +to him one night when he lay ill in a lonely hermitage, +longing for the sound of sweet strains to break the +awful stillness round him?</p> + +<p>Francis would have been sorely troubled had he +foreseen the numberless miracles his biographers were +going to attribute to him, for no saint was ever +humbler. Even in his lifetime, oppressed by the +homage paid him, he would say to his adorers with a +touch of quaint humour: "do not be in such haste to +proclaim me a saint, for I may still be the father of +<span class="pagenum"><a name="Page_67" id="Page_67">67</a></span> +children." He was always fearful lest people should +overrate his good actions, and his horror of hypocrisy +drove him to confess aloud to the people gathered +round to listen to a sermon, in what manner he had +given way to the desires of "Brother Body." Upon +one occasion having used lard in lieu of the less +wholesome oil when he was ill, he began his sermon +by saying: "Ye come to me with great devoutness +believing me to be a saint, but I do confess unto God +and unto you that this Lent I have eaten cakes made +with lard." Another time, after a severe chill, his +companions sewed some fox-skin inside his habit to +keep him somewhat warmer during the bitter cold, +but he was not happy until a piece had been sewn +also on the outside so that all might see the luxury +he allowed himself.</p> + +<p>It may at first seem strange that one so simple +should have exercised such extraordinary influence on +men and women of all ranks, an influence which has +lasted with undiminished force for seven hundred +years. But we must remember that a people, however +ready to listen to the words of a reformer (especially +an Italian crowd), will hardly be moved by calmness +or sense; only when one like Francis stirs their +imagination by a peculiar way of announcing God's +word, and by acts sometimes bordering on insanity, +can he completely succeed in winning them. The +Assisans, at first shocked by some of the spectacles +they witnessed in their sleepy town, jeered and +murmured, until at last the saint literally took them +by storm; and the more he risked their good opinion +the louder they applauded him and wept for their sins. +Astonishment was at its height when on the way to +some service at the cathedral, the citizens saw Francis +approaching them "naked save for his breeches," +while Brother Leo carried his habit. He has gone +<span class="pagenum"><a name="Page_68" id="Page_68">68</a></span> +mad through too much penance, some thought. The +truth was that Francis had imposed this same penance +on Brother Ruffino who was then preaching to the +people in the cathedral, and his conscience smote him +so that he began to chide himself, saying: "Why art +thou so presumptuous, son of Bernardone, vile little +man, as to command Fra Ruffino, who is one of the +noblest of the Assisans, to go and preach to the people +as though he were mad."... So when Ruffino's +sermon was ended Francis went up into the pulpit and +preached with such eloquence on his Lady Poverty +and on the nakedness and shame of the Passion +suffered by Our Lord Jesus Christ "that the whole +church was filled with the sound of weeping and +wailing such as had never before been heard in Assisi." +Thus did the force of originality win the people, and +all those who had jeered but a few minutes before were +much "edified and comforted by this act of St. Francis +and Brother Ruffino; and St. Francis having reclad +Brother Ruffino and himself, returned to the Portiuncula +praising and glorifying God, who had given them +grace to abase themselves to the edification of Christ's +little sheep."</p> + +<p>By word and example Francis taught his disciples +to be especially humble towards the clergy. "If ye +be sons of peace," he often said, "ye shall win both +clergy and people, and this is more acceptable to God +than to win the people only and to scandalise the +clergy. Cover their backslidings and supply their +many defects, and when ye have done this be ye the +more humble." He had to struggle against much +opposition among the bishops, who looked upon him +and his friars as intruders encroaching upon their +rights. People had often advised him to obtain a Bull +from Rome, to enable him to preach without asking +permission, but it was through the power of persistent +<span class="pagenum"><a name="Page_69" id="Page_69">69</a></span> +meekness that he wished to win his way to every +heart, and the only weapons he used were those of +love. St. Bonaventura tells us that the Bishop of +Imola absolutely refused to let Francis call the citizens +together and preach to them. "It suffices, friar, that +I preach to the people myself," was the cross reply, +and Francis, drawing his cowl over his head, humbly +went his way. But after the short space of an hour +he retraced his steps, and the bishop inquired with some +anger why he had returned. He made answer in all +humility of heart and speech: "My lord, if a father +sends his son out at one door there is nothing left for +him but to return by another." Then the bishop, +vanquished by his humility, embraced him with a joyful +countenance, saying: "Thou and all thy brethren +shall have a general licence to preach throughout +my diocese, as the reward of thy holy humility."<a name="FNanchor_40" id="FNanchor_40" href="#Footnote_40" class="fnanchor">[40]</a></p> + +<p>This was the saint, gentle and sweet among men, +who won the friendship of Ugolino, Bishop of Ostia +(afterwards Pope Gregory IX). The bishop often +spent quiet hours at the Portiuncula, trying perhaps to +find, in the companionship of the saint and his poor +friars, a peace he in vain sought amid the luxury +of the Papal Court. Celano,<a name="FNanchor_41" id="FNanchor_41" href="#Footnote_41" class="fnanchor">[41]</a> who may have been +present during one of these meetings, tells us how +he delighted in throwing off his rich robes and clothing +himself in the Franciscan habit. In these moments +of humility he would reverently bend the knee to +Francis and kiss his hands. Besides his great admiration +and love for the personality of the saint, he was +not slow to perceive the services Francis had rendered +<span class="pagenum"><a name="Page_70" id="Page_70">70</a></span> +in endeavouring to restore something of the pristine +purity to Christianity, and further, the Order was +fast becoming of political importance. The work of +organising a community, no longer a handful of Assisan +knights and yeomen following in the footsteps of their +leader, was by no means an easy task; and Ugolino +saw his way to bring it more closely into the service +of the Church. Francis, whether willingly or not we +cannot say, begged the Pope to name Ugolino Patron +and Father of his Order. This was readily accorded, +for it was felt in the papal circle that Francis was +not so easy to drive as became a submissive child of +the Church. They could not complain of actual +disobedience, but he liked doing things his own way. +By some at Rome it was suggested to him that he +should adopt the Benedictine rule, by others that he +might join his Order to that of St Dominic, but +the saint smiled sweetly, and though so dove-like none +succeeded in entangling him in their diplomatic nets. +Indeed he puzzled Ugolino many times, and both +Innocent III and Honorius III were never quite +sure whether they had to do with a simpleton or a +saint. The Roman prelates, completely out of sympathy +with his doctrine of poverty, were only too ready +to thwart him, and Ugolino knowing this advised him +"not to go beyond the mountains" but remain in Italy +to protect the interests of his order. He further persuaded +him to come to Rome and preach before the +Pope and cardinals, thinking that the personality of the +saint might perchance win their favour. Anxious to +do honour to his patron, Francis composed a sermon +and committed it to memory with great care. When +the slight, grey figure, the dust of the Umbrian roads +still clinging to his sandals, stood up in the spacious +hall of the Lateran before Honorius and the venerable +cardinals, Ugolino watched with anxious eyes the +<span class="pagenum"><a name="Page_71" id="Page_71">71</a></span> +course of events. In mortal fear "he supplicated God +with all his being that the simplicity of the holy man +should not become an object of ridicule," and resigning +himself to Providence he waited. There was a +moment of suspense, of awful silence, for Francis had +completely forgotten the sermon he had so carefully +learned by heart. But his humility befriended him; +stepping forward a few paces with a gesture of regret +he quietly confessed what had happened, and then, as +if indeed inspired, he broke forth into one of his most +eloquent sermons. "He preached with such fervour +of spirit," says Celano, "that being unable to contain +himself for joy whilst proclaiming the Word of God, +he moved even his feet in the manner of one dancing, +not for play, but driven thereto by the strength of the +divine love that burnt within him: therefore he incited +none to laughter but drew tears of sorrow from +all."<a name="FNanchor_42" id="FNanchor_42" href="#Footnote_42" class="fnanchor">[42]</a></p> + +<p>When Francis had been preaching for some time a +certain weariness seems to have possessed him, and he +would then, "leaving behind him the tumult of the +multitude," retire to some secret place to dwell in constant +prayer and heavenly contemplation. There were +many of these refuges, but none so isolated from the +world as the lofty mountain of La Vernia, which +had been given to him by Count Orlando Cattani of +Chiusi, whose ruined castle can still be seen on a spur +of the Apennines just below. The "Sacred Mount" +rises clear above the valley of the Casentino to the +height of 4000 feet, between the sources of the Tiber +and the Arno, and looks straight down upon one of +the perfect views in Tuscany which Dante speaks of:</p> +<div class="poem"> +<p class="o1">"The rills that glitter down the grassy slopes</p> +<p>Of Casentino, making fresh and soft</p> +<p>The banks whereby they glide to Arno's stream."</p> +</div> +<p><span class="pagenum"><a name="Page_72" id="Page_72">72</a></span></p> + +<p>Range upon range of splendid hills falling away +gradually to the south gather in their folds the pale-tinted +mists of early summer, and seem to guard the +valley from other lands, so intense is the feeling of +remoteness. From the white towns gleaming like +pearls on their green slopes above the young Arno +cradled by poplars, is seen the sharp outline of La +Vernia against the sky, always black, gloomy, and +defiant above the cornfields and vineyards. Its summit, +covered with fir-trees, straight and close together, +appears like a great whale that has rested there since +the days of the flood. Below the forest lie huge +boulders of rock and yawning chasms, upheaved, says +the legend, during the earthquake at the time of the +Crucifixion. To this solitary place came Francis in +the year 1224 to celebrate by forty days of fasting +and prayer the feast of St. Michael the Archangel, +accompanied by Fra Leo "the little sheep of God," +Fra Angelo "the gentle knight," Fra Illuminato, and +Fra Masseo. On former visits he had been content +to stay in a cell beneath a "fair beech tree" built for +him by Count Orlando close to where the brethren +lived; but this time he chose a spot on the loneliest +side of the mountain where no sound could be heard. +To reach it the brethren had to throw a bridge across +a "horrible and fearful cleft in a huge rock," and after +they had fashioned him a rough shelter they left him +in utter solitude; only once in the day and once at +night Fra Leo was permitted to bring a little bread +and water which he left by the bridge, stealing silently +away unless called by Francis. Near this lonely retreat +a falcon had built a nest and used to wake him +regularly a little before matins with his cry, beating +his wings at his cell until the saint rose to recite his +orations. Francis, charmed with so exact a clock, +obeyed the summons, and such was the sympathy between +<span class="pagenum"><a name="Page_73" id="Page_73">73</a></span> +the friends that the falcon always knew when he +was weary or ill, and would then "gently, and like a discreet +and compassionate person, utter his cry later ... +and besides this, in the day would sometimes stay quite +tamely with him." The birds, which had shown joy +on his arrival, filled the woods with their sweetest song +while the angels visited him, sometimes playing such +beautiful music on the viol that "his soul almost +melted away." But Francis, honoured as he was by +celestial spirits, and by man and beast, had still to receive +the greatest sign of grace ever accorded to a saint, +and the story has been gravely related by ancient and +modern writers for seven centuries.</p> + +<p>The moment had certainly arrived for accomplishing +the high designs of Providence, for Francis through +prayer, fasting, and constant contemplation on the Passion +of Christ, had become like some spiritual being +untrammelled by the bonds of the flesh. It was on +the feast of the Exaltation of the Cross while praying +on the mountain side, that the marvellous vision was +vouchsafed to him. The dawn had hardly broken +when "he beheld a Seraph who had six wings, +which shone with such splendour that they seemed +on fire, and with swift flight he came above the face +of the Blessed Francis who was gazing upwards to +the sky, and from the midst of the wings of the +Seraph appeared suddenly the likeness of a man +crucified with hands and feet stretched out in the +manner of a cross, and they were marked with +wounds like those of Our Lord Jesus Christ, and +two wings of the said Seraph were above the head, +two were spread as though flying, and two veiled the +whole body."<a name="FNanchor_43" id="FNanchor_43" href="#Footnote_43" class="fnanchor">[43]</a> Flames of fire lit up the mountains +and the valley during the vision, and some muleteers +<span class="pagenum"><a name="Page_74" id="Page_74">74</a></span> +seeing "the bright light shining through the windows +of the inn where they slept, saddled and loaded their +beasts thinking the day had broke." When Francis +rose from his knees and looked up to the sky where +the seraph had been and where now the sun was +rising over the Casentino and her steepled towns, he +bore on his body the marks of the Crucified. His +hands and feet appeared as though pierced through +with nails, the heads being on the inside of the +hands and on the upper part of the feet, while +blood flowed from the wound in his side. Thus transformed +by his surpassing love for Christ, Francis returned +to his four companions and recounted to them +his vision, trying all the while out of his deep humility +to hide from them the signs of the Stigmata. Before +returning to Assisi he bade them a final farewell, for +he knew this was the last time he would come with +them to La Vernia. The scene is beautifully pictured +in a letter of Fra Masseo, which, as far as we know, is +here translated for the first time.</p> + +<p class="center p2"><span class="smcap">Jesus, Mary my Hope.</span></p> + +<p>"Brother Masseo, sinner, and unworthy servant of +Jesus Christ, companion of Brother Francis of Assisi, +man most dear unto God, peace and greetings to all +brethren and sons of the great patriarch Francis, +standard-bearer of Christ.</p> + +<p>"The great patriarch having determined to bid a +last farewell to this sacred mount on the 30th of +September 1224, day of the feast of St Jerome, +the Count Orlando of Chiusi sent to him an ass in +order that he might ride thereon, forasmuch as he +could not put his feet to the ground by reason of +their being sore wounded and pierced with nails. In +the morning early having heard mass, according to his +<span class="pagenum"><a name="Page_75" id="Page_75">75</a></span> +wont, in Sta. Maria degli Angeli,<a name="FNanchor_44" id="FNanchor_44" href="#Footnote_44" class="fnanchor">[44]</a> he called all the +brethren into the chapel, and bade them in holy +obedience to live together in charity, to be diligent +in prayer, always to tend the said place carefully, and +to officiate therein day and night. Moreover he commended +the whole of the sacred mount to all his +brethren present, as well as to those to come, exhorting +them to have a care that the said place should not +be profaned, but always reverenced and respected, and +he gave his benediction to all inhabitants thereof, and +to all who bore thereunto reverence and respect. On +the other hand, he said: 'Let them be confounded +who are wanting in respect to the said place, and from +God let them expect a well-merited chastisement.' +To me he said: 'Know, Brother Masseo, that my +intention is that on this mount shall live friars having +the fear of God before their eyes, and chosen among +the best of my order, let therefore the superiors strive +to send here the worthiest friars; ah! ah! ah! Brother +Masseo, I will say no more.'</p> + +<p>"He then commanded and ordered me, Brother +Masseo, and Brother Angelo, Brother Silvestro and +Brother Illuminato, to have a special care of the +place where that great miracle of the holy Stigmata +occurred.<a name="FNanchor_45" id="FNanchor_45" href="#Footnote_45" class="fnanchor">[45]</a> Having said that, he exclaimed 'Farewell, +<span class="pagenum"><a name="Page_76" id="Page_76">76</a></span> +farewell, farewell, Brother Masseo.' Then +turning to Brother Angelo, he said: 'Farewell, +farewell,' and the same to Brother Silvestro and +Brother Illuminato: 'Remain in peace, most dear +sons, farewell, I depart from you in the body, but +I leave my heart with you; I depart with Brother +Lamb of God, and am going to Sta. Maria degli +Angeli<a name="FNanchor_46" id="FNanchor_46" href="#Footnote_46" class="fnanchor">[46]</a> never to return here more; I am going, +farewell, farewell, farewell to all! Farewell, sacred +mount. Farewell, mount Alvernia. Farewell, mount +of the angels. Farewell, beloved Brother Falcon, +I thank thee for the charity thou didst show me, +farewell! Farewell, Sasso Spicco,<a name="FNanchor_47" id="FNanchor_47" href="#Footnote_47" class="fnanchor">[47]</a> never more +shall I come to visit thee, farewell, farewell, farewell, +oh rock which didst receive me within thine +entrails, the devil being cheated by thee, never +more shall we behold one another!<a name="FNanchor_48" id="FNanchor_48" href="#Footnote_48" class="fnanchor">[48]</a> Farewell, Sta. +<span class="pagenum"><a name="Page_77" id="Page_77">77</a></span> +Maria degli Angeli, mother of the eternal Word. +I commend to thee these my sons.'</p> + +<p>"Whilst our beloved father was speaking these +words, our eyes poured forth torrents of tears, so +that he also wept as he turned to go, taking with +him our hearts, and we remained orphans because of +the departure of such a father.</p> + +<p>"I, Brother Masseo, have written this with tears. +May God bless us."</p> + +<p>For two years after his return from La Vernia, +Francis, bearing the marks of the Seraph, continued +to preach and visit the lazar houses, although he +was so ill and worn by fasts and vigils that his +companions marvelled how the spirit could still +survive in so frail a body. Moreover he had become +nearly blind, remaining sometimes sixty days +and more unable to see the light of day or even +the light of fire. It was to him a martyrdom that +while walking in the woods led by one of the +brethren, the scenes he loved so well should be +hidden by this awful darkness. He could only +dream of the past when he had journeyed from +one walled town to another through the valley of +Spoleto; sometimes rejoicing in the brilliant sunshine, +often watching the storms sweeping so gloriously +over the land in summer when the rocky beds +of torrents were filled with rushing water and clouds +cast purple shadows across the plain. Now those +wanderings were over, and the spirit imprisoned +within him found more than ever an outlet in music, +and "the strain of divine murmurs which fell upon +his ears, broke out in Gallic songs."</p> + +<p>He went on his way singing to meet death, and the +greater his sufferings the sweeter were the melodies he +composed. It was during an access of his infirmities +and blindness that St. Clare induced him to take some +<span class="pagenum"><a name="Page_78" id="Page_78">78</a></span> +days of rest in a small wattle hut she had built in +the olive grove close to her convent of San Damiano. +After nights of bitter tribulation, of bodily suffering, +passed in earnest prayer, he arose one morning with +his heart full of new praises to the Creator. Meditating +for a while he exclaimed, "Altissimo, omnipotente +bono Signore," and then composed a chaunt +thereon, and taught it to his companions so that they +might proclaim and sing it. His soul was so comforted +and full of joy that he desired to send for +Brother Pacifico, who in the world had borne the +title of King of Verse and had been a most renowned +troubadour, and to give to him as companions some +of the brethren to go about the world preaching and +singing praises to the Lord ... he willed also that +when the preaching was ended all together should +as minstrels of God sing lauds unto Him. And at +the close of the singing he ordered that the preacher +should say to the people: "We are the minstrels of +the Lord God wherefore we desire to be rewarded +by you, to wit, that you persevere in true repentance."<a name="FNanchor_49" id="FNanchor_49" href="#Footnote_49" class="fnanchor">[49]</a></p> + +<p>It was the Canticle of the Sun which Francis +composed in his days of blindness, leaving it as an +undying message to the world, an appeal that they +should not cease to love the things he had brought +to their knowledge during those earlier days of his +ministry among them. He poured the teaching of +a life-time into a song of passionate praise to the +Creator of a world he had loved and found so beautiful; +and the sustained melody of the long, rolling +lines charm our fancy like the sound of waves during +calm nights breaking upon the beach. The poem, +though rough and unhewn, still remains one of the +marvels of early literature, and to Francis belongs +the honour of setting his seal on the religious poetry +<span class="pagenum"><a name="Page_79" id="Page_79">79</a></span> +of his country. His was the first glow of colour +proclaiming the dawn—the first notes of song which, +coming from Assisi, passed along the ranks of Italian +poets to be taken up by Dante in "full-throated ease." +We give the Canticle of the Sun in the exquisite +version of Matthew Arnold.</p> + +<p>"O most high, almighty, good Lord God, to +Thee belong praise, glory, honour, and all blessing!</p> + +<p>"Praised be my Lord God with all His creatures; +and specially our brother the sun, who brings us the +day, and who brings us the light; fair is he, and +shining with a very great splendour: O Lord, he +signifies to us Thee!</p> + +<p>"Praised be my Lord for our sister the moon, and +for the stars, the which he has set clear and lovely in +heaven.</p> + +<p>"Praised be our Lord for our brother the wind, +and for air and cloud, calms and all weather, by the +which thou upholdest in life all creatures.</p> + +<p>"Praised be my Lord for our sister water, who is +very serviceable unto us, and humble, and precious, +and clean.</p> + +<p>"Praised be my Lord for our brother fire, through +whom thou givest us light in the darkness; and he is +bright, and pleasant, and very mighty, and strong.</p> + +<p>"Praised be my Lord for our mother the earth, +the which doth sustain us and keep us, and bringeth +forth divers fruits and flowers of many colours, and grass.</p> + +<p>"Praised be my Lord for all those who pardon +one another for his love's sake, and who endure weakness +and tribulation; blessed are they who peaceably +shall endure, for Thou, O most Highest, shalt give +them a crown!<a name="FNanchor_50" id="FNanchor_50" href="#Footnote_50" class="fnanchor">[50]</a></p> + +<p><span class="pagenum"><a name="Page_80" id="Page_80">80</a></span></p> + +<p>"Praised be my Lord for our sister, the death of +the body, from whom no man escapeth. Woe to +him who dieth in mortal sin! Blessed are they who +are found walking by Thy most holy will, for the +second death shall have no power to do them harm.</p> + +<p>"Praise ye and bless ye the Lord, and give thanks +unto Him, and serve Him with great humility."</p> + +<div class="figcenter"><a name="illo096" id="illo096"></a> +<img src="images/illus096.jpg" width="325" height="285" alt="THE ARMS OF THE FRANCISCANS." /> +<p class="caption">THE ARMS OF THE FRANCISCANS.</p> +</div> + +<p class="center b125 p6">CHAPTER III</p> +<p><span class="pagenum"><a name="Page_81" id="Page_81">81</a></span></p> + +<p class="center b175"><i>The Carceri, Rivo-Torto and Life at +the Portiuncula</i></p> + +<div class="poem"> +<p class="o1">"O beata solitudo,</p> +<p>O sola beatudine."</p> +</div> + +<p><span class="dropcap">T</span>hese three places near Assisi, so intimately +associated with St. Francis, were in a way emblematic +of the various stages in the rise and growth of +his young community, and we shall see that the saint +went from one to the other, not by chance, but with a +settled purpose in his mind. The Carceri he kept as +a something apart from, and outside his daily life; it +was a hermitage in the strict sense of the word, where, +far from the sound of any human voice, he could come +and live a short time in isolated communion with God. +As his followers increased, and the Order he had +founded with but a few brethren developed even in +its first years into a great army, we can easily understand +the longing for solitude which at times became +too strong to be resisted, for his nature was well fitted +for the hermit's life, and it called him with such persistence +to the woods among the flowers and the birds +he loved, that had he been less tender for the sufferings +of others, more blind to the ills of the Church, it +is possible that the whole course of events might have +been altered. Giotto would not have been called to +Assisi, or if he had been, the legends told to him by +the friars might not have inspired him to paint such +<span class="pagenum"><a name="Page_82" id="Page_82">82</a></span> +master-pieces as he has left us in the Franciscan +Basilica; and we should now be the poorer because +St. Francis had chosen seven hundred years ago to live +in an Etruscan tomb at Orte, or in a grotto on Mount +Subasio. So much depended, not only upon what St. +Francis achieved, but on the way in which he chose to +work. Who therefore +can tell how +much we owe to +the little mountain +retreat of the +Carceri, where, +spending such hours +of wondrous peace +surrounded by all +that he most +cherished in nature, +the saint could refresh +himself and +gain new strength +for long periods of +arduous labour +among men.</p> + +<div class="figleft"><a name="illo098" id="illo098"></a> +<img src="images/illus098.jpg" width="325" height="425" alt="HERMITAGE OF THE CARCERI" /> +<p class="caption">HERMITAGE OF THE CARCERI</p> +</div> + +<p>The Carceri +came into the possession +of St. Francis +through the +generosity of the +Benedictines who, +until his advent, had held unlimited sway in Umbria. +Many churches, and we may say, almost all the hermitages +of the surrounding country belonged to them. +But their principal stronghold, built in the eleventh +century, stood on the higher slopes of Mount Subasio, +while the Carceri, lying a little to the west, was used +by them probably as a place of retreat when wearied of +<span class="pagenum"><a name="Page_83" id="Page_83">83</a></span> +monastic life. Both monastery and hermitage seem to +have been quiet enough, and we only occasionally hear +of the Benedictine monks starting off on a visit to +some hermit of renowned sanctity, or going upon some +errand of mercy among the peasants in the valley, +whom they often surprised by marvellous though +somewhat aimless miracles wrought for their edification. +Then early in the fourteenth century these +hermit monks of Mount Subasio suddenly found themselves +in the midst of the fighting of a mediæval +populace, for the Assisans, not slow to discover the great +military importance of the Benedictine Abbey, wished +to possess it. When the struggle between Guelph and +Ghibelline was at its height, the monks were driven +to take refuge in the town, while their home was +taken possession of by the exiled party who used it as +a fortress whence they could sally forth and harass the +eastern approach to Assisi. Perpetual skirmishes took +place beneath its walls until the roving adventurer +Broglia di Trino, who had made himself master of the +town in 1399, in a solemn council held at the Rocca +Maggiore issued an edict that the Monastery of St. +Benedict was to be razed to the ground, determining +thus to deprive the turbulent nobles and their party of +so sure a refuge in times of civil war.</p> + +<p>The solid walls and fine byzantine columns of what +once was the most celebrated abbey in Umbria now +remain much as in the mediæval days of their wreckage, +and, until a few years ago when some repairs were +made, the church was open for the mountain birds to +nest in, and wild animals used it as their lair.</p> + +<p>But both church and monastery stood proudly upon +the mountain height above the plain when St. Francis, +then the young mendicant looked upon by many as a +madman, would knock at the gates, and the abbot +followed by his monks, came out to listen to the +<span class="pagenum"><a name="Page_84" id="Page_84">84</a></span> +humble requests he so often had to make. These +prosperous religious most generously patronised St. +Francis in the time of his obscurity, giving him the +chapel of the Portiuncula, and later (the date is +uncertain but some say in 1215) they allowed him +to take possession of the still humbler chapel and huts +of the Carceri. Even to call such shelters huts is giving +them too grand a name, for they were but caverns +excavated in the rock, scattered here and there in a +deep mountain gorge. They can still be seen, unchanged +since the days of St. Francis save for the tresses +of ivy growing thick, like a curtain, across the entrance, +for now there are none to pass in and out to pray there.</p> + +<p>Even the attempt to describe the loneliness and +discomfort of this hermitage seems to strike terror into +the hearts of later franciscan writers, who no longer +caring to live in caves, only saw Dantesque visions +when they thought of these arid, sunburnt rocks, +rushing torrents and wild wastes of mountains which +even shepherds never reached. But luckily in those +days there was one Umbrian who loved such isolated +spots; and the charm of that silence, born of the very +soul of Francis and guarded jealously by nature +herself during long centuries in memory of him, now +tempts us up the mountain side upon a pilgrimage to the +one place where his spirit still lives in all its primitive +vigour and purity.</p> + +<p>The road leading to the Carceri<a name="FNanchor_51" id="FNanchor_51" href="#Footnote_51" class="fnanchor">[51]</a> from the Porta +Cappucini passes first through rich corn fields and olive +groves, but as it skirts round Mount Subasio towards +<span class="pagenum"><a name="Page_85" id="Page_85">85</a></span> +the ravine it becomes a mere mountain track. Only +here and there, where peasants have patiently scraped +away the stones, grows a little struggling corn, while +small hill flowers nestle between the rocks unshaded +even by olive trees; the colour of a stray Judas tree, +or a lilac bush in bloom, only makes the landscape seem +more barren and forlorn. Looking upon the road +to Spello, winding down the hill through luxuriant +fields of indian corn and olive groves, with the oak +trees spreading their still fresher green over the vineyards +of the plain, we feel that this pathway to the +Carceri is something novel and unlike anything at Assisi +which we have hitherto explored. Just as we are +marvelling at its loveliness, a sudden turn brings Assisi +once more in view, and the sight we get of it from here +carries us straight back to the days of St. Francis; for +the great basilica and convent are hidden by the brow +of the hill, and what we now see is exactly what he +looked upon so often as he hastened from Assisi to his +hermitage, or left it when he was ready to take up the +burden of men's lives once more. The old walls, +looking now much as they did after a stormy battle +with Perugia, stretch round the same rose-tinted town, +which, strangely enough, time has altered but slightly—it +is only a little more toned in colour, the Subasian +stone streaked here and there with deeper shades of +yellow and pink, while the castle is more ruined, +rearing itself less proudly from its green hill-top than +in earlier days of splendour. But charming as the view +of the town is, we quickly leave it to watch the changes +of light and colour in the valley and on the wide-bedded +Tescio as it twists and turns in countless sharp zig-zags +till we lose it where it joins the Tiber—there where +the mist rises. We might travel far and not find so +fascinating a river as the Tescio; only a trickle +of water it is true, but sparkling in the sunshine like +<span class="pagenum"><a name="Page_86" id="Page_86">86</a></span> +a long flash of lightning which has fallen to earth and +can find no escape from a tangle of fields and vineyards.<a name="FNanchor_52" id="FNanchor_52" href="#Footnote_52" class="fnanchor">[52]</a> +Then our road turns away again from the +glowing valley shimmering in the haze of a late May +afternoon, and mounting ever higher we plunge into +the very heart of the Assisan mountain, uncultivated, +wild, colourless and yet how strangely beautiful.</p> + +<p>Another half mile brings us round the mountain side +to a narrow gorge, and the only thing in sight except +the ilex trees is an arched doorway with a glimpse, +caught through the half open gate, of a tiny courtyard. +A step further on and we find ourselves standing amidst +a cluster of cells and chapels seeming as if they hung +from the bare rocks with nothing to prevent them falling +straight into the depths of the ravine; and the +silence around is stranger far than the mountain solitude. +Surely none live here, we think, when suddenly +a brown-clothed friar looks round the corner of a +door, and without waste of time or asking of questions +beckons us to follow, telling rapidly as he goes the +story of each tree, rock, cell and shrine.</p> + +<p>Crossing two or three chapels and passing through a +trap-door and down a ladder, we reach a narrow cave-like +cell where St. Francis used to sleep during those rare +moments when he was not engaged in prayer. As at +La Vernia this "bed" was scooped out of the rock, +and a piece of wood served him as a pillow. Adjoining +is an oratory where the crucifix the saint always +carried with him is preserved. The doors are so +narrow and so low that the smallest person must stoop +and edge in sideways. From these underground caves +<span class="pagenum"><a name="Page_87" id="Page_87">87</a></span> +it is a joy to emerge once more into the sunlight, and +one of the delightful surprises of the place is to step +straight out of the oppressive darkness of the cells into +the ilex wood, with the banks above and around us +glowing with sweet-scented cyclamen, yellow orchids, +and long-stemmed violets. It is not surprising that St. +Francis often left his cell to wander further into these +woods when the birds, as though they had waited for +his coming, would gather from all sides and intercept +him just as he reached the bridge close to the hermitage. +While they perched upon an ilex tree (which is still to +be seen), he stood beneath and talked to them as only +St. Francis knew how. His first sermon to the birds +took place at Bevagna, but at the Carceri he was continually +holding conversations with his little feathered +brethren. This perhaps was also where he held his +nocturnal duet with the nightingale, which was singing +with especial sweetness just outside his cell. St. Francis +called Brother Leo to come also and sing and see +which would tire first, but the "little Lamb of God" +replied that he had no voice, refusing even to try. So +the saint went forth alone to the strange contest, and +he and the bird sang the praises of God all through +the darkest hours of the night until, quite worn out, +the saint was forced to acknowledge the victory of +Brother Nightingale.</p> + +<p>Very different is the story of his encounter with the +tempting devil whom he precipitated by his prayers into +the ravine below; the hole through which the unwelcome +visitor departed is still shown outside the saint's +cell. Devils do not play a very prominent part in the +story of the first franciscans, but this mountain solitude +seems to have so excited the imaginations of later +chroniclers that yet another story of a devil belongs to +the Carceri, and is quaintly recounted in the <i>Fioretti</i>. +This time he appeared to Brother Rufino in the form +<span class="pagenum"><a name="Page_88" id="Page_88">88</a></span> +of Christ to tempt him from his life of holiness. "O +Brother Rufino," said the devil, "have I not told thee +that thou shouldst not believe the son of Pietro Bernardone?... +And straightway Brother Rufino +made answer: 'Open thy mouth that I may cast into +it filth.' Whereat the devil, being exceeding wroth, +forthwith departed with so furious a tempest and shaking +of the rocks of Mount Subasio, which was hard by, +that the noise of the falling rocks lasted a great while; +and so furiously did they strike one against the other +in rolling down that they flashed sparks of terrific fire +in all the valley, and at the terrible noise they made +St. Francis and his companions came out of the house +in amazement to see what strange thing was this; and +still is to be seen that exceeding great ruin of rocks."</p> + +<p>Close to the spot rendered famous by the devil's +visits a bridge crosses the gorge of a great torrent, +which, threatening once to destroy the hermitage, was +miraculously dried up by St. Francis, and now only +fills its rocky bed when any public calamity is near. +From it a good view is obtained of the hermitage, but +perhaps a still better is to be had from under the avenue +of trees a little beyond, on the opposite side of the deep +ravine whence the groups of hovels are seen to hang like +a honeycomb against the mountain side, so tightly set +together that one can hardly distinguish where the +buildings begin and the rock ends.</p> + +<p>The ilex trees grow in a semicircle round this +cluster of cells and caverns, and high above it all rises +a peak of Mount Subasio, grey as St. Francis' habit, +with a line of jagged rocks on the summit which looks +more like the remains of some Umbrian temple of +almost prehistoric days than the work of nature.</p> + +<p>The sides of this mountain ravine approach so near +together that only a narrow vista of the plain is obtained, +blue in the summer haze, with no village or even +<span class="pagenum"><a name="Page_89" id="Page_89">89</a></span> +house in sight. It would be difficult to find a place +with the feeling of utter solitude so unbroken, and as +we realised that these friars lived here nearly all their +life, many not even going to Assisi more than once +in five years, we said to one of them: "How lonely +you must be," and he, as though recalling a time of +struggle in the world, answered: "Doubtless there +are better things in the town, but here, at the Carceri, +there is peace."</p> + +<div class="figcenter"><a name="illo105" id="illo105"></a> +<img src="images/illus105.jpg" width="350" height="358" alt="THE CARCERI WITH A VIEW OF THE BRIDGE" /> +<p class="caption">THE CARCERI WITH A VIEW OF THE BRIDGE</p> +</div> + +<p>It is the hermit's answer; but now the need of such +lives has long since passed away, and even St. Francis, +living at the time when the strain of perpetual warfare, +famine, pestilence and crime, created a fierce craving +for solitude in the lives of many, realised that a hermitage +must only be a place to rest in for a while—not to +<span class="pagenum"><a name="Page_90" id="Page_90">90</a></span> +live in. His anxiety to keep his Order from becoming +a contemplative one is shown in the following rule +he carefully thought out for his disciples. "Those +religious who desire to sojourn in a hermitage are to +be at the most three or four. Two are to be like +mothers having a son. Two are to follow the life of +a Martha, the other the life of a Mary." Then they +were to go forth again strenuously to their work abroad +and give place to others in search of rest and peace.</p> + +<p>But after the death of St. Francis the Carceri +gradually lost its primitive use, and the principal person +who entirely changed its character was St. Bernardine +of Siena who in 1320 made many alterations +and additions, building a larger chapel, adding cells +and a kitchen, but so small, remarks a discontented +franciscan chronicler, that it barely held the cooking +utensils. Although we can no longer call it a hermitage, +the Carceri became the type of an ideal franciscan +convent such as Francis dreamed of for his followers +when he went to live at the Portiuncula, and such it +has remained to this day. For certainly the place, as +left by St. Bernardine, would have been approved of +by the first franciscans as a dwelling-place, but those +of later years can only tell us of its discomforts. Here +is a graphic description of its primeval simplicity which +very nearly corresponds to its present state: "It were +better called a grotto with six lairs; one sees but the +naked rock untouched by the chisel, all rough and full +of holes as left by nature; those who see it for the first +time are seized with extraordinary fear on climbing the +ladder leading to the dormitory, at each end of which +are other poor buildings, added by the religious according +as need arose for the use of the friars, who do +not care to live as hermits did in the olden times. The +refectory is small, and can contain but few friars; a +brother guardian made an excavation, of sufficient +<span class="pagenum"><a name="Page_91" id="Page_91">91</a></span> +height and breadth in the rock, and added thereto a +table around which can sit other six religious, so that +those who take their places at this new table are +huddled up in the arched niche which forms a baldaquin +above their heads. There is also a little common +room which horrifies all beholders, wherein is lit a fire, +for besides being far inside the rocky mass it is gloomy +beyond description by reason of the dense smoke +always enclosed therein, this is a lively cause to the +religious of reflection on the hideousness and obscurity +of the darkness of hell; in lieu of receiving comfort +from the fire the poor friars generally come out with +tears in their eyes." To somewhat atone for these discomforts +they possessed a fountain, raised, as we are +told, by the prayers of St. Francis, which never ran +dry, "a miracle God has wished to perpetuate for the +glory of His faithful servants and the continual comfort +of the monks."</p> + +<p>The crucifixion in the chapel built by St. Bernardine +adjoining the choir, is said to have been painted by his +orders. The artistic merits of the fresco are questionable, +but connected with it is a legend possibly invented +by some humorous member of the franciscan brotherhood +in order to point a moral to his companions. +"Here," says a chronicler, "is adored that most +marvellous crucifixion, so famous in religion; it is well +known to have spoken several times to the devout Sister +Diomira Bini of the Third Order of St. Francis and a +citizen of Assisi; and in our own times, in the last +century (the seventeenth) it was seen by Brother +Silvestro dello Spedalicchio to detach itself from the +cross, and with most gentle slaps on the face, warn a +worshipper to be reverent and vigilant while praying in +this His Sacred Oratory."</p> + +<p>In a small wooden cupboard in the chapel, according +to an inventory made two hundred years ago, are preserved +<span class="pagenum"><a name="Page_92" id="Page_92">92</a></span> +some relics, a few of which we have unfortunately +not been able to identify. Part of the wooden pillow +used by St. Francis, and a piece of the Golden Gate +through which our Lord passed into Jerusalem, are still +here, but the hair of the Virgin, and, strangest of all, +some of the earth out of which God created Adam, +are no longer to be found!</p> + +<p class="p2">Ten or twelve friars continued to live at the Carceri +for a few years after the death of St. Bernardine; +some begged their daily bread from the villagers in the +valley, others dug in the tiny garden at the foot of the +ravine where a few vegetables grew, and two always +remained at the convent to spin the wool for the +habits of the religious. But soon wearying of the life +they went to live at other convents, and the place passed +away from the franciscans into the possession of various +sects, among others to the excommunicated Fraticelli. +In 1415 it was given back to the Observants, and +Paolo Trinci, who had done much to reform the Order, +persuaded some friars to live once more at the deserted +hermitage. Again the Carceri became such an ideal +franciscan convent that many came from afar to visit +it, and there is a strange story of how a "woman +monk" found a home and died here in the middle of +the fifteenth century.</p> + +<p>"Beata Anonima," a chronicler recounts, "being +already a Cistercian nun in the convent of S. Cerbone +of Lucca at the time of the siege of that city by the +Florentines, when the said nuns, for valid reasons, +were transferred to the convent of Sta. Christina inside +the city. Now this most fervent servant of God took this +opportune time and fled by stealth, disguised as a man, +and went, or rather flew, to Assisi; there, fired with +an ardent desire to fight under the seraphic standard, +she breathlessly climbed the steep slopes of Mount +<span class="pagenum"><a name="Page_93" id="Page_93">93</a></span> +Subasio, and having found the horrible cavern of Santa +Maria delle Carceri fervently entreated those good +Fathers to admit her amongst them and to bestow on +her their sacred habit, for which her longing was +extreme. At length, having overcome all resistance, +believing her to be a man as appeared from her dress, +and not a woman which in reality she was, they admitted +her to the convent and gave her the habit of religion." +She edified all by the holiness of her life and the +rigid penances she performed, but her health soon +suffered and only upon her death-bed, surrounded by +the friars chanting the psalms for the dying, the Blessed +Anonima confessed to the fraud she had practised in +order to dwell in the hermitage rendered so dear +because of the memory of the Poverello d'Assisi.</p> + +<p class="center p2"><span class="smcap">Rivo-Torto</span><a name="FNanchor_53" id="FNanchor_53" href="#Footnote_53" class="fnanchor">[53]</a></p> + +<p>A straight and stony road, the old Roman one, now +overgrown in many parts with grass and trails of ivy +and bordered by mulberry and oak trees, leads out +of the Porta Mojano to two little chapels in the +<span class="pagenum"><a name="Page_94" id="Page_94">94</a></span> +plain. Set back from the main road in the midst of +the fields few people find them, and the peasants know +nothing of their story and can only tell of a miraculous +well in which a youthful saint met his death. +When his body was brought to the surface a lily had +grown from his mouth and upon its petals was written +in letters of gold the one word, <i>Veritas</i>, for he had +died in the cause of truth. Since then, as the peasants +recount with pride, many come from afar to drink of +the waters of this well for it cures every ill. It is +over-grown with ferns and close by stands an ancient +sarcophagus where the children sit to eat their midday +meal. A piece of old worn sculpture still ornaments +the chapel of the young martyr, and the feeling of the +place is very charming, but the pilgrim who comes to +Assisi to visit St. Francis, has a different picture to +recall with another kind of beauty belonging to it than +that of holy wells and flowering banks and meadows.</p> + +<p>It is difficult, when looking on San Rufino d'Arce, +with its cluster of vine-shaded peasant houses, and +then on Santa Maria Maddalena, narrow windowed, +the small apse marking it as a primitive Umbrian +chapel of the fields, to realise that in the Middle Ages +this was a leper village separated from Assisi by a little +more than a mile of open country. And yet here, +without doubt, we have Rivo-Torto where, even +before his famous interview with Innocent III, St. +Francis had stayed with those three first Assisan +companions, Bernard di Quintavalle, Peter Cataneo +and Egidio. Then in the autumn of 1210, when he +returned from Rome after the rule of poverty had +been sanctioned by the Church, but before he was +ready to begin his mission as preacher, he came to live +among the lepers, forming with his disciples a little +family which we may call the beginning of a first +franciscan settlement. +<span class="pagenum"><a name="Page_95" id="Page_95">95</a></span></p> + +<p>The leper village was divided according to the social +rank of the outcasts, the richer living together near the +chapel of Sta. Maria Maddalena and forming quite a +community with the right of freely administering their +own goods. As M. Sabatier observes, it was therefore +not "only a hospital, but almost a little town +near the city with the same social distinctions of +classes."</p> + +<p>Those tended by St. Francis were the poorest of the +lepers, whose wretched hovels lay near the chapel of +San Rufino d'Arce; and Celano must be referring to +this settlement when he tells us how Francis in his +early days, even if he chanced to look down from +Assisi upon the houses of the lepers in the plain, would +hold his nostrils with his hand, because his horror of +them was so great.</p> + +<p>But as the grace of God touched his heart, making +him take pity upon all things weak and suffering, he +turned the force of his strong nature to overcoming this +repugnance, and there is a beautiful story telling of the +first victory gained shortly after his conversion. While +riding one day near Assisi he met a leper, and filled +with disgust and even fear at the sight, his first impulse +was to turn his horse round, but, remembering his new +resolutions to follow the teaching of Christ, he went +forward to meet the poor man, and even kissed the +hand extended to him for alms. "Then," says St. +Bonaventure, "having mounted his horse, he looked +around him over the wide and open plain, but the leper +was nowhere to be seen. And Francis being filled +with wonder and gladness, devoutly gave thanks to +God, purposing within himself to proceed to still +greater things than this." Certainly the event +heralded a life of holiness, and was the means of +rousing his latent energies and the feelings for self-sacrifice +which drove him from the wild and solitary +<span class="pagenum"><a name="Page_96" id="Page_96">96</a></span> +places he loved into the very midst of the world, there +to work strenuously, in every part of Italy, at first +among lepers and then among the wealthy, the ignorant +and the sorrowful.</p> + +<p>For the life at Rivo-Torto led by "these valiant +despisers of the great and good things of this world" +we cannot do better than turn to the Three Companions +(Brothers Masseo, Ruffino and Leo) who +knew by personal experience the hardships and roughness +of the place. Feelingly they describe: "a hovel, +or rather a cavern abandoned by man; the which place +was so confined that they could hardly sit down to +repose themselves. Many a time they had no bread, +and ate nought but turnips which they begged for here +and there in travail and in anguish. On the beams of +the poor hut the man of God wrote the names of the +brethren, so that whoso would repose or pray might +know his place and not disturb, by reason of the +cramped and limited space in the small hovel, the +quietude of the night." Even the appearance of +Otto IV, close to their hut seems in no way to +have disturbed the peaceful course of their lives, but +only gave St. Francis the opportunity of bestowing +a timely warning upon the Emperor. Celano, ever +delighting in the picturesque details of ceremonies and +pageants, tells us how "there came at that time with +much noise and pomp the great Emperor on his way +to take the terrestrial crown of the Empire; now the +most holy father with his companions being in the said +house near the road where the cavalcade was passing, +would neither go out to see it, nor permit his brethren +to go, save one, whom he commanded fearlessly to +announce to Otto that his glory would be short-lived."</p> + +<p>Thus, if the tale be true, a German Emperor was +the first to listen to Francis' message to a mediæval +world sunk in the love of earthly things, and who +<span class="pagenum"><a name="Page_97" id="Page_97">97</a></span> +knows whether the saint's words did not come back +to Otto again in after years.</p> + +<p>The Penitents of Assisi only remained until the +spring at Rivo-Torto, for even during those few +months' sojourn among the lepers their numbers had +so increased that it became necessary to think of some +surer abode. One day St. Francis called the brethren +to tell them how he had thought of obtaining from one +of his various kind friends in Assisi, a small chapel +where they could peacefully say their Hours, having +some poor little houses for shelter close by built of +wattle and mud.</p> + +<p>His speech was pleasing to the brethren, and so, +following the master they loved and trusted, all +went to dwell at the Portiuncula, where, as we shall +see, a new life was to begin for them.</p> + +<p class="center p2"><span class="smcap">The Portiuncula</span></p> +<div class="poem"><div class="stanza"> +<p class="o1">"Holy of Holies is this Place of Places,</p> +<p>Meetly held worthy of surpassing honour!</p> +<p>Happy thereof the surname, 'Of the Angels,'</p> +<p>Happier yet the name, 'The Blessed Mary.'</p> +</div> +<div class="stanza"> +<p>Now, a true omen, the third name conferreth</p> +<p>'The Little Portion' on the Little Brethren,</p> +<p>Here, where by night a presence oft of Angels</p> +<p>Singing sweet hymns illumineth the watches."</p> +<p class="o2">(<i>The Mirror of Perfection</i>, translated by Sebastian Evans.)</p> +</div> +</div> +<p>Those who want to realise the charm of the Portiuncula +and of the memories that cling about it, must +try to forget the great church which shuts out from it +the sunlight, and with the early chroniclers as their +guides, call up the image of St. Francis with his first +disciples who in an age of unrest came here to seek +for peace.</p> + +<p>Make your pilgrimage in the springtime or in the +early summer, when pink hawthorn and dogroses are +<span class="pagenum"><a name="Page_98" id="Page_98">98</a></span> +flowering in every hedge and the vines fill the valley +with a delicate green light. Looking at cities and +villages so purely Umbrian, some spread among cornfields +close to a swift clear river, others set upon +heights which nearly touch the sky on stormy days, +we forget that beyond these hills and mountains +encircling the big valley of Umbria stretch other lands +as fair. We forget, because it is a little world which +during long centuries has been set apart from all else, and +where man has but completed the work of nature herself. +During the long hours of a summer's day, when +the sense of remoteness in the still plain is most intense, +it brings to us, as nothing else can ever do, some feeling +of that early time when four hermits came from +Palestine and found a quiet retreat in the oak forests +of Assisi.</p> + +<p>It was in the year 352, as St. Cyril, Patriarch of +Jerusalem, relates, when a cross had been seen stretched +from Calvary to the Mount of Olives and to shine +more brightly than the sun, that four holy men, impelled +by a feeling that some great crisis was at hand, determined +to visit the shrines of Rome. Having performed +their devotions and offered many precious relics +to Pope Liberius, they expressed a great desire to find +some hermitage where, each in a silent cell, they could +meditate upon the marvellous things they had seen in +the Eternal City. The Pope gave them most excellent +advice when he told them to go to the Spoletan +valley. With his sanction to choose any part of it they +liked, they passed over the mountains dividing Umbria +from the Campagna, and by many towns until, when +about a mile from Assisi, they determined to build their +dwellings in the plain, thinking, as indeed they might, +to find no other spot so suited for a quiet retreat. +Close to four huts of rough hewn stone and brushwood +they erected a tiny chapel with a pent roof and narrow +<span class="pagenum"><a name="Page_99" id="Page_99">99</a></span> +window which, perhaps in memory of their native +valley, they dedicated to St. Mary of Jehosaphat. +But after a few years, forsaking the life of hermits, +they again took up their staves and returned home to +Palestine by way of the Romagna, leaving beneath the +altar of the chapel they had built a relic of the +Virgin's sepulchre.</p> + +<div class="figcenter"><a name="illo115" id="illo115"></a> +<img src="images/illus115.jpg" width="450" height="344" alt="SIDE DOOR OF THE PORTIUNCULA BUILT BY ST. BENEDICT" /> +<p class="caption">SIDE DOOR OF THE PORTIUNCULA BUILT BY ST. BENEDICT</p> +</div> + +<p>At different times other devout hermits, charmed by +the lonely chapel, took possession of it for a time, but +it was often deserted for many years. Its preservation +is due to St. Benedict who, passing through Umbria +during the early part of the sixth century, was inspired +to restore the ruined chapel and dwell near it for awhile. +He not only repaired the walls, but built the two large +round arched doors we see to this day, and which +many declare to be quite out of proportion to the rest +of the building, but their unusual size is accounted for +<span class="pagenum"><a name="Page_100" id="Page_100">100</a></span> +by a charming legend. Once when St. Benedict was +praying in the chapel he saw a marvellous vision as he +knelt wrapt in ecstasy. A crowd of people were praying +around him to St. Francis, singing hymns of praise +and calling for mercy on their souls, while outside still +greater multitudes waited for their turn to come and +pray before the shrine. St. Benedict, understanding +from this that a great saint would one day be honoured +here, made the two doors in the chapel, and made them +large enough for many to pass in and out at a time. +Thus was the feast of the "Pardon of St. Francis" +prepared for some seven hundred years too soon.</p> + +<p>St. Benedict obtained from the Assisans the gift of +a small plot of ground near the sanctuary, which suggested +to him the name of St. Mary of the Little +Portion—Sta. Maria della Portiuncula. When a few +years later St. Benedict founded his famous order at +Monte Cassino, he did not forget the Umbrian chapel +he had saved from ruin, and sent some of his monks +to live there and to minister among the people. Like +the first hermits they lived in poor huts, saying their +Hours in the little chapel, until in the eleventh century +they built a large monastery and church upon the +higher slopes of Mount Subasio to the east of Assisi, +and the Portiuncula was again deserted. But although +no one lived near, and mass was never celebrated there, +it still remained in the keeping of the benedictines +who occasionally must have seen to its repair, and thus +preserved it for the coming of St. Francis.</p> + +<p class="p2">It has been suggested to me that the spot selected +by the four holy pilgrims in the fourth century may +have been even then the site of a sacred shrine, for +the custom of erecting tabernacles over the graves of +distinguished persons reaches back to very early times. +Originally designed as a mortuary cell such a structure +<span class="pagenum"><a name="Page_101" id="Page_101">101</a></span> +might, being duly oriented, come to be used as a chapel +for service.</p> + +<p>The subject of "Sepulchral Cellæ" will be found +treated of by the late Sir Samuel Fergusson<a name="FNanchor_54" id="FNanchor_54" href="#Footnote_54" class="fnanchor">[54]</a> in a +memoir in which he figures some of the burial vaults +and early oratories of Ireland, some of which are in +shape identical with Sta. Maria della Portiuncula, with +the same pent roof, round arched door, and perfectly +plain walls. A building thus erected over a grave was +called <i>Porticulus</i>, and any who pillaged "a house made +in form of a basilica over a dead person" had to pay a +fine.</p> + +<p>From an archæological point of view there is much +to be desired in the published descriptions of the Portiuncula. +A great part of its exterior walls is now covered +with frescoes which hide all detail, but perhaps a minute +examination of the interior walls might reveal portions +of the foundations built upon by St. Benedict, and we +sincerely hope that these few words may attract attention +to so interesting a subject.</p> + +<p>But even if the shrine said to have been built by the +hermits from Palestine for Our Lady's Girdle turns out +to have been an ancient tomb, the later legends are by no +means destroyed. It is not unlikely that St. Benedict, +attracted as much by lonely places as St. Francis, took +possession of the Umbrian tomb, and perhaps little +thinking what it was, rebuilt and used it as a chapel. +Whatever may be the true story, it is very certain that +the Portiuncula, from earliest times, has possessed a +strange attraction for all who passed by, each one +thinking a tiny chapel situated so charmingly in the +woods, within sight, though not within sound, of the +Umbrian towns, to be a perfect spot for prayer. + +<span class="pagenum"><a name="Page_102" id="Page_102">102</a></span></p> + +<p>The country people treasure the legend that Madonna +Pica often came to pray at the Portiuncula, and through +the intercession of the Blessed Virgin obtained a son +after seven years of waiting, and this son of prayer and +patience was St. Francis of Assisi.</p> + +<p>Half ruined and neglected as the chapel was, Francis +learned, even as quite a child, to love it, and kneeling +therein by his mother's side would pray with all the +fervour of his childish faith. Later in life when he had +turned from the mad follies of his youth to follow in the +footsteps of Christ, he remembered the shrine he had +loved in childhood, and would pass many nights there +in prayer and bitter meditation upon the Passion. At +last touched by the sight of its crumbling walls, he +set himself the task of repairing them, working so busily +with stones and mortar that the chapel soon regained +its former simple beauty. The Benedictines of Mount +Subasio, touched by his ungrudging labour and piety, +arranged with an Assisan priest to celebrate mass at +the Portiuncula from time to time, and this fact drew +the young saint there still oftener.</p> + +<p>Then followed his time of ministry among the +lepers of San Rufino d'Arce, when day by day so +many disciples came to enlist in this new army of +working beggars that the little hut in the leper-village +could no longer hold them, and Francis +had to think of some means of housing the brethren, and +obtaining, what he had often desired, a chapel wherein +they could say the Hours. (The saint, we may be +sure, always said his office in the woods.) But evidently +he had no particular place in his mind, not +even his beloved Portiuncula, for he went first to +his friend Guido, Bishop of Assisi, and then to +the canons of San Rufino to ask if they could help +him. They only answered that they had no church +to dispose of, and could offer no advice upon the +<span class="pagenum"><a name="Page_103" id="Page_103">103</a></span> +subject. Then sorrowfully, like a man begging +from door to door, St. Francis climbed Mount +Subasio to lay his request in piteous terms before +the benedictine abbot, where he met with more +success. Brother Leo tells us that the abbot was +"moved to pity, and after taking counsel with his +monks, being inspired by divine grace and will, +granted unto the Blessed Francis and his brethren +the church of St. Mary of the Little Portion, as +being the smallest and poorest church they possessed. +And the abbot said to the Blessed Francis, +'Behold Brother, we grant what thou desirest. But +should the Lord multiply thy brotherhood we will +that this place shall be the mother-house of thy +Order.'"<a name="FNanchor_55" id="FNanchor_55" href="#Footnote_55" class="fnanchor">[55]</a></p> + +<p>With a willing heart Francis promised what the +abbot asked, and further insisted upon paying rent +for the Portiuncula, because he wished his followers +always to bear in mind the point of his rule, which +he so often dwelt upon, namely, that they owned no +property whatever, but were only in this world as +pilgrims. So every year two of his brethren brought +to the gate of the benedictine monastery a basket +full of roach caught in the Chiaggio which flows +at no great distance from the Portiuncula, and the +abbot, smiling at the simplicity of Francis, who +had imagined yet another device for humility, gave +back a vessel full of oil in exchange for the gift of +fish.<a name="FNanchor_56" id="FNanchor_56" href="#Footnote_56" class="fnanchor">[56]</a></p> + +<p><span class="pagenum"><a name="Page_104" id="Page_104">104</a></span></p> + +<p>With great rejoicing St. Francis set to work building +cells of a most simple pattern, with walls of wattle +and dab, and thatched with straw, each brother inscribing +his name upon a portion of the mud floor set +apart for him to rest in. "And no sooner had they +come to live here," writes Brother Leo, "than the +Lord multiplied their number day by day, and the +sweet scent of their good name spread marvellously +abroad throughout all the Spoletan valley, and in +many parts of the world."</p> + +<p>It was thus that St. Mary of the Little Portion, +henceforth to be the nucleus of the franciscan order, +and a place familiar to pilgrims from far and near for +many succeeding centuries, came into the keeping of St. +Francis in the year 1211, about nine months after +Innocent III had sanctioned his work among the +people of Italy.</p> + +<p>St. Francis and the brethren had been but a year +in their new abode when a figure passed in among +them for a moment and then was gone, leaving, as +a vision to haunt them to their dying day, the memory +of her beauty and soul's purity.</p> + +<p>Never in the history of any saint has there been +so touching and wondrous a scene as when the young +Clare left her father's palace in Assisi to take the +vows of perpetual and voluntary poverty at the altar +of the Portiuncula. Followed by two trembling +women, she passed swiftly through the town in the +dead of night, across the fields by the slumbering +village of Valecchio, and through dark woods made +more sombre by the starry Umbrian sky which at +intervals gleamed between the wide-spreading branches +of the oak trees. The hurrying figure of the young +girl, swathed in a long mantle, seemed like some +spirit driven by winds towards an unknown future. +One thing alone was clear to her, she was nearing +<span class="pagenum"><a name="Page_105" id="Page_105">105</a></span> +the abode of Francis Bernardone whose preaching +at San Giorgio only a month before had so thrilled +her, inspiring her in this strange way to seek the +life he had described in such fiery words. And just +as she came in sight of the Portiuncula the chanting +of the brethren, which had reached her in the wood, +suddenly ceased, and they came out with lighted torches +in expectation of her coming. Swiftly and without a +word she passed in to attend the midnight mass which +Francis was to serve.</p> + +<p>The ceremony was simple, wherein lies the charm +of all things franciscan. The service over and the +last blessing given, St. Francis led Clare towards the +altar and with his own hands cut off her long fair +hair and unclasped the jewels from her neck. But +a few minutes more and a daughter of the proud +house of Scifi stood clothed in the brown habit of +the order, the black veil of religion falling about her +shoulders, lovelier far in this nun-like severity than +she had been when decked out in all her former luxury +of silken gowns and precious gems.</p> + +<p>It was arranged that Clare was to go afterwards +to the benedictine nuns of San Paolo near Bastia, +about an hour's walk further on in the plain. So +when the final vows had been taken, St. Francis +took her by the hand and they passed out of the +chapel together just as dawn was breaking, while +the brethren returned to their cells gazing half sadly +as they passed, at the coils of golden hair and the +little heap of jewels which still lay upon the altar +cloth.</p> + +<p class="p2">Those early days at the Portiuncula were among +the most important of Francis' life; dreams which +had come to him while he spent long hours in the +caves and woods near Assisi were to be fully realised, +<span class="pagenum"><a name="Page_106" id="Page_106">106</a></span> +and the work he felt inspired to perform was to be +carried out in the busy villages and cities of Italy +and even further afield. All this was now very +clear to Francis, and more than ever anxious to keep +the simplicity of his order untouched, he taught his +followers, in words which fell so gently yet so +earnestly from his lips, that they were to toil without +ceasing, and restlessly and without pause to wander +from castle to castle, from city to city, in search of +those who needed help. It may therefore at first seem +strange that the "Penitents of Assisi" owning nothing +but the peace within their hearts, desiring no better +place for prayer than a cavern in some mountain gorge, +should establish themselves near a chapel which, if +not nominally their own, was practically regarded +as the property of the Friars Minor. But in this +again we feel the wisdom and tenderness of the saint +for his little community. With all the fervour and +fire of enthusiasm which impelled him like a living +force to seek his end, he well knew that without +some place in which to meet together and rest awhile, +his followers, who however much imbued with his +ardent spirit were but mortal men, would very likely +fall away from the high ideal he had set before them.</p> + +<p>Thus the Portiuncula became to the brethren as +a nest, where like tired birds that long had been upon +the wing, they could return after much wandering to +peaceful thoughts, to prayer and quiet labour.<span class="pagenum"><a name="Page_107" id="Page_107"></a></span> +</p> + +<div class="figcenter"><a name="illo123" id="illo123"></a> +<img src="images/illus123.jpg" width="650" height="438" alt="THE PORTIUNCULA IN THE TIME OF ST. FRANCIS (FROM THE "COLLIS PARADISI")." /> +<p class="caption">THE PORTIUNCULA IN THE TIME OF ST. FRANCIS (FROM THE "COLLIS PARADISI").</p> +</div> + +<p>It is not very difficult, with the print from the "Collis +Paradisi"<a name="FNanchor_57" id="FNanchor_57" href="#Footnote_57" class="fnanchor">[57]</a> before us, and the remembrance of the large +<span class="pagenum"><a name="Page_109" id="Page_109">109</a></span> +oaks which still mark the ancient Roman roads leading +from Assisi to the plain, to call up the picture of +the strange franciscan hamlet clustering round a pent-roofed +chapel, and with only trees for a convent wall. +What a life of peace in the mud huts! what a life of +turmoil and angry strife raging in the city just in +sight!</p> + +<p>The spirit of those days, when monachism meant all +that was purely ideal and beautiful, seems to live again. +Then, day and night, each brother strove to fit himself +for the work he had in view, drawing into his soul +the peace and love he learned from nature herself as +the forest leaves rustled above his cell or the nightingales +accompanied the midnight office with their song. +And when his turn came to take up the pilgrim's staff +and follow the lead of Francis, he went with cheerfulness +to bring to the people some of that child-like +joy and lightness of heart which marked the Little +Brethren through whatever land they wandered as the +disciples of St. Francis.</p> + +<p>Let us for a moment leave the Umbrian valley for +the country near Oxford, where on a bitter Christmas +<span class="pagenum"><a name="Page_110" id="Page_110">110</a></span> +Day, two friars were journeying upon their first mission +to England.</p> + +<p>"Going into a neighbouring wood they picked their +way along a rugged path over the frozen mud and hard +snow, whilst blood stained the track of their naked feet +without their perceiving it. The younger friar said +to the elder: 'Father, shall I sing and lighten our +journey?' and on receiving permission he thundered +forth a Salve Regina misericordiæ.... Now, when +the hymn was concluded ... he who had been the +consoler said, with a kind of self congratulation to his +companion: 'Brother, was not that antiphonal well +sung?'"</p> + +<p>In this simple story, told us in the chronicle of +Lanercost, how true rings the franciscan note struck +by Francis in those early days at the Portiuncula. +He was for ever telling the brethren not to show +sorrowful faces to one another, saying, as recorded by +Brother Leo: "Let this sadness remain between God +and thyself, and pray to Him that of His mercy He +may forgive thee, and restore to thy soul His healthy +joyance whereof He deprived thee as a punishment +for thy sins."</p> + +<p>It is all so long ago, and yet in reading those ancient +chronicles the big church of the Angeli is for a time +forgotten, and only the vision of the Portiuncula and +the mud huts, with the brethren ever to and fro upon +the road, remains with us as a strange picture in our +modern hurried life.</p> + +<p>But although the brethren lived so quietly in this +retreat of still repose, St. Francis, ever watching over +the welfare of his flock, was careful that prayer and +meditation should never be an excuse for idleness, +which of all vices he most abhorred. Therefore he +encouraged each friar who in the world had followed +some trade, to continue it here; so we hear of Beato +<span class="pagenum"><a name="Page_111" id="Page_111">111</a></span> +Egidio, on his return from one of his long journeys, +seated at the door of his hut busily employed in making +rush baskets, while Brother Juniper, in those rare +moments when he was out of mischief, would pass his +time in mending sandals with an awl he kept up his +sleeve for the purpose. Besides these individual occupations +there was much to attend to even in such humble +dwellings as those round the Portiuncula. Sometimes +there were sick friars to nurse, or vegetables had to be +planted in the orchard and provisions to be obtained, +while the office of doorkeeper, as "Angels" came +perpetually to ask pertinent questions of the brethren, +became quite a laborious task. When it fell to Brother +Masseo to answer the door he had little peace. Upon +one occasion he went in haste to see who was making +such a noise and found a "fair youth clothed as though +for a journey," so he spoke somewhat roughly, and +the youth enquired how knocking should be done. +"Give three knocks," quoth Brother Masseo, little +dreaming he was instructing an angel in the art of +knocking, "with a brief space between each knock, +then wait until the brother has time to say a paternoster +and to come unto thee; and if at the end of that time +he does not come knock once again."</p> + +<p>Things went smoothly enough when left to the +management of such friars as Leo, Masseo or Rufino, +but when one day the office of cook fell to Juniper, +that dear jester of the brotherhood, we get a humorous +picture of what his companions sometimes had to +endure, and of the kindness with which they pardoned +all shortcomings. The brethren had gone out, and +Juniper being left alone devised an excellent plan +whereby the convent might be supplied with food +for a fortnight, and thus the cook have more time +for prayer. "With all diligence," it is related in +the <i>Fioretti</i>, "he went into the village and begged +<span class="pagenum"><a name="Page_112" id="Page_112">112</a></span> +for several large cooking-pots, obtained fresh meat +and bacon, fowls, eggs and herbs, also he begged a +quantity of firewood, and placed all these upon the +fire, to wit, the fowls with their feathers on, the eggs +in their shells, and the rest in like fashion." When +the brethren came home, one that was well acquainted +with the simplicity of Brother Juniper went into the +kitchen, and seeing so many and such large pots on +a great fire, sat down amazed without saying a word, +and watched with what anxious care Brother Juniper +did this cooking. Because of the fierceness of the +fire he could not well get near to skim the pots, so +he took a plank and tied it with a rope tight to his +body and sprang from one pot to the other, so that +it was a joy to see him. Contemplating all with great +delight, this brother went forth from the kitchen and +finding the other brothers, said: "In sooth I tell you, +Brother Juniper is making a marriage feast."</p> + +<p>Then in hurried Juniper, all red with his exertions +and the heat of the fire, explaining the excellent plan +he had devised; and as he set his mess upon the table +he praised it, saying: "Now these fowls are nourishing +to the brain, this stew will refresh the body, it is so +good"; but the stew remained untasted, for, says the +<i>Fioretti</i>, "there is no pig in the land of Rome so +famished that he would eat of it."</p> + +<p>At the end of any foolish adventure Brother Juniper +would always ask pardon with such humility that he +edified his companions and all the people he came in +contact with, instead of annoying them with his childish +pranks. His goodness was manifest, and St. Francis +was often heard to say to those who wished to reprove +him after one of his wildest frolics, "would +that I had a whole forest of these junipers."</p> + +<p>Between the men who lived at the Portiuncula with +the saint, and those who in later times ruled large convents +<span class="pagenum"><a name="Page_113" id="Page_113">113</a></span> +in the cities, the contrast is so great that we would +wish to draw still further from these inexhaustible +chronicles which reveal so charmingly the life of +these Umbrian friars. But to tell of all the events +connected with the Portiuncula would mean recounting +the history of the whole franciscan brotherhood, and +we must now pass over many years to that saddest +year of all, when St. Francis was brought to die in the +place he had so carefully tended.</p> + +<div class="figcenter"><a name="illo129" id="illo129"></a> +<img src="images/illus129.jpg" width="505" height="220" alt="ASSISI FROM THE PLAIN" /> +<p class="caption">ASSISI FROM THE PLAIN</p> +</div> + +<p>Knowing that he had but a few more weeks of life, +he begged the brethren to find some means to carry +him away from the Bishop's Palace at Assisi where +he had been staying some time. "Verily," he told them +pathetically, "because of my very infirmity I cannot +go afoot"; so they carried him in their arms down +the hill to the plain, and when they came to the +hospital of San Salvatore dei Crociferi they laid him +gently down upon the ground with his face towards +Assisi, because he desired to bless the town for the last +time before he died.</p> + +<p>The blind saint, lifting his hand in blessing, pronounced +these words dear to the hearts of the Assisans +to this day: "Blessed be thou of the Lord, O city, +faithful to God, because through thee many souls shall +<span class="pagenum"><a name="Page_114" id="Page_114">114</a></span> +be saved. The servants of the Most High shall dwell +in great numbers within thy walls, and many of thy +sons shall be chosen for the realms of heaven."</p> + +<p>Then they carried him to the hut nearest the +Portiuncula which was the infirmary, and here his last +days were passed.<a name="FNanchor_58" id="FNanchor_58" href="#Footnote_58" class="fnanchor">[58]</a> Although he suffered acutely, they +were days of marvellous peace and joy. It is beautiful +to read how, with his usual tenderness, he thought +of the brethren he was leaving to carry on the work +without him, encouraging them all as they stood weeping +round his bed. Like Isaac of old, the Umbrian +patriarch blessed his first born, Bernard of Quintavalle, +saying: "Come my little son that my soul may bless +thee before I die," while he enjoined upon all to love +and honour Bernard, who had been the first to listen +to his words now so many years ago. With all his +sons near him St. Francis dictated his will, wherein +he describes the way of life they were to lead, and +which, coming from him at this solemn moment, must +always remain as a precious message from the saint, in +many ways of more importance than the Rule approved +in his life-time by Pope Honorius. When this was +done he commended once again to their special care +the chapel of the Portiuncula. "I will," he said to +them, "that for all times it be the mirror and good +example of all religion, and as it were a lamp ever +burning and resplendent before the throne of God and +before the Blessed Virgin."</p> + +<p>The farewells to those of his immediate circle had +been made and a letter written to St. Clare, and now +he wished to bid "the most noble Roman matron, +Madonna Giacoma dei Settesoli," one of his most +<span class="pagenum"><a name="Page_115" id="Page_115">115</a></span> +devoted followers, to come and take leave of him at +Assisi. The letter had only just been written when +knocking at the door and the sound of horses trampling +was heard outside, and the brethren going out to discover +the cause of such unwonted noise found that +Madonna Giacoma, accompanied by her sons, two +Roman senators, had been inspired to come and visit +the dying saint.</p> + +<p>The brethren, somewhat averse to allow a woman, +even one so renowned for holiness as Madonna +Giacoma, to enter their sacred precincts, called to +St. Francis in their doubt: "Father, what shall be +done? Shall we let her enter and come unto thee?" +And the Blessed Francis said: "The regulation is to +be set aside in respect to this lady whose great faith +and devotion hath brought her hither from such far-off +parts." So Madonna Giacoma came into the presence +of the Blessed Francis weeping bitterly, and she +brought with her the shroud-cloth, incense, and a +great quantity of wax for the candles which were to +burn before his body after death. She had even +thought of some cakes made of almonds and sugar, +known in Rome by the name of <i>mostaccioli</i>, which she +had often made for him when he visited her. But the +saint was fast failing, and could eat but little of the +cakes.</p> + +<p>As the end came nearer his thoughts were drawn +away from earth, and true to the last to his Lady +Poverty, he caused himself to be laid naked on the +ground as a token of his complete renouncement of the +world. His face radiant with happiness, he kept asking +his companions to recite the Canticle of the Sun, often +joining in it himself or breaking forth into his favourite +psalm <i>Voce mea ad Dominum Clamavi</i>.</p> + +<p>With words of praise and gladness the Blessed +Francis of Assisi, the spouse of Poverty, died in a mud +<span class="pagenum"><a name="Page_116" id="Page_116">116</a></span> +hut close to the shrine he loved, on the 3rd of October +of 1226 in the forty-fifth year of his age.</p> + +<p>His soul was seen to ascend to heaven under the +semblance of a star, but brilliant as the sun, upon clouds +as white as snow. It was sunset, the hour when in +Umbria after the stillness of a warm autumn day an +unusual tremor passes through the land and all things +in the valley and upon the hill-sides are stirred by it, +when a flight of larks circled above the roof of the hut +where the saint lay at rest. And these birds of light +and gladness "seemed by their sweet singing to be in +company with Francis praising the Lord God."</p> + +<p class="center b125 p6">CHAPTER IV</p> +<p><span class="pagenum"><a name="Page_117" id="Page_117">117</a></span></p> + +<p class="center b175"><i>The building of the Basilica and Convent of +San Francesco. The Story of Brother +Elias</i></p> +<div class="blockquot"> +<p>"O brother mine, O beautiful brother, O brother of love, +build me a castle which shall have neither stone nor iron. O +beautiful brother, build me a city which shall have neither +wood nor stone."—<span class="smcap">Beato Egidio.</span></p> +</div> +<div> +<img src="images/illus133_a.jpg" width="620" height="126" alt="" /> +<img src="images/illus133_b.jpg" width="360" height="216" alt="O" class="c4b" /> +<img src="images/illus133_c.jpg" width="216" height="90" alt="" class="c4" /> +<img src="images/illus133_d.jpg" width="162" height="180" alt="" class="c4" /> +</div> +<p>ne of the strangest characteristics +of mediæval +Italy was the rivalry between +different towns to +gain possession of the +bodies of holy people. +They did not even wait +for the bull of canonisation +to arrive from Rome, but often of +their own accord placed the favoured +being in the Calendar of Saints, and +papal decrees merely ratified the choice of +popular devotion. We have an example of +this with the Perugians. Ever on the alert +to increase the glory of their city, they +hovered near the road St. Francis was to +follow during his last illness when borne +from Cortona to Assisi, meaning to carry +<span class="pagenum"><a name="Page_118" id="Page_118">118</a></span> +him off by force so that he might die in Perugia.<a name="FNanchor_59" id="FNanchor_59" href="#Footnote_59" class="fnanchor">[59]</a> +Never at a loss for a way out of any difficulty Elias +hastily changed the itinerary for the journey, and instead +of the short way by lake Thrasymene he took the much +longer and more difficult road by Gualdo and Nocera, +far back in the mountains to the north of Assisi. He +warned the Assisans of the peril run by the little company +of friars with their sick father, and soldiers were +immediately sent to escort them safely to the Bishop's +Palace where St. Francis stayed until carried to the +Portiuncula when he knew that he was dying.</p> + +<p>They were sad days at Assisi when St. Francis was +borne through the city blind and ill; and as he +stretched out his hands to bless the people they bowed +their heads and wept at the sight of so much suffering. +Now that the end had come and they knew he lay safely +in the little shrine of the Portiuncula, their mourning +was changed into rejoicing, and as though they were +preparing for a great festival, strange sounds of busy +talk, of laughter and of singing were heard in the +streets. Had a stranger found himself at Assisi that +Sunday morning he might well have asked: "What +victory have you gained to merit all this show of gladness, +or what emperor are you going forth to greet?" +And the answer would have been: "Francis, our +saint, the son of Bernardone, returned to us when he +was nigh to death, and now that he is dead we possess +his body which will bring great honour and fame to +our city by reason of the many miracles to be wrought +at his tomb."</p> + +<p>The sun had not yet risen when the Assisans left +<span class="pagenum"><a name="Page_119" id="Page_119">119</a></span> +their houses and thronged down the hill to the Portiuncula +to bring the precious burden to rest within the +more certain refuge of their walled town. "Blessed +and praised be the Lord our God who has entrusted +to us, though unworthy, so great a gift. Praise and +glory to the ineffable Trinity," they sang as they +hurried along in the cold dawn. Trumpeters blew +loud and discordant notes, nearly drowning the +voices of the priests who vainly in the din tried to +intone the canticles and psalms. The nobles came +from their castles with lighted torches to join the +procession, the peasants from the hills brought sprigs +of olive, and those from the forests stripped the +oaks of their finest branches which they waved above +their heads, while children strewed the ground with +flowers.</p> + +<p>Amidst all this stirring show of joy a kindly thought +had been taken of St. Clare and her nuns, so that when +the body of St. Francis had been laid in a coffin, and +the long line of friars, priests and townsmen turned to +climb the hill, they took a path skirting just below the +town, through the vineyards and olive groves, to the +convent of San Damiano. The sound of chanting must +have warned the watchers of their approach long before +they came in sight. An artist has pictured the nuns like +a flock of timid sheep in his fresco, trooping out of an +exquisitely marbled chapel, with St. Clare endeavouring +to suppress her grief as she bends over the dead +Francis, while the sisters press close behind her. +This is how it ought to have been; but, alas, only +an iron lattice, through which the nuns were wont +to receive the Holy Communion, was opened for +them, and the friars lifting the body of St. Francis +from the coffin, held it in their arms at the opening +as one by one the nuns came to kiss the pierced +hands. "Madonna Chiara's" tears fell fast as she +<span class="pagenum"><a name="Page_120" id="Page_120">120</a></span> +gazed on him who had brought such joy into her +cloistered solitude. "Oh father, father," she murmured, +"what are we to do now that thou hast +abandoned us unhappy ones? With thee departs +all consolation, for buried here away from the world +there is none to console us." Restraining the lamentations +which filled her heart she passed like a shadow +out of sight to her cell, and when all the sisters had +bidden farewell to St. Francis, the small window was +closed "never again to open upon so sad a scene."</p> + +<p>The people, who until now had wept bitterly, began +to sing again as the procession went on its way up the +hill towards the Porta Mojano. The trumpets sounded +louder than ever, and "with jubilation and great exultation" +the sacred body was brought to the church of +San Giorgio, where it was carefully laid in a marble +urn covered with an iron grating, and guarded day and +night from the prying eyes of the Perugians. If +Francis had worked miracles during his life, those +chronicled at his tomb are even more marvellous; +in recounting some which read like fairy tales, a +biographer recounts with pride that, "even from +heaven, the Saint showed his courtesy to all."</p> + +<p>Devotion to St. Francis was not confined to +Umbria or even to Italy, for we read how his fame +spread throughout France, and how the King and +Queen with all the barons of the land, came to Paris +to kiss one of his relics. "People journeyed from +the east and from the west," enthusiastically exclaims +Celano with a total disregard of detail, "they came +from the north and from the south, even the learned +and the lettered who abounded in Paris at that time."</p> + +<p>But while France was being stirred by the news of +perpetual miracles and prodigies wrought through the +intercession of the saint, and Assisi in consequence +was fast growing into a place of great importance +<span class="pagenum"><a name="Page_121" id="Page_121">121</a></span> +in the world, Pope Gregory IX, who had been +lately elected upon the death of Honorius III, spent +many hours in the Cannonica at Perugia wrestling +with his doubts concerning the truth of the greatest +miracle of all, the miracle of the Stigmata. While +in this state of uncertainty and perplexity St. Francis, +the <i>Fioretti</i> relates, appeared to him one night, and +showed him the five wounds inflicted by the Seraph +upon his hands, feet and side. The vision, it seems, +dispelled all doubt from the mind of Pope Gregory, +for in conclave with the cardinals he proclaimed the +sanctity of his friend, the Poverello d'Assisi, and +determined to set the final seal of the church upon +his miracles and fame.</p> + +<p>This vision was the prelude of a great ceremony held +a few days later in San Giorgio for the canonisation of +Francis, at which all Umbria seems to have been +present. Pope Gregory, clothed in vestments of cloth +of gold embroidered with precious stones, his tiara +"almost as an aureole of sanctity about his head," sat +stiffly on his pontifical throne like some carved image, +surrounded by cardinals in crimson garments and bishops +in white stoles. All eyes were fixed upon this splendid +group, and it is not improbable that among the spectators +stood Pietro Bernardone and Madonna Pica, and +many who had reviled Francis in his early days of +sanctity, and now, within two years of his death, witnessed +him placed among the greatest of the saints. +Gregory had prepared an eloquent address, which he +delivered in a sonorous voice occasionally broken by +sobs of emotion. Becoming more and more enthusiastic +as he proceeded, he compared Francis to a full moon, +a refulgent sun, a star rising above the morning mists, +and when he had finished the pious homily, a sub-deacon +read out a list of the saint's miracles, and a +learned cardinal, "not without copious weeping," discoursed +<span class="pagenum"><a name="Page_122" id="Page_122">122</a></span> +thereon, while the Pope listened, shedding +"rivers of tears," and breaking forth every now and +then into deep-drawn sighs. The prelates wept so +devoutly that their vestments were in great part wet, +and the ground was drenched with their tears. The +ceremony ended when the Pope rose to bless the +people, and intoned the <i>Te Deum</i>, in which all joined +with such good will that the "earth resounded in great +jubilee."</p> + +<p>Had St. Francis foreseen how his humility would be +rewarded? This we know, that he in part had realised +how his order would slip away from his ideal, and +there is a deep note of sadness in many pages of his +life, showing us how fully he realised the pitfalls his +disciples were likely to fall into when he was no longer +there to watch over them with tender care. Often +while he was absent for only a little time the brethren +forgot his simple rule, building cells and houses too +spacious and pretentious for the home of the Lady +Poverty. This had been one of the signs to him that +his earnest prayers to God, his example and admonitions +to his followers, which come to us through his +letters and the pages of Brother Leo like the cry of +one who bravely fought against the inevitable, were all +to be in vain. It is a tragic story, and rendered still +more so by the fact that the Saint's last years should +have been saddened by this knowledge of coming +events.</p> + +<p>Only a little while and the teaching of poverty and +obscurity which he had so deeply implanted in the +hearts of his followers was to be completely swept +away; upon the ruins of that first franciscan order, +guarded jealously for a time by a faithful few, arose the +new franciscan spirit which Elias Buonbarone, inspired +by the will of Gregory IX, brought into being almost +before the echo of his master's words had died away. +<span class="pagenum"><a name="Page_123" id="Page_123">123</a></span> +It is not for us in this small space to trace the many +changes that crept into the young community, but we +simply note as a fact, what to some may appear exaggerated, +that the order St. Francis founded, and prayed +would continue as he left it, ceased at his death, while +the order that grew up afterwards bore the unmistakable +stamp of Elias and the Vatican.</p> + +<p class="p2">The extraordinary humility of St. Francis gave rise +to the myth that when he lay dying at the Portiuncula +he expressed a strong desire to be buried in the most +despised spot near Assisi, which, because criminals were +said to have been executed there, bore the name of +Colle del Inferno. It seems unlike him to have been +concerned with what might become of "brother body" +after death, and it was probably not until Gregory IX +conceived the idea of building a church in honour of +his friend, that a suitable burial-place was searched for +near the walls of the town, if not actually within them, +where the citizens could safely guard the precious +relics. Everything favoured the designs of Gregory, +for not only was he fortunate in finding a man like +Elias, capable, prompt and energetic, but the one place +suited for the erection of a great church, happened to +be in the possession of a generous citizen of Assisi. +No sooner were the wishes of the Pontiff made known +than Simon Puzzarelli offered his land on the Collis +Inferni, which from this time forward Gregory ordered +to be called Collis Paradisi, the Hill of Paradise.<a name="FNanchor_60" id="FNanchor_60" href="#Footnote_60" class="fnanchor">[60]</a></p> + +<p>A document, duly sealed and signed, is still in the +Assisan archives, in which we read how the site for the +<span class="pagenum"><a name="Page_124" id="Page_124">124</a></span> +building of "an oratory or church for the most holy +body of St. Francis" was given over, in words that +admitted of no withdrawal, to Elias as representative of +the Lord Pope Gregory IX—"dedit, tradedit, cesset, +delegavit et donavit simpliciter et irrevocabiliter." +Now the use of the word <i>oratory</i> is a remarkable +fact as suggesting that at the beginning the Assisans +little dreamed of the erection of a great basilica which +would cast their cathedral entirely into the shade.</p> + +<p>A few days after the ceremony of the canonisation of +St. Francis, Pope Gregory, amid the usual crowd of +Umbrian spectators, laid the foundation-stone of the +franciscan basilica. Then being recalled by his Roman +subjects, whom Assisan chroniclers describe as "a race +of men most seditious and fierce," he was obliged to +hurry south, leaving Elias to carry out his wishes as he +thought best.</p> + +<p>So far the task left to Elias was easy enough, for +money was not lacking, and countless workmen were +ready to begin the great enterprise; but the question of +who should design a church upon the site chosen was +a more difficult matter to settle, as Vasari tells us: +"There was a great scarcity of good architects at this +time, and the church, having to be built upon a very +high hill, at the base of which flows a torrent called +the Tescio, an excellent artist was required for the +work. After much deliberation a certain Maestro +Jacopo Tedesco was called to Assisi as being the best +architect then to be found, and having examined the +site, and consulted the wishes of the fathers, who were +holding a Chapter in Assisi to discuss the matter, he +designed the plan of a very beautiful church and +convent."<a name="FNanchor_61" id="FNanchor_61" href="#Footnote_61" class="fnanchor">[61]</a></p> + +<p>"Jacopo" is said to have come to Italy in the +retinue of the Emperor Frederick II. Vasari recounts +<span class="pagenum"><a name="Page_125" id="Page_125">125</a></span> +that the fame he gained all over Italy by his work at +Assisi was so great that the Florentines summoned him +to build them bridges and palaces, and "Jacopo," +charmed with the Tuscan city, married and dwelt +there. The citizens, following a custom which still +continues in every Italian town, changed his name to +Lapo, and he is revealed to us as father of the famous +Arnolfo di Lapo, architect of the Florentine cathedral +and of the Palazzo della Signoria. In the seductive +pages of Vasari the account reads so pleasantly that it +seems a pity later writers should have discovered that +the story rests upon uncertain dates and legends. +Vasari's endeavour to amalgamate three artists into one +person, have forced many to the opposite extreme, +until even the existence of "Jacopo Tedesco" is +denied, and they are reduced to speak of <i>an</i> architect +who designed the church and convent of San Francesco.<a name="FNanchor_62" id="FNanchor_62" href="#Footnote_62" class="fnanchor">[62]</a></p> + +<p>Such is the irony of fate, that while numerous +documents remain giving the names of contractors +and minor masons employed in the building there is +absolutely no evidence or clue of any kind as to +<span class="pagenum"><a name="Page_126" id="Page_126">126</a></span> +the architect employed by Elias. We can only +suppose that the document relating to this and other +interesting points in connection with the decoration +of the church, must have been destroyed by the +Perugians when they sacked Assisi under Jacopo +Piccinino and burnt so many treasures in the archives. +We are consequently at the mercy of local legends, +which were no doubt recounted to Vasari by the +Assisans themselves when he visited the town in the +middle of the sixteenth century. But there is still +the evidence of our own eye to help us to know +something of the builder of San Francesco, the +builder of the first Gothic church in Italy. We +are told he was a German; but then we know +from Mr Fergusson's Handbook of Architecture +that Germans were only just awakening to the +Gothic influences at the time of St. Francis's death, +and, when they wished to build churches in the +new style they called in French masons to help them. +Was it therefore likely that Germany should have +given the mysterious architect to Assisi? A church +recalling the Assisan Basilica may be vainly searched +for in Germany or in Lombardy and this further fact +inclines us to believe in the theory of M. Edouard +Corroyer.</p> + +<div class="figcenter"><a name="illo143" id="illo143"></a> +<img src="images/illus143.jpg" width="650" height="384" alt="CHURCH AND CONVENT OF SAN FRANCESCO" /> +<p class="caption">CHURCH AND CONVENT OF SAN FRANCESCO</p> +</div> + +<p>Whether the man who conceived the original idea +of raising one church above another flanked by a +colonnaded convent on the spur of a great mountain +was called Philip or James, or whether he came +from a Lombard or a German province seems of +small importance compared with the country where +he learned his art. Even supposing "Jacopo" to +have been a northern Italian from the home of the +Comacine Guild of master masons, which is extremely +likely, everything goes to prove that he must have +drawn his inspiration for the Assisan Basilica straight +<span class="pagenum"><a name="Page_129" id="Page_129">129</a></span> +from the south of France. What establishes the +French parentage of San Francesco is the mode of +construction, especially visible in the Upper Church, +and which, as M. Corroyer says, "possesses all the +characteristics peculiar to the French architecture in +the south of France at the close of the thirteenth +and the beginning of the fourteenth century, of which +the Cathedral of Albi [in Aquitaine] is the most +perfect type. The single nave, its buttresses projecting +externally in the form of half turrets, add +to the likeness of the Italian church of Assisi with +that of Albi in France."<a name="FNanchor_63" id="FNanchor_63" href="#Footnote_63" class="fnanchor">[63]</a> A glance at the illustrations +of the two churches will bear this theory out +better than many words; and it will be seen at +once that had the half turrets between the bay windows +of San Francesco been completed with pointed +roofs and small lancet windows, as no doubt was the +intention, the likeness would be even more striking.</p> + +<p>Although "Jacopo" left a very substantial mark +of his genius upon the Umbrian hill-side, he came +and went like a shadow, leaving his designs and plans +to be carried on by his young disciple Fra Filippo +Campello, whom we shall meet with again in the +chapter on Santa Chiara. Little, therefore, as we +know of this earlier portion of its history, San Francesco +at least remains to us in all its first prime +and glory to tell its own tale, and endless should be +the hymn of praise sung by the Assisans for the +chance which brought so beautiful a creation within +their walls.</p> + +<p>It seems indeed strange that a style so new and +so admired, was not more faithfully adhered to at a +time when cathedrals and churches were being erected +in every Italian city. Perhaps the Romanesque and +<span class="pagenum"><a name="Page_130" id="Page_130">130</a></span> +Byzantine influences from the south so tempered the +Gothic tendencies of Lombard architects, that they +were unable to attain the true ideal, and succeeded +only in creating a style of their own, to +be found at Florence, Siena and Orvieto, known as +Italian Gothic. Thus it happens that the Assisans +are the proud possessors, not only of the first Gothic +church built in Italy during the dawn of the new +era, but of a church which is unique, as recalling +less dimly than those of other cities the splendour +of the northern cathedrals.</p> + +<p class="p2">The rapidity with which the Assisan Basilica progressed +is one of the most wonderful results of the love +inspired by St. Francis among mediæval Christians. The +generosity of the Catholic world was so stirred that +donations poured in without ceasing from Germany and +France, and even from Jerusalem and Morocco. "Cardinals, +bishops, dukes, princes, counts and barons," write +the chroniclers, helped Elias in his work, while the +people of Umbria, too poor to give money, came in +numbers, out of the reverence they bore the Saint, to +work for small and often for no wages. It was a busy +time; and Assisi awoke to a sense of her importance. +Under the vigilant eye of Elias, armies of masons and +labourers worked as unremittingly as ants at a nest, +while processions of carts drawn by white oxen, went +ever to and fro upon the road leading to the quarries, +bringing creamy-white, rose and golden-coloured blocks +of Subasian stone.</p> + +<p>This universal enthusiasm enabled Elias to complete +the Lower Church in twenty-two months, while the +Upper Church was roofed in six years later, and finished +in all essential details by 1253. But while Elias was +applauded by most people, a few of the franciscans, +headed by Fra Leo, still clung to the letter of the +<span class="pagenum"><a name="Page_131" id="Page_131">131</a></span> +franciscan rule, and bitterly disapproved of these innovations. +They sorrowfully looked on at the army of +workers, raising, as if by magic, walls and colonnades +upon the hill-side and towers ever higher against the +sky. They watched blocks of marble and stone being +chiselled into cornices, friezes and capitals ornamented +with foliage and flowers, until, with despair in their +hearts, they slowly returned to their mud huts in the +plain. The dreams of Francis were vanishing fast as +the allegiance to the Lady Poverty diminished. Now +her shrine existed only in the Carceri, in San Damiano +and in the Portiuncula, where few sought her company, +for all eyes were turned towards the new Basilica. The +words of the Master, recorded faithfully in Leo's +biography, were ever ringing in his ears: "Set a +good hedge round in lieu of a wall, as a sign of holy +poverty and humility ... build poor little cells of +mud and wood, and other cells where at times the +brethren may pray and work to the gain of virtue and +the avoidance of sloth. Also cause small churches to +be built; they ought not to raise great churches for +the sake of preaching to the people, or for any other +reason, for they will show greater humility and give a +better example by going to preach in other churches. +And if by chance prelates, clerics, religious or seculars +should come to these abodes, the poor houses, the little +cells and small churches will be better sermons and +cause greater edification to them than many words."<a name="FNanchor_64" id="FNanchor_64" href="#Footnote_64" class="fnanchor">[64]</a></p> + +<p>No wonder that Leo and his friends watched Elias +at his work with no friendly eye, for between the mud +huts which Francis had planned with so much simplicity, +and the massive Basilica and palatial convent, +stretched an infinite chasm, separating the old order +from the new.</p> + +<p>They were still more unhappy and scandalised when +<span class="pagenum"><a name="Page_132" id="Page_132">132</a></span> +Elias, who had the full permission of Gregory IX. for +this innovation, placed a marble vase outside San Francesco +to receive the contributions of those anxious to +see the church quickly finished. A curious account is +given by a latin chronicler of the warfare which ensued +between the standard-bearers of the new and the +old franciscan spirit: "Some brothers of marvellous +sanctity and purity went to Perugia to consult Brother +Egidio, a good and pious man, concerning the erection +of so large a building and the manner of collecting +money, which seemed to be expressly against the rule. +And Brother Egidio answered them: "If that building +were to reach from Assisi to here [to Perugia] a +little corner would suffice for me to dwell in." And +they having asked him what he thought about the vase, +he said, turning to Brother Leo: "If thou considerest +thyself already dead [to the world and its persecutions] +go and break it. But if thou livest, stay thy hand, for +perchance thou mayest not be able to bear the persecution +of that Brother Elias."<a name="FNanchor_65" id="FNanchor_65" href="#Footnote_65" class="fnanchor">[65]</a> Hearing this, Brother +Leo went with his companions and broke the vase to +pieces. Then Brother Elias, hearing this, had them +severely beaten by his servants, and drove them from +Assisi in great confusion. For this reason a great +tumult arose among the brethren. Because of these +aforesaid excesses, and because Brother Elias threatened +the complete destruction of the rule, when the brethren +met in general Chapter they deprived him of the office +of Vicar General, and unanimously elected Brother +John of Florence [Giovanni Parenti].<a name="FNanchor_66" id="FNanchor_66" href="#Footnote_66" class="fnanchor">[66]</a></p> + +<p>But these murmurs were drowned in the din of +public applause which enabled Elias to work in his +<span class="pagenum"><a name="Page_133" id="Page_133">133</a></span> +own way, unscrupulously dispersing every difficulty +without any reference to the rule of St. Francis.</p> + +<p>He continued to be the presiding spirit at Assisi, and +such was the success of his untiring energy that by +the month of May 1230, the Lower Church of the +Basilica was ready to receive the "most sacred body" +of the Saint, while the magnificent quarters in the +adjoining convent were ready for those friars who +belonged to the moderate party, and approved of the +new order of things.</p> + +<p>Pope Gregory was unable to visit Assisi at this time +owing to difficulties with his unruly Roman subjects, +but he sent innumerable indulgences, golden crosses +studded with precious stones containing relics of +the true cross, vases of silver and gold, and a large +sum of money for the further advancement of the building. +These generous gifts were followed by a Brief, +which in calmer moments the monks might have viewed +with irritation, declaring both Basilica and convent to +be immediately subject to the Holy See. The franciscan +order was fast becoming a Papal institution, to +be patronised and ruled by succeeding Pontiffs.</p> + +<p>While Giovanni Parenti was preparing for the Conclave +to be held in the spacious rooms of the new +convent, the wily Elias was holding secret councils +with the magistrates of the town as to ensuring the +safe conduct of the body of St. Francis to the Basilica. +The number of people continually arriving in anticipation +of the coming ceremony made them somewhat uneasy, +and their doubts were carefully discussed in the +Communal Palace. They came to the conclusion +<span class="pagenum"><a name="Page_134" id="Page_134">134</a></span> +that if the exact place of the saint's sepulchre was +known, there would always be the danger of its being +rifled by the citizens of neighbouring towns, especially +by the Perugians, whose partiality for relics was well +known. So a stratagem, most likely invented by the +fertile brain of Elias, was decided upon and succeeded +admirably.</p> + +<p>The friars and citizens, unconscious of the plot +hatched in their midst, were all eager for the day +of the Translation. The Umbrians left their towns +empty to assist at the great spectacle, and their number +was so great, that, failing to find room within the walls +of Assisi, they wandered like droves of cattle on the +hills above trying to obtain a sight of the procession. +It was a great day in the annals of Assisi; outside the +little church of San Giorgio a triumphal car, drawn by +a pair of magnificent oxen, their whiteness almost +hidden beneath purple draperies and their horns +wreathed and garlanded with flowers, stood waiting +for the holy burden. Three Papal Legates and +Elias placed the heavy sarcophagus with their own +hands upon the car, covering it over with a piece +of rich brocaded silk sent for the occasion by the +mother of King Louis of France. They kept close +to the car all the time, while the brethren, holding +palms and torches, formed a long procession followed +by the bishops and their clergy, and the Podestà with +his retinue of crimson-robed priors. It was the month +of May, and from every garden and terrace the nobles +and their ladies showered flowers over the "sacred +ark" as it was borne slowly up the street amidst the +deafening sound of trumpets and the cheers of the +populace. All that could be done to honour St. +Francis had been thought of; Gregory IX. had even +composed a hymn to be sung on that day in which +the "Poverello" was compared to Christ. They were +<span class="pagenum"><a name="Page_135" id="Page_135">135</a></span> +in the midst of the hymn of praise and quite close +to the new Basilica when the heavy tramp of numerous +armed men was suddenly heard; swiftly a passage was +made through the crowd, who for the moment fell +back amazed and powerless, while the soldiers hurried +with the sarcophagus into the church, closely followed +by Elias, who promptly shut and barred the door. +After the first moment of surprise, a wild burst of +indignation arose from the thousands who were thus +deprived of a spectacle which they had come miles to +see. They howled like wild beasts baulked of their +prey, banging at the doors of the church in their fury; +but silence reigned within, for Elias and his accomplices +were stealthily engaged in hiding the body of +St. Francis in the very bowels of the mountain, where +for five centuries it remained unseen and undisturbed.</p> + +<p>Till far into the night the people continued to murmur; +the bewildered friars asked each other what this +strange behaviour of Elias meant, and the only people +who preserved any appearance of calmness were Messer +il Podestà of Assisi and his priors, who smiled to see +how well the plot had worked. It was not long before +the scandal reached the ears of Pope Gregory. The +enemies of Elias painted the story in glowing colours, +and the Pope expressed himself greatly shocked at +sacrilegious hands having been laid upon the holy body +of the saint. He blamed the magistrates for allowing +such a tumult to arise, and called upon them to give +due explanation of their conduct within a fortnight at +the court of Rome under pain of their city being laid +under an interdict. The Pope's Brief caused consternation, +and his accusations of their ingratitude for +past favour rankled deeply. We are not told how +the anger of the Pope was pacified, but no doubt both +Elias and the Podestà explained satisfactorily the +reasons for so strange a burial, as Assisi continued +<span class="pagenum"><a name="Page_136" id="Page_136">136</a></span> +to enjoy the patronage of the Holy See. The efforts +of Elias to ensure the safety of the body of St. Francis +had been eminently successful, and Gregory could +hardly fail to pardon the unusual manner in which +this had been obtained.</p> + +<p>Out of the mysterious events of that day of tumult +grew a legend which lasted until the body of St. +Francis was finally discovered five centuries later. It +was believed that a church far surpassing the other two +in grandeur and beauty had been built beneath them by +Elias, and that St. Francis risen from his tomb stood +in the midst, his hands crossed upon his breast, his +head thrown back, gazing eternally towards the sky. +The Umbrians, refusing to believe that their saint +could suffer the common lot of mortals, loved to think +of him as "almost alive," waiting for the last call, +surrounded by the glorious beauty of a hidden church +which they had never seen and only dimly pictured to +themselves. Vasari refers to this "invisible church" +described to him by the awe-struck citizens, when he +mentions that "the tomb containing the body of the +glorious saint is in the lowest church where no one +enters, and whose doors are walled up"; and in the +beginning of his description of the Basilica, he speaks +of three ranges of buildings placed one above the +other, the lowest of all being subterranean, which +is curious as showing how closely he followed tradition +regarding the Assisan church. Padre Angeli so unhesitatingly +accepted the story that in his "Collis +Paradisi" he drew from imagination a plan, together +with a picture of the "invisible church." It represents +a long vaulted hall somewhat recalling the architecture +of the Upper Church, at the end of which is +St. Francis standing upon his tomb in a recess corresponding +to a kind of choir; the vaulted roof is +supported by slender columns with chiselled capitals, +<span class="pagenum"><a name="Page_137" id="Page_137">137</a></span> +and the walls and floor are ornamented with marbles +and mosaic of different colours.</p> + +<hr /> + +<p>To close this chapter without touching upon the +career of Elias, who is at once the black sheep of the +franciscan order and one of the greatest citizens of +Assisi, would be impossible. Few have written calmly +about him, trying either to exculpate him or blaming +his actions too severely, so that it is difficult to obtain +any just idea of the real motives which guided him +in an ill-starred life. Elias was neither devil nor +saint, though he possessed the energy of both and his +marked and domineering character would have fitted +him better for the world than for the cloister. +Ambition seems to have been his chief fault, together +with a certain proud reserve which kept him aloof +from his companions. From the various references +to him in the early biographies of St. Francis we feel +the writers failed ever to come quite in touch with one +so outside their lives, and whom they considered as a +kind of Judas—for did he not betray the interests of +the Master?</p> + +<p>"Elias is an altogether different type of man from +the simple-minded Francis," writes Mrs Oliphant, +echoing the general opinion. "He is an ambitious +and ascetic churchman, of the class which has pushed +Rome into much power and many abuses—an almost +conventional development of the intellectual monk, +making up for compulsory humbleness in external +matters by the highest strain of ecclesiastical ambition +and spiritual pride."</p> + +<p>But while all abused him, none doubted his very +exceptional talents, and even in the <i>Fioretti</i> he was +accounted "one of the most learned men in the +world," and St. Francis showed the great confidence +he had in him by naming him Vicar-General after the +<span class="pagenum"><a name="Page_138" id="Page_138">138</a></span> +death of Peter Cataneo. It was at a Chapter held in +the wood by the Portiuncula that the saint expressed +his desire to again resign the government of the order +to another, and while Elias discoursed to the assembled +friars St. Francis sat at his feet listening attentively to +every word.<a name="FNanchor_67" id="FNanchor_67" href="#Footnote_67" class="fnanchor">[67]</a> On the other hand, the saint was quite +aware of his faults, and from the <i>Fioretti</i>, where Elias +is pictured for artistic effect in strong colours as the +wicked friar, we seem to realize the strain that often +must have come between these two very different men. +Thus we read that it being revealed to St. Francis +that Elias was destined to lose his soul and bring dishonour +on the order, he conceived such an antipathy +towards him that he would even avoid meeting him, +although at the time they were living in the same +convent. The scene when Elias, discovering the +reason of his displeasure, threw himself at the feet of +the saint to implore his intercession with heaven reveals +in the most touching way the great belief and reverence +inspired by St. Francis in the heart of the least docile +of his followers. "I have so great a faith in thy +prayers," said Elias, "that were I in the midst of +hell, and thou wert to pray to God for me, I should +feel some relief; therefore again I pray thee to commend +me, a sinner, unto God who came to save sinners +that He may receive me into His mercy." And this +did Brother Elias say with much devotion and many +tears, so that St. Francis, like a pitying father, promised +to pray to God for him. It will be seen how +far the revelation of St. Francis came true, and the +manner in which his prayer was answered. + +<span class="pagenum"><a name="Page_139" id="Page_139">139</a></span></p> + +<p>So long as Elias remained under the influence of +Francis his pride was tempered, and his ambition +curbed, but when cast upon his own resources he gave +full rein to the ideas which had no doubt been forming +in his mind for some years past. Elias thought the +franciscan order, if faithful to the Lady Poverty, +would prove of small importance; and he therefore +willingly leagued with Gregory IX. to mould it so +that it should become a visible power upon the earth. +The vision he conjured up with the sceptre in his +own hand was very fair; and he failed to see why +religion should not be served quite as well within the +massive convent walls he had helped to rear, as when +dwelling in a mud hut. He had too broad a mind +to look closely to the detail of his rule; he only saw +the broad outline of his master's teaching; and who +can say whether after all he was not right? This +we know, the mud huts have long since vanished, +while thousands come each year to pray at the tomb +of Francis within sight of Giotto's master-pieces. +They sing aloud his praises, and as they pray and sing +throw coppers and silver in heaps upon the altar steps, +and pass out of the church into the sunlight again, +knowing little of the lessons St. Francis spent his life +in teaching.</p> + +<p>But we must return again to Elias and his +many troubles with the franciscan world. While +patronized by Pope Gregory, he also seems to have +had a strong party of monks on his side, probably +those who had joined the Order during the last few +years. Their names have not come down to us, and +their personalities have merged in that of Elias who +thus led them forward on a somewhat perilous way. +They began by attempting to depose Giovanni Parenti +while he was holding a Chapter in the new convent, +a few days after the ceremony of the Translation of +<span class="pagenum"><a name="Page_140" id="Page_140">140</a></span> +the body of St. Francis to the Basilica. His friars +were gathered round him discussing the various missions +to be undertaken, and the work that had been done +during the past year, when the door was thrown open +and a crowd of excited friars with Elias at their head +appeared upon the threshold. Before anyone could +realize what this strange apparition meant, Elias was +borne rapidly along by his companions and installed +in the seat of Giovanni Parenti, while a scene of +indescribable tumult arose among those whose indignation +had not yet cooled down after the events of the +past week. It is said that St. Anthony of Padua was +present at this conclave, and vainly tried to calm the +excitement, but his voice was drowned in the clamour. +At last, driven to despair, Giovanni Parenti began to +cry aloud and tear his garments as one distraught; he +could not have hit upon a better plan, for where words +had failed this piece of dramatic acting produced an +instantaneous effect. His friars formed a vanguard +round him, acclaiming him Vicar-General as they beat +back the intruders with hard blows and angry scowls. +Elias, seeing the game was lost, threw himself on the +ground, and with expressions of deep contrition +implored forgiveness. He was pardoned, but banished +to a distant hermitage, where humbled and sad he +pondered for many months upon his next move. He +allowed his hair and beard to grow to such a length +that even his enemies began to believe his repentance +was sincere, and only two years after his misconduct +we find him elected Vicar-General in the place of +his former rival, and, under the title of Guardian and +Master of the Basilica and Convent, in full command +of the works at San Francesco.</p> + +<p>He now enjoyed a season of peace and plenty in the +comfortable quarters of the franciscan convent, and +is said to have gathered a household about him surpassing +<span class="pagenum"><a name="Page_141" id="Page_141">141</a></span> +the splendour of a cardinal's court. Fra +Illuminato di Rieti (afterwards Bishop of Assisi) +acted as his secretary, writing numberless letters to +"the Pope and the Princes of the World," for Elias +was in correspondence with more than one crowned +head and paid many visits to distant courts in quest +of money for the Assisan Church. On these journeys +he always went on horseback, and even when going +from one church to another in Umbria, he was well +mounted on a "fat and stout palfrey," to the intense +scandal of some of the friars. "He also had secular +servants," writes an indignant chronicler, "all dressed +in divers colours like to those of bishops, who ministered +to him in all things." His food was always good, +and he had the reputation of keeping an excellent cook.</p> + +<p>This peaceful and successful period of his life +was of short duration, for he soon fell into dire +trouble and disgrace. It was his misfortune to be +sent by Pope Gregory, who trusted implicitly in +his discretion and ability, on a mission to Frederic +II, in the hopes of bringing the Emperor to a sense +of his misdoings. A disciple of St. Francis seemed +to be the right person to send as an emissary of peace; +but instead of the orthodox humble and barefooted +friar, we read of him as a very haughty personage, quite +at his ease in the political world, then ringing with the +angry cries of Guelph and Ghibelline.</p> + +<p>No sooner had Elias reached the franciscan convent +at Parma than the magnates of the city, aware +of the errand he had come upon, assembled to do +him honour. Fra Salimbene, who was present at +the interview, describes how Elias waited for his +visitors, his head swathed in an Armenian turban, +and comfortably seated upon a soft chair drawn +close to a huge fire. When Gherardo da Correggio, +known as "Messer il Podestà of the big teeth," +<span class="pagenum"><a name="Page_142" id="Page_142">142</a></span> +entered the room, Elias remained seated, and to the +astonishment of all in no way disturbed himself for +his illustrious guest. The Podestà very sensibly took +no offence, but passed the matter over by expressing +his wonder that the Vicar-General should have chosen +so cold a season for his visit to Lombardy—a glance +at the fire had told him that this franciscan friar liked +comfort as much as most people.</p> + +<p>There is no detailed account of the interview of +Elias with the Emperor to inform us whether he +behaved at it with the same easy familiarity; all we +know is that Frederic, "the wonder of the world," +and Elias, the Assisan friar, formed a friendship which +lasted during the remainder of their lives, linking +them together in a common fate. Whether Elias +was won over from the first by the charm of so +fascinating a personality, or simply baffled by a mind +more subtle than his own, it is difficult to say, as the +chroniclers have drawn too thick a veil over this +unfortunate meeting for anyone to judge with fairness. +His failure certainly gave a good opportunity to his +many enemies to commence a very satisfactory scheme +of blackening his character with the Pope; and the +rumour flew to Rome that he was a traitor to his +church. Branded with the abhorred name of Ghibelline +there was now little hope for Elias, whose friendship +with the arch-enemy of Holy Church grew always +stronger. The Lombards becoming uneasy, accused +Gregory of favouring the Emperor, while the latter +bitterly complained that the Pope listened too much +to the cause of the Lombards, and thought too little +of the imperial dignity. At last a Chapter was called +to enquire into the conduct of the Vicar-General, +and as he was not present, his misdeeds lost nothing +by the telling. Although Elias was deposed, and his +place filled by a Pisan, he still held the title of +<span class="pagenum"><a name="Page_143" id="Page_143">143</a></span> +Guardian and Master of the Assisan Basilica, but +in a city of such strong Guelph sympathies as Assisi, +it was unlikely he would be left in peace, especially as +the Pope no longer favoured him. Life soon became +impossible there, and of his own free will he retired to +a hermitage in the woods of Cortona, followed by some +dozen faithful friars, "not excepting," adds a spiteful +chronicler, "Fra Bartolomeo da Padova, his most +excellent cook." Thence he wrote to the Pope explaining +his conduct, and humbly entreating to be pardoned, +but the letter was found years afterwards in the +pocket of the Pisan Vicar-General, who had promised +to deliver it safely at Rome. Whether the letter was +wilfully laid aside or only forgotten, none have been +able to decide, but the incident had disastrous effects +upon Elias. He waited anxiously for the pardon +which never came, until embittered by finding himself +deserted by nearly everyone, he openly joined the party +of Frederic II. He went a step further, and abused +Pope Gregory in caustic language, taunting him with +injustice and avarice, and with being a simonist, which +of course ended in his excommunication "to the great +scandal of the Church." The news of his disgrace +spread quickly through Italy, and the children sang a +couplet, invented on the spur of the moment, under the +windows of franciscan convents:</p> +<div class="poem"> +<p class="o1">"Or'e attorno Frat'Elia</p> +<p>Che pres'ha la mala via."</p> +</div> + +<p>It was the cry which met the friars in every street they +passed, so that the name of their former Vicar-General +became hateful to them. And yet even now Elias +must have had some friends in the Order, as at a +council held at Genoa in 1244 there were a few who +wished to reinstate him. The Pope commanded him +to appear, but as the papal brief never arrived he was +<span class="pagenum"><a name="Page_144" id="Page_144">144</a></span> +thus again debarred from clearing his much damaged +character. The consequence of these efforts in his +behalf only ended in his falling still deeper into disgrace; +and for the second time he was excommunicated. +We next hear of him roaming about +the country with Frederic II, who found him useful +on more than one occasion as a diplomatic agent. +Elias was sent with strong letters of recommendation +from Pier delle Vigne to Baldwin II, Emperor of +Constantinople, and to Hugo I, King of Cyprus, and +he was even charged to arrange a marriage for a +daughter of Frederic. Among his various talents +Elias seems to have been able to accommodate himself +to a military life. We hear of him, both at the siege +of Faenza and of Ravenna, riding out to battle on a +magnificent charger. At other times he found a +peaceful asylum at the Emperor's court, presenting a +strange contrast to the "strolling minstrels, troubadours, +poets, warriors, jugglers and artists of every grade" +who frequented it. Upon the Emperor's death Elias +returned to Cortona where the citizens received him +kindly as he had obtained privileges for them at various +times from his patron. Here, at the small hermitage +in the ilex wood, he passed the last few years of his +life in building a Franciscan church and convent, +aided by the citizens who gave the ground for the +site.</p> + +<p>While the last touch was being put to the building +of the great Assisan Basilica and it was about to be +consecrated by Innocent IV, in 1253, Elias lay dying +in his little cell at Cortona. His loneliness touched +the heart of a lay brother, who with gentle words +expressed his sorrow at seeing him an outcast from the +Order and offered him help. Elias, no longer the +proud ambitious churchman, answered very gently: +"My brother, I see no other way save that thou +<span class="pagenum"><a name="Page_145" id="Page_145">145</a></span> +shouldst go to the Pope and beg him for the love of +God and of St. Francis His servant, through whose +teaching I quitted the world, to absolve me from his +excommunication and to give me back again the habit +of religion." The lay brother hastened to Rome and +pleaded so humbly that Innocent "permitted him to +go back, and if he found Brother Elias alive he was +to absolve him in his name from the excommunication +and restore unto him the habit; so full of joy the friar +departed and returned in hot haste to Brother Elias, +and finding him yet alive but nigh unto death he absolved +him from the excommunication and put on him again +the habit, and Brother Elias quitted this life and his +soul was saved by the merits of St. Francis and by his +prayers in which Brother Elias had reposed such great +faith."</p> + +<p>Some say that even at the last fate pursued Elias, +for the city of Cortona being at that time under an +interdict no blessed oil could be found for the sacrament +of extreme unction. Certainly his body was not +allowed to rest in the church he had built for the +brethren. A zealous friar dug it up and flung it on a +dunghill, saying that no Ghibelline should be permitted +to lie in consecrated ground.</p> + +<p>Thus it was that Elias left a name hated among +the franciscans as bitterly as the Emperor Frederic's +always has been by Guelph historians. But while the +war against the latter still rages as fiercely as ever, +Elias, save for the gratitude felt by the citizens of +Assisi, rests almost forgotten and his story hidden in +the pages of old chronicles. Few even remember that +owing to the untiring energy of this man Assisi owns +one of the most beautiful monuments of mediæval art. +It is possible that had Fra Leo, Bernard of Quintavalle +and his companions succeeded in those first days +of struggle, the Basilica of San Francesco might never +<span class="pagenum"><a name="Page_146" id="Page_146">146</a></span> +have attained its present magnificence or the art of +Giotto been born in this Umbrian corner of Italy. +Chi lo sa? It is a question one hardly even likes to +think of. But the danger passed away, and who cares +now whether the franciscans grumbled at the time, or +said the church and convent with its buttresses and +towers looked more like the feudal fortress of some +mighty baron than the tomb of the Preacher of Poverty? +The San Francesco we love rises golden and rose-tinted +above the olive groves and the vineyards, above the +plain with its young corn and the white villages lying +among the fruit-trees, above a rushing torrent which +circles round the base of the Subasian mountain on its +way to the Tiber; and all day the varied group of +church, arcaded convent and terraced gardens, is +showing its beauty to the sun.</p> + +<p>In every light it is beautiful, in every mood we +recall it, together with the choicest things we have seen +in travel, haunting us like the charm of a living person. +When the winter mists at early morning wrap round it +like a mantle, or the stars form crowns above its roof +and bell tower, there is always some new loveliness +which thrills us, some fresh note of colour we have not +noticed there before, making us again and again feel +grateful that Elias forgot or ignored the teaching of his +master. +<span class="pagenum"><a name="Page_147" id="Page_147"></a></span></p> + +<div class="figcenter"><a name="illo163" id="illo163"></a> +<img src="images/illus163.jpg" width="430" height="650" alt="SAN FRANCESCO FROM THE PLAIN" /> +<p class="caption">SAN FRANCESCO FROM THE PLAIN</p> +</div> + +<p class="center b125 p6">CHAPTER V</p> +<p><span class="pagenum"><a name="Page_149" id="Page_149">149</a></span></p> +<p class="center b175"><i>Cimabue and his School at San Francesco</i></p> + +<div class="blockquot"><p> +"Il semble au premier coup d'œil que le rève de François +d'Assise a dû amener la fin de tout l'art et de toute noble vie. +Chose étrange! ce sordide mendiant fut le père de l'art +italien."—<span class="smcap">E. Renan.</span> <i>Nouvelles Études d'Histoire Religieuse.</i></p> +</div> + +<p class="center p2"><span class="smcap">The Lower Church</span></p> + +<p><span class="dropcap">S</span>o rarely in Italy is a church perfect both within and +without that it is with amazement we find at Assisi +not one but two churches, choir and nave piled above +each other, and covered from roof to floor with frescoes, +as perfect of their kind as the buildings which they +decorate. Wars in every town, trouble, dissension and +jealousies among men, raged like a storm over the land, +but all this turmoil of a fevered age was unable to check +the steady, rapid progress of at least this monument to +a dead saint's memory; and we perceive yet another +proof of the extraordinary influence of St. Francis, +who was able by the devotion and admiration he excited, +to inspire all with some of his own love of the +beautiful, which has lasted in Italy, from the days +of his ministry, through centuries of both faith and +unbelief down to modern times. But from this arose +a strange event; this lover of solitude, who during his +life sought only for humiliation and obscurity and +loved best the poor and deserted way-side sanctuaries, +was laid to rest in one of the most beautiful Italian +churches of that time. +<span class="pagenum"><a name="Page_150" id="Page_150">150</a></span></p> + +<div class="figcenter"><a name="illo166" id="illo166"></a> +<img src="images/illus166.jpg" width="436" height="550" alt="THE LOWER CHURCH" /> +<p class="caption">THE LOWER CHURCH</p> +</div> + +<p>While wandering through the Lower Church, marvelling +at the delicate friezes of tiny heads, flowers and +winged horses, which frame every fresco; at the great +spreading arches—built for strength; the vaulted roof +<span class="pagenum"><a name="Page_151" id="Page_151">151</a></span> +of deep azure blue with dull golden stars upon its +surface, looming above the paintings and dimming their +brilliancy by the shadows which lurk in its depth, we +feel that within the shelter of its perpetual twilight this +is a place to pray in. It is truly the home of St. +Francis, and notwithstanding its richness and vast +splendour his spirit is here, the certainty that he once +had dwelt upon the earth is felt.</p> + +<p>Few ever stop to look at the walls of the nave, and +indeed, upon coming out of the sunlight, the darkness +and gloom for some minutes is oppressive and but little +can be distinguished in the gloom. It was almost +by chance that we one day noticed some frescoes, +ruined and faded, just outside the Chapel of St. +Martin. They are of no beauty as works of art, +indeed they are rather ugly, but their interest lies in +showing us that from the very beginning artists had +endeavoured, however feebly, to depict the legend of +St. Francis.<a name="FNanchor_68" id="FNanchor_68" href="#Footnote_68" class="fnanchor">[68]</a> On the left wall of the nave, outside +the Chapel of St. Martin, is a fresco representing +the Sermon to the Birds with the same idea of +composition which was adopted later by Giotto; the +saint slightly bends towards the birds upon the ground, +his companion stands behind, while the single tree +adds a certain solemnity to the scene. The figures +are large and ungainly, with feet terrible to behold, +the lines are hard, and there is little feeling of movement +or life; yet we look at it with reverence and hope, +for we know that, with all the ugliness and stiffness +of workmanship, the artist was vehemently striving in +<span class="pagenum"><a name="Page_152" id="Page_152">152</a></span> +this dark church to shake off the hampering chains of +worn-out traditions, and find for himself something nearer +to the truth. And as we look at this one and at the +next, representing St. Francis receiving the Stigmata, +our thoughts are carried to other renderings of these +scenes, and we say with light hearts: "After this poor +craftsman comes Giotto, King of Tuscan painters."</p> + +<p>These are the only two frescoes illustrating +the life of the saint, though there may have been +others which were destroyed when the walls of the +nave were broken down in order to form entrances +to the chapels, added to the main building about +1300. But on the right side, beginning outside the +Chapel of San Stefano, are parts of several scenes +from the New Testament; a crowd of women and +men standing round the cross, a group of women, the +Descent from the Cross, a Pietà, a landscape with houses +and a decoration of circular ornaments outside the +Capella di Sta. Maria Maddalena, generally attributed +to Giunta Pisano, thus giving them too early a date.<a name="FNanchor_69" id="FNanchor_69" href="#Footnote_69" class="fnanchor">[69]</a></p> + +<p><span class="pagenum"><a name="Page_153" id="Page_153">153</a></span></p> + +<p>To us their interest seems rather to lie in that +they plainly show how the earliest masters, whilst +endeavouring to illustrate the franciscan legend, failed +so completely to satisfy their employers that they +were bidden to stay their hand and continue to paint +the well-worn theme of the history of the world's +redemption, which required less invention than the +legend of St. Francis, where a new out-look on +life had to be acquired. So the franciscans, failing +to find a painter who could illustrate their founder's +life to their satisfaction, contented themselves with +other things, perhaps hoping that in course of time +one might arise who could do justice to the theme. +Well it was that they waited.</p> + +<p>Shortly after these frescoes had been completed +in the Lower Church, art received a new impulse +(one likes to think that the struggles of the first artist +towards something better and more true to life had +to do with this); others came, with Giotto at their +head, and painted over some of these early efforts, +leaving us only Cimabue's great Madonna, a few ruined +frescoes, a Byzantine pattern, and stray touches of +colour in dark corners of the church to remind us +of these first decorators of San Francesco.</p> + +<p>We get a melancholy picture from Vasari of the +depths to which art had sunk, and of the degenerate +artists still following a worn-out tradition until it became +as a dead thing in their hands deprived of all +inspiration, when "in the year 1240, by the will +of God, Giovanni Cimabue ... was born in the +city of Florence to give the first light to the art of +painting." +<span class="pagenum"><a name="Page_154" id="Page_154">154</a></span></p> + +<p>Cimabue is rightly called the Father of Italian art, +as he represented a new era among Italian masters +who were awakening to their country's needs; when +men, filled with strange restless energy, grew tired +of the Byzantine Madonna with her court of stiff, +lifeless saints, and looked for something in closer +touch with their mood and aspirations.</p> + +<p>Round the name of Cimabue are grouped many +charming legends belonging to a time when the people, +anxious to possess the new thing their hearts craved +for, looked eagerly and critically at an artist's work. +There is the story of how when he had finished the +picture of the Virgin Mary, the Florentines came to +his workshop, and, expecting much from him, yet were +amazed at the wonderful beauty of the grand Madonna, +and carried the picture with rejoicing, to the sound of +music, to the Church of Sta. Maria Novella, where it +still hangs in the dark chapel of the Ruccellai; a street +in Florence down which the picture passed being called +Borgo Allegri, because of the gladness of that day. +It is only a legend, and one that has been oft repeated, +and as often doubted. Now the existence of Cimabue +is even questioned by some, but whoever invented the +story understood the great change which had come +among the people and into art. It was only right +that in the church of the saint who personified the +feeling of the age, caught its spirit, and sent the +impulse of the people even further, should centre all +the first efforts towards this awakening and revival, +until, step by step, the masterpieces of Giotto were +reached. When we remember this, the large fresco +of Cimabue in the right transept of the Lower Church +becomes more full of beauty and meaning.<a name="FNanchor_70" id="FNanchor_70" href="#Footnote_70" class="fnanchor">[70]</a> The +<span class="pagenum"><a name="Page_155" id="Page_155">155</a></span> +great spirit of her presence fills the church, her majesty +and nobility is that of the ideal Madonna, grave to +sadness, thinking, as her eyes look steadily out upon +the world, what future years would bring to the Child +seated on her lap, who stretches out a baby hand to +clasp her veil. All the angels round the throne sway +towards her; in their heavy plaits of hair shines a dull +red light, and in their wings and on the Madonna's +gown are mauve and russet shades like the colours +of autumnal oaks.... "To this day," says Mr +Ruskin, "among all the Mater Dolorosas of Christianity, +Cimabue's at Assisi is the noblest; nor did any +painter after him add one link to the chain of thought +with which he summed the creation of the earth, and +preached its redemption."</p> + +<p>St. Francis has not been forgotten in this fresco, +but Cimabue having given all his art to make the +Virgin and her choir of angels beautiful, his figure is +not quite one's idea of the ethereal Umbrian preacher, +and his being there at all spoils the symmetry of the +grouping. It is not improbable that the figure of St. +Clare stood on the other side, and was erased when the +Chapel of Sta. Maria Maddalena was built, and the +ornamental border painted round this fresco, which +cut off part of the wings of the two angels on the left +of the Virgin.</p> + +<p>Vasari vaguely tells us of some frescoes from the +lives of Jesus Christ and of St. Francis, painted by +Cimabue in the Lower Church, and later writers +have thought these must have been destroyed to make +<span class="pagenum"><a name="Page_156" id="Page_156">156</a></span> +room for Giotto's work. If paintings were there at +all they were more likely to have been the work of +inferior artists, for it seems improbable that Giotto, +coming to Assisi for the first time when he was quite a +youth, should destroy any work of his master, who was +still alive, in order to substitute his own early efforts.</p> + +<p class="center p2"><span class="smcap">The Upper Church</span></p> + +<p>Not only was the Upper Church essentially fitted +for fresco painting, but it required an elaborate scheme +of decoration, just as a setting, however perfect, needs +a gem to complete it; and it almost seems as though +"Jacopo" had stayed his hand, with the intention that +here, at least, architecture should be subservient to wall +decoration, and had foreseen the need of large spaces to +be covered with paintings, as brightly coloured, as clear, +and as closely set together as are the colours upon a +butterfly's wings.</p> + +<p>"It was here, in the Upper Church of Assisi," +says Mr Roger Fry, "that the Italian genius first +attained to self-expression in the language of monumental +painting, a language which no other European +nation, except the Greeks, has ever mastered." But +the question as to who were the predecessors of +Giotto, and when exactly they came, can never, we +think, be answered; for the time is not far off when +these splendid ruins of early art will have totally faded +away, or, what is infinitely worse, be covered with +still thicker layers of paint than the "restorer" has +already laid upon them.</p> + +<div class="figcenter"><a name="illo173" id="illo173"></a> +<img src="images/illus173.jpg" width="396" height="550" alt="LOOKING THROUGH THE DOORS OF THE UPPER CHURCH TOWARDS +THE PORTA S. GIACOMO AND THE CASTLE" /> +<p class="caption">LOOKING THROUGH THE DOORS OF THE UPPER CHURCH TOWARDS +THE PORTA S. GIACOMO AND THE CASTLE</p> +</div> + +<p>Vasari finds no difficulty about the matter, declaring, +to his own satisfaction and for the instruction of future +generations, that every fresco in the apse and transepts, +together with the series relating to the history of the +Jews and the life of Christ, are by Cimabue. But then +Cimabue was a Tuscan, and Vasari, the painter of +<span class="pagenum"><a name="Page_157" id="Page_157">157</a></span> +Tuscan Arezzo, was determined to give as much +glory to his fatherland as he could. We too would +give all possible honour to Cimabue, but are bound to +follow the opinion of later critics, who less prejudiced +<span class="pagenum"><a name="Page_158" id="Page_158">158</a></span> +and hasty in their criticisms than Vasari, see the +work of many hands in all these frescoes; so we +have gathered together a few notes concerning them +from various authorities to help the traveller to form +his own ideas upon the subject. The theme is too +endless to attempt in a small space to give more than +a very brief summary of the chief facts.</p> + +<p><i>Frescoes of the Choir and Transepts.</i>—These may be +divided into two distinct classes, those of the north transept, +which are older and inferior to those of the south +transept and choir. Herr Thode attributes their +difference to the fact that while all are the work of +Cimabue, the frescoes in the north transept were painted +when he was quite young, while the rest belong to a +later period, when he had attained his full powers. +The Crucifixion of the north transept, one of the most +ruined, reminds us somewhat of works by Margaritone +which may be studied, without much pleasure, in most +Italian galleries. The figures standing round the Cross +are short, with small heads and large hands, and not +even in the fainting Madonna is there the slightest +charm. In the Martyrdom of St. Peter, on the next +wall, it is curious to note the similarity of treatment to +Giotto's fresco at Rome of the same subject. The +Saint, head downwards upon the Cross without any +group of people would have made but a dull composition; +so both artists added an obelisk on either side to +relieve the monotony of line.</p> + +<p>Then follows the scene of Simon Magus being borne +upwards by demons with bat-like wings; and upon the +next wall, beneath the triforium, is represented the +death of Ananias and Sapphira, and St. Peter curing +the lame before the Temple, where the figures are +certainly more majestic and, according to Herr Thode, +distinctly show the hand of Cimabue.</p> + +<p>Behind the papal throne are medallions of the friend +<span class="pagenum"><a name="Page_159" id="Page_159">159</a></span> +and patron of St. Francis, Gregory IX, and of Innocent +IV, who consecrated the Basilica. The frescoes +represent the life of the Virgin, but they are all too +faded to be enjoyed, save that of the Coronation on +the right wall, just above the choir stalls; the Virgin +is seated upon a wooden throne with Christ by her +side and a group of apostles and spectators beneath. +There is a striking resemblance in the drawing and +form of the standing figures to those in the Crucifixion +of the south transept. This, though very ruined and +blackened in parts, showing no other trace of colour +than a faint film of golden yellow, has still the power +to make us feel that once, long ago, it was a fine work, +worthy of a great master. Weeping angels fly above +the Cross, some with outstretched hands, while others +veil their eyes from the sight of the suffering Saviour; +the Magdalen, her arms thrown up above her head, is +seen in strong relief against the sky, and contrasting +with this dramatic gesture, is the figure of the Virgin, +erect and still, her hand clasped in that of St. John. +The whole conception is dignified, replete with dramatic +feeling of the nobler kind, and has been thought worthy, +by Herr Thode, to be put down as the finest of Cimabue's +creations.</p> + +<p>The remaining frescoes deal with scenes from the +Apocalypse, but they are so ruined that it is a thankless +task for any, except the student, to try and distinguish +each separately. Indeed after a minute examination of +so many ruined works of art, a certain sadness and +weariness is felt, but if the pilgrim has time to rest +awhile in a quiet corner of the stalls and look at choir +and transepts solely for their colour, he will gain for +himself many beautiful memories not easily forgotten. +It is a vision of youthful saints, of men with lances +hurrying down a rocky mountain side, of angels trumpeting +to the four ends of the earth, and out of this medley +<span class="pagenum"><a name="Page_160" id="Page_160">160</a></span> +of shadowy forms in fading frescoes, like sunlight +breaking through a mist with golden light, loom the +mighty angels of Cimabue. Their heads are crowned +by a heavy mass of auburn hair, their wings slightly +lifted, as though they were on earth but for a short +space, and they seem as remote from mortals as the +Sphynx herself in their dignity and calm repose. To +Cimabue belongs the conception of such grave and +strangely beautiful creations, winged messengers of +strength, who come midway between the stiff Byzantine +figures, and the swift-moving angels of Giotto and the +cherub children forms of later Umbrian and Venetian +schools.</p> + +<p><i>The Nave.</i>—All writers upon the subject agree +that here the frescoes show no trace of Cimabue's +style, but are from the hand of his contemporaries and +pupils, who worked together in unfolding the history +of the Jews and the world's redemption. If it is impossible +to hint even at the names of these artists, the +most hurried traveller must notice the different character +which marks the legend of the New Testament +from that of the Old, where the work of +talented copyists of classical works of art differ +from that of others who kept nearer to the style of +Cimabue, instilling into it more or less life, as their +individual powers permitted. Herein lies much of +the history of early Italian art, but the few remaining +frescoes, especially on the left wall, have been +so terribly over-painted that the work of the critic +is rendered well-nigh hopeless.</p> + +<p>Beginning at the right wall by the High Altar +we have probably the work of a fine Byzantine +master, or at least of one who must have copied a +Greek masterpiece. In the Creation of the World, +God, represented as a young man seated on a globe +of fire, is, with a gesture of his hand, casting upon +<span class="pagenum"><a name="Page_161" id="Page_161">161</a></span> +the earth his last creation—man—who, still suffused +with celestial colour, is borne across the sea towards +the land. A ram, a bull and a lion besport themselves +upon the shore, enormous birds sit on the +bushes, and the sea is already full of every kind of +fish; slender pink clouds are in the sky, and the +distant hills on the horizon have faded into shades +of blue-green, like the landscape of an Umbrian +picture.</p> + +<p>The nude figures of Adam and Eve in the Expulsion +from Paradise are wonderfully good for the +time, and the manner in which the angels are kicking +them out of the garden of Eden is somewhat +unusual.</p> + +<p>Beginning again at the first bay window but on +the lower row of frescoes, in the Building of the +Ark Noah is seated, an obelisk-shaped rock rising +behind him, and gives his directions with a majestic +air to his sons as to the sawing and placing of the +great beams. A man, standing by his side, completes +the composition, which has much dignity and +finish.</p> + +<p>The fresco of the Sacrifice of Isaac, with Abraham +raising his sword above him his body slightly thrown +back, is perhaps one of the most striking of the series. +The wind has caught his yellow robe, which unfurls +itself against a landscape of sandy hills.</p> + +<p>All that remains of the next are three angels, whose +grandeur can only be compared to those of Cimabue in +the south transept. The remaining subjects on this side +are by a different master, who followed closely the best +classical traditions, and succeeds in giving extraordinary +repose to his compositions as well as meaning to the +various figures.</p> + +<p>In Jacob before Isaac, Isaac is waiting for his dish of +venison, and Jacob's attitude denotes uncertainty as to +<span class="pagenum"><a name="Page_162" id="Page_162">162</a></span> +the reception he is likely to receive, while his mother, +lifting the curtain of her husband's bed, seems to encourage +her son.</p> + +<p>The next fresco is similar in composition, but better +preserved. Here we feel the blindness of Isaac, the +perplexity of Esau, who cannot understand why his +father refuses to bless him, and the fear of Rebecca, +who has stepped back, knowing that her fraud must +now be discovered. In this composition the artist +has strictly kept to rules laid down by his predecessors, +and the result, if a little stiff and wanting in +originality, is yet pleasing and restful to look at, presenting +a great contrast to the somewhat exaggerated +movements expressed in the preceding ones.</p> + +<p>The last of the series is the steward finding the cup +in Benjamin's sack, though greatly ruined it still shows +much beauty of composition.</p> + +<p>Upon the opposite wall, by the altar, is depicted the +life of Christ by followers of Cimabue, but the few +frescoes that remain are so mutilated and repainted, +that it is impossible to say much about them, or even +to imagine what they may once have been.</p> + +<p>"In the Capture," writes Messrs Crowe and +Cavacaselle, "the Saviour is of a superior size to +the rest of those around him, and of a stern but +serene bearing. Trivial conception marks the scene +of the Saviour carrying the Cross."</p> + +<p>The Pietà, one of the last, is evidently by a finer +scholar of Cimabue, and the woman coming round the +rocks resembles slightly the figure of Rebecca in the +two frescoes on the opposite side. "The composition," +write the same authors, "is more like that which +Giotto afterwards conceived than any other before or +since"; but the colossal figure of Christ destroys the +harmony of the scene.</p> + +<p>The arch at the end of the nave is painted to represent +<span class="pagenum"><a name="Page_163" id="Page_163">163</a></span> +a series of niches, in each of which stands the +figure of a saint, all are much repainted, as are the +medallions of St. Peter and St. Paul by the door. +The Descent of the Holy Spirit is greatly ruined, and +in the Ascension the <i>intonaco</i> has peeled off, showing +the bricks, so that the apostles have the appearance of +looking over a wall.</p> + +<p>The ceiling is frescoed in three different places +by other masters, whose names have not come down +to us. Between the transepts and nave the four Evangelists, +seated outside the gates of towns, are so utterly +ruined and blackened by time and damp that it is +barely worth craning one's neck to look at them.<a name="FNanchor_71" id="FNanchor_71" href="#Footnote_71" class="fnanchor">[71]</a> +But the four medallions of Christ, the Madonna, St. +John the Baptist and St. Francis, which ornament +the centre of the nave, are among the most beautiful +things in the church, and quite perfect as decoration. +At each corner of the spandrels stands +an angel upon a globe, with wings uplifted, delicate +in outline and brilliantly coloured, while the whole +is bordered by the most exquisite design of blossoms +and green foliage rising out of slender vases, which +mingle with cupids, angels, winged horses and rabbits +on a dull red ground. It must have been painted by +one who had learned his art from the same source +whence the decorative painters of Pompeii drew their +inspiration.</p> + +<p>It is not an easy thing to fit entire figures seated +on large marble thrones into triangular spaces, and +so the artist found, who in the groined ceiling nearest +the door had to paint the Doctors of the Church, +Sts. Jerome, Gregory, Ambrose and Augustin, +<span class="pagenum"><a name="Page_164" id="Page_164">164</a></span> +dictating their epistles to busy clerks. But there is +much that is charming in them, though as decoration +they partly fail, and a resemblance may be found to +the frescoes of Isaac and his sons, which seem to +have influenced Giotto in his paintings of old men.</p> + +<p>Vasari's enthusiasm was roused when he looked +upon these endless paintings, and he tells us that: +"This work, truly grand and rich, and admirably +well executed, must, I conceive, in those times have +astonished the world, the more so that painting had +for so long been sunk in such obscurity: and to +me, who saw it once more in 1563, it appeared +most beautiful, as I thought how Cimabue, in such +darkness could have discovered so much light."</p> + +<hr /> + +<p>It would be well, before leaving, to look at the +windows of the Upper Church, which are among +the oldest in Italy, and, according to Herr Burckhardt, +the most beautiful. As of most things connected +with San Francesco, little is known about +them; Vasari says they were designed by the painters +of the frescoes; an opinion partly held by Herr +Thode, who sees a great resemblance to the style +of Cimabue in the right-hand window of the choir +(the centre one is modern) with scenes from the +lives of Abraham, David and Christ, of most beautiful +colour and design. The left window, belonging to +the same period, contains naïve scenes from the Old +Testament, amongst which (the sixth from the top +of the left half) is Jonah emerging from a blue-green +whale the colour of the waves, and possessed +of large white eyes.</p> + +<p>Those of the transepts of the same date are even +finer and more beautifully coloured. Medallions of +geometrical patterns of exquisite design and hue +ornament the left-hand window of the north transept, +<span class="pagenum"><a name="Page_165" id="Page_165">165</a></span> +while that on the right contains scenes from the +Old Testament and the life of Christ; in both of +these, according to Herr Thode, the influence of +Cimabue is apparent.</p> + +<p>The left window of the south transept contains seven +scenes from the Creation and seven from the lives +of Adam and Eve, who (in the last two divisions +of the right half) are being driven out of Eden, and, +spade in hand, are working at the foot of a tree. +The eight saints of the right window, seated majestically +on gothic thrones ornamented with spires, and +dressed in rose-coloured, red and green garments, +have certainly the appearance of being, as Herr Thode +suggests, of a style even anterior to Cimabue.</p> + +<p>Half of the bay window on the left, looking towards +the altar, is the work of the Umbrian school of the +time of Fiorenzo di Lorenzo (there is a Madonna in a +blue mantle, and St. Onofrio clothed in vine-leaves), +while the left half, with medallions composed of very +small pieces of glass representing scenes from the early +life of Christ, are perhaps the most beautiful, and +certainly the oldest, in the church, and can even be +compared to the stained glass of French cathedrals. +The third window (the second has suffered considerably, +and what is left of the original belongs to the +fifteenth century) has been a good deal restored, but +the large angels with blue and purple wings standing +in an arch, behind which a little town is seen, are very +fine, and below them is a curious small figure of +St. Francis floating in front of a colossal Christ, +belonging also to the fifteenth century.</p> + +<p>Very beautiful are the two saints beneath gothic +arches in the last window, and the priests in their rose-coloured +stoles, the bishops in crimson and gold, and +the other figures of warriors and saints.</p> + +<p>The right half of the bay window near the door +<span class="pagenum"><a name="Page_166" id="Page_166">166</a></span> +upon the opposite side, belonging also to the Umbrian +school, contains some charming scenes from the life of +St. Anthony, while on the left are incidents of the life +of St. Francis. The whole is remarkable for delicate +rose colours, greens and pale blues, and a total absence +of the strong deep tones of the older and finer windows; +but they are very beautiful of their kind, like patches +of pale sunshine in the church.</p> + +<p>The next two windows betray a more ancient style +in the fine figures of the apostles (their heads, alas, +are modern), and in the scenes from their lives, which +are of a deeper tone than the former one; but even +more beautiful is the last window, which does not seem +to have been restored within the last three centuries, +and where the colours standing out from a creamy +background are very lovely. The two large and grand +figures of two apostles are believed by Herr Thode to +be from drawings by Cimabue.</p> + +<p>Both Francesco di Terranuova and Valentino da +Udine were employed to repair all the windows about +1476, large sums being expended, principally by the +Popes who never ceased to patronise the franciscan +Basilica. A most comical appearance is given by the +distressing additions made in our own time of modern +heads upon bodies of the thirteenth or fourteenth century. +Until very lately an exquisite rose window was to be +seen over the eastern door, now replaced by white +glass; one would like to know how it so mysteriously +disappeared and where it now is.</p> + +<p>No pains had been spared to make San Francesco +as lovely in every detail as the brain of man could +devise, and it is most remarkable how the frescoes +belong to the general idea of the building as though +every artist had thought as much of this unity as of +the individual perfection of his work. The beautiful +papal throne in the choir, of white marble encrusted in +<span class="pagenum"><a name="Page_167" id="Page_167">167</a></span> +mosaic with its frieze of strange animals in low relief, +its arms supported by red marble lions, is almost a +replica of the Soldan's throne in Giotto's fresco, and +was designed by Fuccio Fiorentino in 1347, when the +architecture that Giotto delighted in was still the recognised +style in Italy.<a name="FNanchor_72" id="FNanchor_72" href="#Footnote_72" class="fnanchor">[72]</a> The marble and mosaic altar +is of the same date, and the octagonal pulpit of sculptured +stone, with saints in small tabernacles, spiral +columns and designs of leaves slightly tinted, supposed +also to be by Fuccio, is placed at the corner of the +wall of the nave looking as if it had grown there. +The columns supporting the arched gallery round the +church have each been painted to represent mauve and +rose-coloured marbles, and there is not a single space in +all the building which has not been decorated to harmonise +with the frescoes, giving a perfect sense of +infinite completeness and beauty, to which time has +added by mellowing everything into a pale orange +colour—the colour of Assisi.</p> + +<p class="center b125 p6">CHAPTER VI</p> +<p><span class="pagenum"><a name="Page_168" id="Page_168">168</a></span></p> +<p class="center b175"><i>The Paintings of Giotto and his School +in the Lower Church</i></p> +<div class="poem"> +<p class="i3"> "... Cimabue thought</p> +<p>To lord it over painting's field; and now</p> +<p>The cry is Giotto's, and his name eclipsed."</p> +<p class="i3"><span class="smcap">Dante</span>, <i>Purgatory</i>, xi., Cary's translation.</p> +</div> + +<p><span class="dropcap">T</span>he work of Cimabue, grand and noble as it is, +yet gives the impression of belonging to remote +times, between which and that of Giotto, his pupil, a +great gulf is set. In both churches at Assisi we pass +from the early efforts of an awakening age to the work +of one, who, if not the first to see the light, was the +first to discover the true principles of art, to give it +life, and to found a school whence a long series of +painters came to carry on for generations the lessons +he had taught. Cimabue did wonders for the century +in which he lived; of Giotto, even granting that his +drawing was sometimes faulty, and the types of faces +he painted were not always beautiful, it would be an +insult to express such condescending praise; and even +a hasty study of his frescoes in San Francesco must +soon explain the everlasting sway he holds, now, as in +those first years when his work seemed little short of +miraculous to the wondering Florentines.</p> + +<div class="figcenter"><a name="illo186" id="illo186"></a> +<img src="images/illus186.jpg" width="650" height="528" alt="PLAN OF THE LOWER CHURCH AND MONASTERY +OF SAN FRANCESCO AT ASSISI" /> +<p class="caption">PLAN OF THE LOWER CHURCH AND MONASTERY +OF SAN FRANCESCO AT ASSISI</p> +<a href="images/illus186_big.jpg">View larger image</a> +</div> + +<p>Some fourteen miles to the north of Florence, among +the hills of the Mugello, lies the scattered hamlet of +Vespignano where Giotto Bondone was born of a poor +<span class="pagenum"><a name="Page_169" id="Page_169">169</a></span> +peasant family in the year 1265. Even at an early +age, Vasari says, the boy was remarkable for the +vivacity and quick intelligence which endeared him +not only to his parents, but to all who knew him in +the village and country round. He passed his childhood +among them, knowing nothing of the city just +across the hills, but learning much, during the long +days while he wandered forth to tend his father's +sheep, which was helpful to him in after years to +preserve his straightforward outlook upon life and +the strength and freshness of a nature that loved the +sunburnt valleys and the freedom of the shepherd's +existence.</p> + +<p>When Giotto was ten years old it happened that +Cimabue, on his way from Florence to Vespignano +upon a matter of business, found him seated by the +roadside, his flock gathered near, busily employed in +drawing the outline of a sheep from life upon a smooth +piece of rock. Struck by the boy's industry in the +pursuit of art and his evident cleverness, Cimabue +hastened to obtain the father's consent to adopt and +make an artist of him. Leaving the old life in the +peasant's cottage for ever, Giotto now turned south +along new roads, and with Cimabue by his side, saw +for the first time the city of Florence, beautiful as she +lay upon the banks of the Arno in a setting of wooded +hills.</p> + +<p>The progress he made under Cimabue's guidance, +who taught him all he knew, was marvellous indeed. +At ten years of age a shepherd tracing idle fancies on +the stones, then for a few years an apprentice in a +Florentine workshop grinding colours with the others +for his master's big Madonnas; while ten years later he +had already gained the title of Master and was a +famous painter, courted by popes and kings, and +leaving masterpieces upon the walls of churches +<span class="pagenum"><a name="Page_170" id="Page_170">170</a></span> +throughout Italy, that people of all times and +countries have come and paused awhile to see.</p> + +<p>Let us suppose it was the air of Florence, which, +according to Vasari, "generates a desire for glory and +honour and gives a natural quickness to the perceptions +of men," that made Giotto a perfect Florentine, +alert, witty, and ever ready with a caustic repartee to +anyone who bandied words with him. But though +other influences were at work around him, and new +images crowded upon his active brain, he kept undimmed +the vision of his mountain valley, of the +fields, of the days spent in his native village, and, +with the eyes of a shepherd he continued to look +on all the incidents of human life; he saw the +grandeur, the tragedy, the weaknesses, aye, and the +humour too, in everything that surrounded him, setting +it all down in his frescoes in his own simple and +original way. In a few words Mr Ruskin has +touched upon the keynotes of Giotto's character +when he says: ... "his mind was one of the +most healthy, kind and active that ever informed a +human frame. His love of beauty was entirely free +from weakness; his love of truth untinged by severity; +his industry constant without impatience; his workmanship +accurate without formalism; his temper serene +and yet playful; his imagination exhaustive without +extravagance; and his faith firm without superstition. +I do not know, in the annals of art, such another +example of happy, practical, unerring, and benevolent +power."</p> + +<p>Such was the man who came to Assisi to take +up the work left uncompleted by Cimabue and his +contemporaries. Giotto was then almost unknown, +not having executed any of those great works upon +which his fame now rests, and it is not unlikely +that the recommendation by Cimabue of his promising +<span class="pagenum"><a name="Page_171" id="Page_171">171</a></span> +pupil to the friars of San Francesco led to his +being called there when barely twenty years of age.<a name="FNanchor_73" id="FNanchor_73" href="#Footnote_73" class="fnanchor">[73]</a> +Opinions differ as to which were his first works and +whether he began in the Lower or in the Upper Church, +and as there are absolutely no documents relating to +the subject, and Vasari is of no help in the matter +of dates or precise details, the only way to come to +any conclusion is to group these frescoes according +to their style. We do not wish to force any arbitrary +opinions on this matter, and have simply placed +Giotto's work in the order that it seems to us more +likely to have been executed. Those who disagree +have only to transpose the chapters as they think +fit. The chief thing is to enjoy the frescoes and +speculate as little as possible on all the contradictory +volumes written about them.</p> + +<p><i>Right Transept.</i>—According to Messrs. Crowe and +Cavalcaselle these frescoes are by Giotto, and Mr +Bernhard Berenson is of the opinion that they +belong to his early period, and were executed by +him before the franciscans knew what his powers +were, and whether they could entrust to him the +more difficult task of illustrating the legend of St. +Francis. The subjects are taken from the early +life of Christ which had been depicted many +<span class="pagenum"><a name="Page_172" id="Page_172">172</a></span> +times in preceding centuries, but although Giotto +attempted no very elaborate or original manner of +treatment, his style was rapidly developing, and we +have in some of the scenes little traits of nature +which only belong to him. On the outside of the +Chapel del Sacramento, over the arch, he painted the +Annunciation with such charm, dignity and harmony +of outline that it would be difficult to find a more +perfect conception of religious feeling even among +the pictures of Angelico. Unfortunately it can only +be seen in the early afternoon when the light comes +in through the windows of S. Giovanni; the Madonna +rising with queenly grace and the angel hastening +forward with his message then stand out from their +dark background like living people, and show how, +from the first, Giotto attained the power of giving +vitality to his figures. His Madonna is not like a +<span class="pagenum"><a name="Page_173" id="Page_173">173</a></span> +graven image to be worshipped from afar; she is +essentially the earthly mother of the Saviour, and +Giotto, while treating her story with dignity and a +certain sense of remoteness, tells it by the simplest +means, endowing her with the maternal tenderness +of a young peasant girl whom we meet upon the +roads carrying her child to lay beneath the shadow +of a tree while she goes to her work in the fields +close by.</p> + +<div class="figcenter"><a name="illo190" id="illo190"></a> +<img src="images/illus190.jpg" width="450" height="326" alt="CHOIR AND TRANSEPTS OF THE LOWER CHURCH" /> +<p class="caption">CHOIR AND TRANSEPTS OF THE LOWER CHURCH</p> +</div> + +<p>The Visitation (on the same wall as Cimabue's +Madonna) is one of those frescoes that we remember +like a scene we have witnessed, so naturally does +the Virgin move forward, followed by a group of +handmaidens, and hold out her arms to greet Elizabeth +who is bending with such reverence to salute +her cousin. They stand at the entrance of a dainty +house inlaid with mosaic which is set among the +bare rocks with only a stunted tree here and there. +But Giotto does not forget to place a flowering plant +in the balcony just as the peasants have always done +in his mountain home.</p> + +<p>It is interesting to compare the next fresco of the +Nativity with the same subject in the Upper Church, +treated by a follower of Cimabue where the same +idea is depicted, but with what a difference. Though +two episodes are placed in one picture, Giotto succeeds +in giving a harmonious composition, which, if a little +stiff and over symmetrical, is full of charm and beauty. +The angels singing to the new-born Infant and those +apprising the shepherds of the news hover like a flight +of birds above the barn. They are in truth the winged +spirits of the air, "birds of God" Dante calls them, +and thus Giotto paints them. As though to accentuate +the sadness and poverty of Christ's birthplace, the barn, +all open and exposed to the night breezes, is laid in a +lonely landscape with a high rock rising behind it. +<span class="pagenum"><a name="Page_174" id="Page_174">174</a></span> +Beyond in the valley, a leafless tree grows upon the +bank of a calm stream where the heavenly light from +the angels is seen to play like moonbeams in its +waters.</p> + +<p>Messrs. Crowe and Cavalcaselle hold that the Visit of +the Magi was "never painted with more feeling, more +naturally or beautifully composed than here"; and +Giotto must have felt he could add little to the perfection +of the scene when in later years he painted the +same subject at Padua. All interest is centred on the +Child, who, bending forward from the Virgin's arms, +lays a tiny hand in blessing upon the head of the aged +king. Curiously enough St. Joseph has been forgotten, +and instead an angel stands upon either side to receive +the offerings of the Magi.</p> + +<p>But to us the Purification seems even more beautiful +in sentiment, composition and the perfection of religious +feeling. Giotto was the first to conceive the idea +of the Infant Jesus turning from Simeon towards the +Virgin Mary as if anxious to come back to her, while +she holds out her arms to invite him with a naïve +attitude of gentle motherhood.</p> + +<p>From charming frescoes like these we come to the +grand and powerful scene of the Crucifixion. Every +figure tells a different tale of sorrow; of tender pity, as +in the group of women round the fainting Virgin; of +wonder that Christ should be allowed to suffer, as in +the gesture of the woman with arms thrown back and +St. John who wrings his hands almost fiercely; of sympathy +expressed by the Magdalene, as she kisses the +pierced feet; and of hope and prayer, in the kneeling +figures of St. Francis and his brethren. Even more +vehement in their grief are the angels, who rending +their garments fly away with arms stretched out as if +unable to bear the sight of so much pain. How rapidly +they turn and circle in the air; they are not borne +<span class="pagenum"><a name="Page_175" id="Page_175">175</a></span> +along by the winds, but trusting to their wings they +rise with the swift, sure flight of a swallow.<a name="FNanchor_74" id="FNanchor_74" href="#Footnote_74" class="fnanchor">[74]</a></p> + +<p>Upon the opposite wall the early life of the Virgin +is continued with the Flight into Egypt, which bears a +strong resemblance to the fresco at Padua. There is +the same sense that St. Joseph, his bundle slung on a +stick over his shoulder like a pilgrim, is really walking +along and in a moment must disappear from sight; a +palm tree bends sideways to the breeze, and above two +angels seem to cleave the air as they hurriedly lead on +the travellers to exile and safety. Only the Virgin sits +calm and unruffled. In the Massacre of the Innocents +Giotto has happily not painted the full horror of the +scene, but has aimed rather at suggesting the tragedy +than at giving its actual representation. Very beautiful +are the women to the left mourning for their dead +children. One rocks her child in her arms and tries +to awaken him with her kisses, whilst another raises +her hands in despair as she gazes upon the dead child +upon her knees.</p> + +<p>The Return of the Holy Family from Egypt, +though only showing a group of houses within surrounding +walls and a gateway and a group of +people, suggests better than a more complicated +composition would have done the scene of a home-coming +after long absence.</p> + +<p>The Preaching of the Child in the Temple completes +the series, and like the one at Padua, it is the +least interesting of Giotto's paintings.</p> + +<p>There are three other frescoes in the Transept which +most people, with reason, attribute to Giotto, representing +<span class="pagenum"><a name="Page_176" id="Page_176">176</a></span> +miracles of St. Francis. The first refers to a +child of the Spini family of Florence who fell from a +tower of the Palazzo Spini (now Feroni), and was +being carried to the grave, when the intercession of +St. Francis was invoked and he appeared among +them to restore the child to life. Part of the fresco +has been lost owing to the ruthless way in which the +walls were cut into for the purpose of erecting an organ—a +barbarous act difficult to understand. But the +principal group of people are seen outside an exquisite +basilica of marble and mosaic, and each figure can be +studied with pleasure as they have not been mutilated +by the "restorer's" usual layers of thick paint. Seldom +has Giotto painted lovelier women than those kneeling +in the foreground, their profiles of delicate and pure +outline recalling a border of white flowers. Near them +is a figure bearing so strong a resemblance to Dante, +that we would fain believe that Giotto meant to represent +the type of a true Florentine in a portrait of the +poet. Above the staircase is a fine picture of St. +Francis resting his hand upon the shoulder of a crowned +skeleton "in which," says Messrs. Crowe and Cavalcaselle, +"a much deeper study of anatomy is revealed +than has ever been conceded to Giotto." The oval +face of the saint, with clear brown colouring, is very +beautiful, strongly resembling the St. Francis in glory +in the fresco above the high altar. By him also is +the half-length figure of Christ in the vaulting of +the window.</p> + +<p>Although the two remaining frescoes deal with the +death and resurrection of a child, they probably have +nothing to do with the Spini miracle; the one where +the dead child is lying in the arms of two men has unfortunately +been so repainted as to take all character away +from the faces, and we can only admire the general +grouping, the fine gestures of the weeping women, and +<span class="pagenum"><a name="Page_177" id="Page_177">177</a></span> +the grand modelling of the figures. Only a great artist +could make one feel, by such simple means, the strain +of the dead weight upon the men's arms. The man +to the left (the second from the one holding his finger +to his chin) is believed to be the portrait of Giotto; if +it is, the painter has not flattered himself, and we can +believe Dante's tale that he was remarkably ugly, and +had six hideous children. On the other side of the +arch the legend continues; a procession of white-robed +monks and sorrowing friends approach the house to +which the child has been taken, but in the meantime +St. Francis has called him back to life, and a man, +evidently in great excitement over the miracle, is +hurrying down the steps to announce what has +occurred. The story is so well and simply told +that, although we have failed to find any account +of it, it is easy to understand the sequence of the +two frescoes, and the events they relate.</p> + +<p><i>Allegories by Giotto in the ceiling over the High Altar.</i>—The +task was now given to Giotto to depict by the +medium of allegory the three virtues of the franciscan +order and St. Francis in glory. These virtues, the +rocks upon which the franciscan order was so securely +founded, had been preached by St. Francis to the +people of Italy with the extraordinary results we have +seen, and now Giotto came to take up the theme and, +by means of his immortal art, perpetuate it as long as +the great basilica lasts, and pilgrims come to pray and +read upon the walls, in a language even the unlettered +can understand, the lessons taught by the Umbrian +preacher seven centuries ago. Apart from the fact of +his genius, it was a fortunate thing that he should have +been chosen for the task. A man of weaker and more +impressionable temperament might have been led into +such exaggerations of feeling and sentiment as we find +in the Lorenzetti frescoes of the transept. Giotto +<span class="pagenum"><a name="Page_178" id="Page_178">178</a></span> +came not many years after the Flagellants, roaming +in hordes through the land calling for mercy and beating +their half-naked bodies with leathern thongs, had +spread a spirit of fanaticism which threatened to destroy +the healthy influence of the teaching of St. Francis. +But the mountain-born painter, impervious to such +influences, kept his faith pure amidst the turmoil and +unrest; and much as he admired the saint (it is said +he belonged to the Third order), he looked upon his +teaching from the practical point of view and was by +no means carried away by the poetical manner in which +it had been presented to the people. Nothing shows +the mind and character of Giotto so plainly as some +lines he wrote on poverty, most likely after painting +his famous Allegories when he had an opportunity to +observe how little the manners and customs of mediæval +monks corresponded with the spirit of their founder. +Every line of the poem is full of common sense and +knowledge of human frailty. Many, Giotto remarks +somewhat sarcastically, praise poverty; but he does not +himself recommend it as virtue is seldom co-existent +with extremes; and voluntary poverty, upon which he +touches in a few caustic lines, is the cause of many ills, +and rarely brings peace to those who have chosen her +as a mate and who too often study how to avoid her +company; thus it happens that under the false mantle +of the gentlest of lambs appears the fiercest wolf, and +by such hypocrisy is the world corrupted.<a name="FNanchor_75" id="FNanchor_75" href="#Footnote_75" class="fnanchor">[75]</a></p> + +<div class="figcenter" style="width: 650px;"><a name="illo197" id="illo197"></a> +<img src="images/illus197.jpg" width="650" height="448" alt="THE MARRIAGE OF ST. FRANCIS WITH POVERTY" /> +<p class="caption">THE MARRIAGE OF ST. FRANCIS WITH POVERTY</p> +<p class="caption_lt">(<span class="smcap">D. Anderson</span>—<i>photo</i>)]</p> +</div> + +<p>Giotto, an artist before he was a moralist, undertook +to carry out the wishes of his patrons, and thought +only how he could best fill the triangular spaces of the +ceiling with the figures of saints and angels. It was +by no means an easy task, but Giotto succeeded so +well that these four frescoes are reckoned among his +<span class="pagenum"><a name="Page_179" id="Page_179"></a></span> +<span class="pagenum"><a name="Page_180" id="Page_180"></a></span> +<span class="pagenum"><a name="Page_181" id="Page_181">181</a></span> +masterpieces and the wonders of the thirteenth century. +They certainly show a marked advance upon the earlier +works in the Transept, but they lack the power and +assurance of those in the Upper Church, where the +youthful painter all but reached the zenith of his +fame.</p> + +<p><i>The Marriage of St. Francis and Poverty.</i><a name="FNanchor_76" id="FNanchor_76" href="#Footnote_76" class="fnanchor">[76]</a>—In this +fresco Giotto has represented three incidents, but just +as they all refer to one subject, so do the figures form +a perfect harmony, faultless as decoration and beautiful +as a picture. A youth, imitating the charity of St. +Francis to whom his guardian angel is pointing, is seen +on the left giving his cloak to a beggar, while upon the +other side, a miser clutching his money-bag and a youth +with a falcon on his gloved hand refuse to listen to +the good suggestions of an angel and of the friar who +stands between them. The lines of decoration are +further carried out by the two angels who fly up carrying +a temple with an enclosed garden, perhaps symbolising +Charity, and a franciscan habit, which may be the +symbol of Obedience. But these are details and +the eye does not rest upon them, but rather is carried +straight into the midst of a court of attendant angels +where Christ, standing upon a rock, gives the hand of +St. Francis to the Lady Poverty, who slightly draws +away as if in warning of the hardships and disillusions +in store for him who links his life with hers. Cold +and white, her garments torn by a network of accacia +<span class="pagenum"><a name="Page_182" id="Page_182">182</a></span> +thorns, she is indeed the true widow of Christ, who, +after His death as Dante says,</p> + +<div class="poem"> +<p class="o1">". . . . . . slighted and obscure</p> +<p>Thousand and hundred years and more, remain'd</p> +<p class="i1">Without a single suitor, till he came."<a name="FNanchor_77" id="FNanchor_77" href="#Footnote_77" class="fnanchor">[77]</a></p> +</div> + +<p>The bridesmaids, Hope pointing to the sky, and +Charity holding a heart and crowned with flowers that +start into tiny flames, come floating out of the choir +of angels towards the pale bride whose veil is bounded +only by her hair. Heedless of the children of earth, +who encouraged by the barking of a dog, press the +thorns still deeper into her flesh, she gazes at St. +Francis, and shows him the pink and white roses of +paradise and the Madonna lilies which are flowering +behind her wings.</p> + +<p><i>Chastity.</i>—The different stages of perfection in the +religious life are portrayed in this allegory. To the +left St. Francis welcomes three aspirants to the order—Bernard +of Quintavalle—typifying the franciscans; +St. Clare—the Second Order; and one, who is said to +be the poet Dante, in the near foreground in a florentine +dress of the period—the Third Order. Two +angels in the central group impose hands and pour the +purifying water upon the head of a youth standing +naked in a font, and two other angels bend forward +with the franciscan habits in their hands, while leaning +over the wall of the fortress are two figures, one presenting +the banner of purity the other the shield of +fortitude to the novice. On either side stands a grey-bearded, +mail-clad warrior, lash and shield in hand to +denote the perpetual warfare and self-mortification of +those who follow St. Francis. To the right three +youthful warrior-monks, beautiful of feature, bearing +the signs of the Passion in their hands, aided by one in +<span class="pagenum"><a name="Page_183" id="Page_183">183</a></span> +the garb of a Penitent with angels' wings, are chasing +away the tempting spirits of the flesh from the rocks +about the fortress into the abyss below. The winged +boar falls backwards, followed by a demon and a +winged skeleton emblematic of the perpetual death of +the wicked, while poor blindfolded Love writhes beneath +the lash of Penitence. But just as he is about +to spring down with the rest, his string of human hearts +still slung across his shoulders, he snatches up a sprig +of roses from the rocks.</p> + +<p>Above, out of a walled enclosure guarded at each +end by towers like every mediæval castle on the hills +about Italian towns, rises a crenulated fortress. At +the open window of the magnificent central tower is +seen Chastity, veiled and in prayer as if unconscious of +the scene below, her vigilance typified by the bell +o'erhead. She appears to be reading, by the light of +a taper, from the open book held before her by an +angel, while another is bringing her the palm of sanctity. +They are no longer Giotto's bird-like creations, +but stately messengers with splendid human forms +uplifted by outstretched wings their garments brought +into long curved lines by the rapidity of their flight.</p> + +<p><i>Obedience.</i>—Under an open <i>loggia</i> sits the winged +figure of Obedience in the habit of a franciscan, +holding his finger to his lips as he places a wooden +yoke (symbol of obedience) upon the neck of a +kneeling friar. Prudence, with double face, holding +a glass mirror and a compass, and Humility, with her +lighted taper to illumine the path to paradise, are +seated on either side, perhaps to show that he who +imposes obedience upon others must be prudent and +humble himself. An angel upon the right is pointing +these virtues out to a centaur (symbolizing pride, envy +and avarice), who, thrown back upon his haunches +by a ray of light from the mirror of Prudence, is +<span class="pagenum"><a name="Page_184" id="Page_184">184</a></span> +thus stopped from tempting away the young novice +kneeling on the opposite side, encouraged in his act +of renunciation by the angel who holds him firmly by +the wrist. Two divine hands appear from the clouds +above and are holding St. Francis by his yoke, while +two angels unroll the rules of his order.</p> + +<p><i>The Glory of St. Francis.</i>—The throng of fair-haired +angels, seem, as they move towards the throne +of the saint and press around it, to be intoning a hymn +of perpetual praise and jubilation. Their figures, +against the dull gold background, are seen white and +strong, with here and there a touch of mauve or pale +blue in their garments bringing out more distinctly the +feeling of light and joyousness. The perpetual movement +of the heavenly choir, some blowing long trumpets, +others playing on flutes and tambourines, while many +gaze upwards in silent prayer as they float upon the +clouds, contrasts strangely with the stiff and silent +figure of St. Francis, who in his robe of gold and +black brocade, a brilliant light behind him, looks like +some marvellous eastern deity, recalling Dante's words +of how he</p> + +<div class="poem"> +<p class="i7">"... arose</p> +<p>A sun upon the world, as duly this</p> +<p>From Ganges doth: ..."</p> +</div> + +<p>In the dimness of the cave-like church built to serve +the purpose of a tomb and keep men's ideas familiar +with the thought of death, these frescoes are glimpses +into the heaven of the blest. Watch them at all +hours of the day and there will be some new wonder +to be noted, a face among the crowd which seems +fairer than the rest, or, as the sunshine moves across, +a flash of colours in an angel's wing like the sudden +coming of a rainbow in a cloudy sky. And who shall +forget the strange play of fancy as the candle light, +during an afternoon service, mingles with the strong +<span class="pagenum"><a name="Page_185" id="Page_185">185</a></span> +sunshine upon the white figures of saints and the +whiter figure of the Lady Poverty, who appear to +move towards us from amidst a blaze of golden +clouds, until gradually as the evening closes in and +the candles go out one by one, they are set once more +in the shadow of their backgrounds like so many +images of snow.</p> + +<p><i>La Capella del Sacramento, or the Chapel of St. Nicholas.</i>—Giotto +left one scholar at Assisi whose work it is +easy to discover, but who, as far as name and personality +are concerned, is unknown, and shares in the +general mystery which surrounds both the builders +and painters of San Francesco. All we know is that +he followed his master's style and great laws of composition +even more closely than Taddeo Gaddi, and +that he possessed much charm and originality. By the +kind help of Mr Bernhard Berenson we have been able +to group together some of the works of this interesting +artist, who was evidently working at Assisi between 1300 +and 1310 when he executed the last nine frescoes of +the Upper Church illustrating the death and the +miracles of St. Francis, decorated the Capella del +Sacramento in the Lower Church with the legend +of St. Nicholas, and painted a fine Crucifixion in the +Confraternity of San Rufinuccio (see <a href="#Page_289">chap. x</a>). There +is a very delightful panel picture also by him in the +corridor of the Uffizzi (No. 20 in the corridor), +with eight small scenes from the life of St. Cecilia.</p> + +<p>In a fresco over the arch on the inside of the +Capella del Sacramento are portraits of the donors +of the chapel, Cardinal Napoleone Orsini, who is +being presented to Christ by St. Francis, and his +younger brother Giovanni (below him is written +Dñs Joñs Gaetanus frater ejus), presented by St. +Nicholas. It helps to date the decoration of the +chapel, for we know that Giovanni Orsini received +<span class="pagenum"><a name="Page_186" id="Page_186">186</a></span> +the cardinal's hat in 1316, while here he is represented +in the white dress of a deacon confirming +the general opinion that these frescoes must have +been painted before that date.<a name="FNanchor_78" id="FNanchor_78" href="#Footnote_78" class="fnanchor">[78]</a></p> + +<p>St. Nicholas of Myra, generally known as St. +Nicholas of Bari, both during his life and after his +death was forever coming to the assistance of the +oppressed; he did not even object to be the patron +saint of drunkards and thieves, as well as of maiden +virtue. He can easily be recognised in art by the +three purses or golden balls which are always placed +at his feet, in reference to the first kind action he +performed when a wealthy young noble. This incident +is charmingly recorded in the chapel upon the +right wall near the entrance. Three sleeping maidens +are lying by their father's side, and St. Nicholas, who +has heard of their poverty, throws in three bags of gold +as he passes by the open window. This charitable deed +has made him a famous saint; when Dante is in Purgatory +he hears the spirit of Hugh Capet recounting various +acts of virtuous poverty and generosity, among which</p> + +<div class="poem"> +<p class="i6">"... it spake the gift</p> +<p>Of Nicholas, which on the maidens he</p> +<p>Bounteous bestow'd, to save their youthful prime</p> +<p>Unblemish'd...."</p> +</div> + +<p>Below (the picture immediately beneath is entirely +obliterated) is a very beautiful composition, recalling +the same artist's treatment of St. Clare and her nuns in +the Upper Church. In front of a Gothic chapel of +white and black marble stands St. Nicholas, between +<span class="pagenum"><a name="Page_187" id="Page_187">187</a></span> +two placid and portly friars, listening to the petition of +a despairing father who implores his protection for his +three sons, unjustly condemned to death by a wicked +consul. The figures of the prisoners, with halters round +their necks, followed by sympathising friends, are full of +movement and life; St. Nicholas is particularly charming, +dressed in his episcopal robes, slightly bending forward +and listening attentively to the doleful tale.<a name="FNanchor_79" id="FNanchor_79" href="#Footnote_79" class="fnanchor">[79]</a></p> + +<p>The legend is continued upon the opposite side, +where he arrives just in time to save the youths. The +figure of the kneeling victim expecting the blow every +moment to fall upon his neck and the majestic attitude +of the saint in the act of seizing the sword, are finely +rendered, but Giotto would hardly have approved of +the complicated building decked with much superfluous +decoration which is supposed to represent the +city gate.</p> + +<p>The fresco below relates a vision of the Emperor +Constantine who had ordered his three generals, unjustly +accused of treason, to be put to death. St. +Nicholas appears and commands him to release the +prisoners, who are in a wooden cage by the bed.</p> + +<p>High up in the lunette of this wall is an interesting +fresco referring to a humorous incident of one of the +saint's miracles. It appears that a Jew, hearing that +St. Nicholas gave special protection to property, placed +a statue of him in his house; but it must be remembered +that St. Nicholas was also the patron of thieves, +and one day all the Jew's possessions disappeared. +Enraged by the failure of his plan he administered a +sound thrashing to the statue, which stands in a beautiful +niche with spiral columns, behaving much in the +<span class="pagenum"><a name="Page_188" id="Page_188">188</a></span> +same way as the childish sons of faith in Southern Italy +who turn the Madonna's picture to the wall when +their prayers have not been effectual. In this case +St. Nicholas was so deeply offended that he appeared +in a vision to the thieves, who kindly restored the +goods of the irate Jew. There are dim remains of +frescoes on this wall, but it is impossible to make out +what they represent. Other wonderful miracles are +related upon the opposite side, beginning high up in the +lunette, where, with some difficulty, we distinguished +St. Nicholas restoring a child to life who has been +taken from his parents and killed by evil spirits. Below +is a scene in a banqueting hall, where a king, seated at +table, takes a goblet of wine from the hand of a slave +boy. St. Nicholas, in full episcopals, performs one of +his many ærial flights, lays his hand upon the boy's +head and carries him back to his parents. In the +scene beneath St. Nicholas is restoring to his people +another youth, who, it seems, was nearly drowned +while filling a goblet with water for the altar of +St. Nicholas; or it may be the continuation of the +preceding legend, and show the home-coming of the +captive boy from the king's palace. It is one of the +most charmingly rendered of the series; the impetuous +action of the mother rising with outstretched +arms to welcome her son, and the calm dignity of the +father's embrace, are almost worthy of Giotto himself. +A small dog bounds forward to add his welcome to +the others, while St. Nicholas surveys the scene with +great gravity, every line of his figure denoting dignity, +power and repose.</p> + +<p>On one side of the arched entrance to the chapel +is a fresco of St. Mary Magdalen, on the opposite +side is St. John the Baptist, and in the vaulting of the +arch, on the right, are St. Anthony of Padua with +St. Francis; St. Albino with St. George; St. Agnes +<span class="pagenum"><a name="Page_189" id="Page_189">189</a></span> +holding a lamb, perhaps the most graceful of the +figures, with St. Cecilia crowned with roses. Opposite +are St. Rufino and St. Nicholas holding a book; St. +Sabino and St. Vittorino, both Assisan martyrs; and +St. Claire with St. Catherine of Alexandria. But the +quality of this artist will be only half realised if the +single figures of the apostles on the walls below the +scenes from the life of Nicholas are overlooked. +Very grave and reposeful they lend an air of great +solemnity to the chapel, and as Messrs. Crowe and Cavalcaselle +remark, they are "after those of Giotto in the +Ciborium of Rome, the most admirable that were +produced in the early times of the revival...."</p> + +<p>It is as difficult to explain why the Chapel of St. +Nicholas possesses so much charm, as it is to understand +why people seldom spend more than sufficient +time to read the few lines in their guide-book about +it and verify for themselves that the frescoes are there; +but perhaps when some fifty frescoes by Giotto have +to be realised in about an hour, which is the time +usually devoted to them by the visitor to Assisi, it is +not surprising that Giotto's follower, the closest and +the best he ever had, should be neglected.</p> + +<p>The stained glass windows, remarkable rather for +their harmony than for their depth of tone, belong also +to the early part of the fourteenth century, and are decorated +with the Orsini arms. On the left side of the +central window is a charming design of St. Francis in +a rose-coloured mantle, recommending to Christ the +young Giovanni Gaetano Orsini, who is said to be +buried in the chapel. His monument behind the altar, +erected soon after his death in 1347, is, according to +Vasari, the work of Agostino da Siena, a pupil of +Giovanni Pisano. Very calm and youthful-looking +the Cardinal lies at full length in long folded robes +while two angels guard his slumbers. +<span class="pagenum"><a name="Page_190" id="Page_190">190</a></span></p> + +<p>There is yet another treasure in St. Nicholas' Chapel; +a lovely picture on panel of the Virgin and saints (rather +difficult to see as it is against the light over the altar), +by a Sienese artist who possesses some of Simone Martini's +talent of depicting ethereal and serene Madonnas.</p> + +<p><i>The Chapel of St. Maria Maddalena.</i>—According to +a legend given by Padre Angeli the chapel was built +and consecrated by St. Bonaventure while General of +the franciscan order towards the end of the thirteenth +century. The three frescoes on the left wall certainly +belong to Giotto's time, and if not actually painted by +him they appear to be from his designs, and not merely +copies of the Paduan frescoes which they resemble. +Above the frescoes of the Raising of Lazarus and the +Anointing of Christ's feet is the Communion of the +Magdalen, rendered with such simplicity yet with so +much religious feeling and solemnity that we realise +it is indeed the last communion of the saint on earth. +The attitude of the priest, the splendid drapery of the +man in orange-coloured garments, and the way in which +the figure of the saint being carried by angels to heaven +completes the composition, bear unmistakably the impress +of Giotto's style before the Paduan period +(1206).</p> + +<p>The "Noli mi Tangere" upon the opposite wall may +also have been designed by him, but the type of the +faces are heavier than his, and the angels are no longer +swift spirits of the heavens ending in flame and cloud.</p> + +<p>The painter, as if wishing to remind the faithful of +the new life symbolised in the resurrection of Christ, +has covered the rocks and ground with flowering rosebushes +and exquisitely designed tufts of ferns and leaves.</p> + +<p>The story of the Prince and Princess of Marseilles is +a favourite subject with the Giottesque school. The +legend tells that when Mary Magdalen arrived at Marseilles +with Lazarus and Martha, she met a prince and +<span class="pagenum"><a name="Page_191" id="Page_191">191</a></span> +his wife who were praying to the gods for a son, and +she persuaded them to pray instead to the God of the +Christians. Their desire was granted, and they were +converted, but evidently being of a cautious turn of +mind, they resolved to sail at once for Jerusalem and +find out if St. Peter's teaching agreed with that of the +Magdalen. On the way a terrible storm arose, and +during the tempest the princess gave birth to a son, and +died. The sailors insisted that her body must be thrown +overboard or the storm, they said, would not abate; at +last the prince was forced to lay the body of his wife +upon a rocky island in the midst of the ocean, and +calling upon Mary Magdalen for help, he left the child +wrapt in the cloak of its dead mother by her side and +continued the journey to the Holy Land. His visit +to St. Peter ended in his complete conversion, and upon +his return to France he stopped at the rocky island +where he found his wife and son alive and well, thanks +to the prayers of St. Mary Magdalen. They returned +to Marseilles, the vessel being guided by angels, and +the whole town became Christian.</p> + +<p>Above the arch facing the altar is a very charming +fresco of the Magdalen standing at the entrance of +a cave, her hair falling like a mantle of cloth of gold +about her, to receive the gift of a garment from a +charitable hermit who had heard of her life of austerity +and privation among the mountains of Provence.</p> + +<p>The single figures of St. Clare, St. Mary +Magdalen and St. Rufino, as well as the saints in +the vaulting opposite the altar, no longer follow +Giotto's designs and are far inferior to the other +frescoes. Teobaldo Pontano, Bishop of Assisi between +1314 and 1329, is supposed to be the kneeling +figure at the feet of St. Rufino as donor of the +chapel. It is so unlikely Giotto should have repeated +his later Paduan designs in a feebler manner, +<span class="pagenum"><a name="Page_192" id="Page_192">192</a></span> +as seen here, or that a pupil should have slavishly +copied them, that it seems more probable the chapel +dates from the time of St. Bonaventure, when its +decoration may have been begun by Giotto and completed +by some later Florentine follower called in +by the bishop who desired to be buried here. The +Pontano arms decorate the beautiful stained glass +windows, which certainly date from the first half of +the fourteenth century, and are the finest in the +Lower Church with the exception of those in St. +Martin's chapel. Each figure has a claim on our +admiration, but especially lovely is the figure of the +Magdalen whose hair falls to her feet in heavy waves +of deepest gold. In the last division of the right +window is the death of the saint, with the lions at +her feet which are supposed to have dug her grave.</p> + +<p><i>The Chapel of St. Antonio di Padova.</i>—Built by the +Assisan family of Lelli in the fourteenth century, it +was once ornamented by Florentine frescoes of the +same date which were destroyed when the roof fell +in, and it has now nothing of interest save the windows. +These contain some naïve scenes from the life of St. +Anthony; among them may be noticed his preaching +to the fish which raise their heads above the water +to listen.</p> + +<p><i>Chapel of San Stefano.</i>—This like the last, has only +very decadent frescoes by Adone Doni and is solely +interesting for its windows (second half of fourteenth +century), where below the symbols of the Evangelists +are single figures of saints, among them King Louis +and the royal Bishop of Toulouse. Cardinal Gentile +di Montefiore, founder of the chapel of S. Martino, was +also the donor of this one and is represented in the +right window with his crest, a tree growing out of +a blue mound against an orange background.</p> + +<p><i>The Chapel of St. Catherine, or Capella del Crocifisso.</i>—This +<span class="pagenum"><a name="Page_193" id="Page_193">193</a></span> +chapel was built by order of Cardinal Albornoz +towards the end of the fourteenth century when +on his passage through Umbria to reconquer the +rebellious cities for the Roman Pontiff. He conceived +at Assisi so great a love for the memory of St. Francis +that he desired to be buried there; but though his body +was brought to Assisi from Viterbo where he died +in 1367, it was afterwards carried to his bishopric +at Toledo "at small expense," writes an economical +chronicler, "upon men's shoulders"; only a cardinal's +hat, suspended from the roof of the chapel, now +remains to remind us of the warlike Spanish prelate. +The frescoes here have been assigned to that mythical +person Buffalmaco, of whom Vasari relates such +humorous tales. All we can say is that they belong +to the second half of the fourteenth century and are +not very pleasing scenes from the life and martyrdom +of St. Catherine of Alexandria, with a fresco of Cardinal +Albornoz receiving consecration from a pope +under the auspices of St. Francis. The windows are +the first things to shine out amidst the gloom as one +enters the Lower Church. Especially attractive are +the figures of St. Francis and St. Clare, their cloaks +of the colour of a tea-rose, and of the other saints +in green and russet-brown standing in a frame of +twisted ribbons tied in bows above their heads. Unfortunately +the glass has been repaired in some places +by careless modern workers and we see such strange +results as the large head of a bearded man upon the +body of St. Catherine, high up in the left hand +window.</p> + +<div class="figcenter"><a name="illo212" id="illo212"></a> +<img src="images/illus212.jpg" width="456" height="555" alt="THE OLD CEMETERY OF SAN FRANCESCO" /> +<p class="caption">THE OLD CEMETERY OF SAN FRANCESCO</p> +</div> + +<p><i>The Chapel of St. Anthony the Abbot.</i><a name="FNanchor_80" id="FNanchor_80" href="#Footnote_80" class="fnanchor">[80]</a>—About 1367 +two monuments were erected in this chapel over the +sepulchres of two murdered princes—Messer Ferdinando +<span class="pagenum"><a name="Page_194" id="Page_194">194</a></span> +Blasco, nephew of the Cardinal Albornoz, +and his son Garzia. Some say they met their +death at Spoleto where the father was vice-governor, +others that they were killed at Assisi close to the +convent of S. Appolinare by the citizens before they +submitted to the kindly rule of the Cardinal. The +chapel had been built by a liberal Assisan gentleman +who also left money for its decoration; but if +there were paintings (Vasari mentions some by Pace +<span class="pagenum"><a name="Page_195" id="Page_195">195</a></span> +di Fænza) nothing now remains but a rather feeble +picture by a scholar of Pinturicchio. The white +stone monuments, the white-washed walls and the +total absence of colour gives an uncared-for look to +this out-of-the way corner of the church. A much +brighter spot is the old cemetery opening out of this +chapel, which was built in the fourteenth century +with the intention of adorning it with frescoes in +imitation of the Campo Santo at Pisa. The double +cloister seen against a background of cypresses and +firs, above which rises the northern side of the Basilica, +form a pretty group of buildings, and can be better +enjoyed now than in former days, when the bones +of Assisan nobles and franciscan friars were piled +in the open galleries.</p> + +<p>The Basilica of San Francesco became the burial +place, not only of some of the saint's immediate followers, +but also of many distinguished personages. The +large stone tomb at the end of the church is always +pointed out as that of "Ecuba," Queen of Cyprus, +who is said to have come to Assisi in 1229 to give +thanks for having been cured of an illness by the intercession +of St. Francis, when she gave the porphyry vase +full of ultramarine which is still to be seen, though +now empty of its precious contents. She is said to have +died in 1240, and to have been buried in San Francesco. +But this "Ecuba" is a mysterious person not +to be found in the history of her country, which has +led some writers to say that it is Iolanthe, the second +wife of Frederick II, who lies here. It is one of +those tombs common in the time of Giovanni Pisani, +but bearing only a faint resemblance to his masterpiece +in the Church of San Domenico in Perugia. +"On one side," says Vasari, in surprise at the novelty +of the style, "the Queen, seated upon a chair, places +her right leg over the left in a singular and modern +<span class="pagenum"><a name="Page_196" id="Page_196">196</a></span> +manner, which position for a lady is ungraceful, and +cannot be regarded as a suitable action for a royal +monument."</p> + +<p>The tomb to the right was erected soon after 1479 +in memory of Niccolò Specchi, an Assisan physician +of renown attached to the persons of Eugenius IV, and +Niccolò V.</p> + +<p><i>Tomb of St. Francis.</i>—Although it had always been +supposed that St. Francis lay beneath the high altar, +no one knew precisely the spot where Elias had hidden +him. In the last centuries many attempts were made +to find the tomb by driving galleries in every direction +into the bed of rock on which the Basilica stands;<a name="FNanchor_81" id="FNanchor_81" href="#Footnote_81" class="fnanchor">[81]</a> +but all failed, until more energetic measures were taken +in 1818. And after fifty nights of hard work, conducted +with the greatest secrecy (it would seem as though the +spirit of Elias still presided over the workers), below +the high altar, encased in blocks of travertine taken +from the Roman wall near the temple of Minerva, and +fitted together neatly as those of an Etruscan wall, was +found the sepulchral urn of St. Francis. It was evidently +the same in which he had been laid in the +Church of San Giorgio, untouched till that day. +Round the skeleton were found various objects, +placed, perhaps, by the Assisans, who in this seem +to have followed the custom of their earliest ancestors, +as offerings to the dead. There were several silver +<span class="pagenum"><a name="Page_197" id="Page_197">197</a></span> +coins, amongst them some of Lucca of 1181 and +1208, and a Roman ring of the second century, with +the figure of Pallas holding a Victory in her right +hand engraved on a red cornelian. Five Umbrian +bishops, four cardinals, numberless priests and archæologists +visited the spot to verify the truth of the discovery, +and finally published the tidings far and wide, +which brought greater crowds than ever to Assisi, and +among them no less a personage than the Emperor +Francis I, of Austria. Donations poured in for building +a chapel beneath the Lower Church round the +saint's tomb, and in six months the work was completed +by Giuseppe Brizzi of Assisi. The citizens, +in their zeal, decorated it with marble altars and +statues, until the tradition treasured by the people of +a hidden chapel below the Basilica and rivalling it in +richness was almost realised, and they flocked down +the dark staircases with lighted torches to witness the +accomplishment of the legends weaved by their forefathers +(see p. <a href="#Page_136">136</a>). It is a most impressive sight to +attend mass here with the peasants in early morning +ere they go forth to their work in the fields. Silently +they kneel with bowed heads near the tomb, touching +it now and again through the grating with their rosaries; +the acolytes move slowly about the altar and the voices +of the priests are hushed, for here at least all feel the +solemnity of a religious rite. The candles burn dimly +with a smoky flame, the sanctuary lamps cast a flickering +red light upon the marble pavement and the walls +cut out of the living rock, and with the darkness which +seems to press around is the damp smell, reminding us +that we are indeed in the very bowels of the Assisan +mountain.</p> + +<p class="center b125 p6">CHAPTER VII</p> +<p><span class="pagenum"><a name="Page_198" id="Page_198">198</a></span></p> + +<p class="center b175"><i>The Sienese Masters in the Lower +Church. The Convent</i></p> + +<div class="blockquot"> +<p> +... "Je donnerais pour ce caveau toutes les églises de +Rome."—<span class="smcap">H. Taine.</span> <i>Voyages en Italie. Pérouse et Assisi.</i> +</p> +</div> + +<p class="center p2"><span class="smcap">The Chapel of St. Martin</span><a name="FNanchor_82" id="FNanchor_82" href="#Footnote_82" class="fnanchor">[82]</a></p> + +<p><span class="dropcap">T</span>he best masters of Tuscany having, by the beginning +of the thirteenth century, covered most of +the walls of San Francesco with choice work, it now +remained for Siena to send artists to complete their +loveliness by effigies of calmly sweet Madonnas and +saints whose gentle beauty seemed rightly fitted for +their Umbrian surroundings.</p> + +<p>The first to come, probably very few years after +Giotto had left, was Simone Martini, "the most lovable," +Mr Berenson calls him, "of all the artists +before the Renaissance."<a name="FNanchor_83" id="FNanchor_83" href="#Footnote_83" class="fnanchor">[83]</a> He married Giovanna +Memmi, a Sienese, whose brother Lippo Memmi +often helped him in minor works; this may account +for the confusion between the two, and why he is so +often called by his brother-in-law's surname. One of +<span class="pagenum"><a name="Page_199" id="Page_199">199</a></span> +the artist's claims to immortality, the highest, according +to Vasari who was not partial to the Sienese, was +the praise he won from Petrarch for the portraits he +painted on more than one occasion of Madonna Laura. +Simone's talents were sung by the "love-devoted" +Tuscan poet who calls him "mio Simon," and in one +perfect sonnet tells how he must surely have been in +paradise and seen the loveliness of Madonna Laura, as +he has drawn her features with such fidelity that all on +earth must perforce acknowledge her beauty.</p> + +<p>The Chapel of St. Martin at Assisi is filled with +such faces as Petrarch describes. It possesses, too, all +the varied colour of a garden, only a garden not inhabited +by earthly mortals, but by gentle knights and +fairy kings wearing wonderful crowns of beaten gold, +with cherubs' heads, flowers and moons upon their +surface, and women who hold their lilies with caressing +fingers. All gives way before his sense of the +beautiful, the ornate and the charming, so that he +creates a world apart of saints and angels with a feeling +of remoteness about them which is one of the most +striking features of his art. He loved all that was +joyous; he depicted no tragic scenes; his saints have +already won their crowns in heaven, his kings are conquerors, +and around a death-bed the angels sing. He +may sometimes fail as a story-teller, and his compositions +do not always give the same sense of perfection +as those of other stronger artists, but his very faults are +lovable, and all can be forgiven for the exquisite finish of +his paintings, which, in their brilliant colouring, are like a +piece of old embroidery where design and hues have +been woven in by patient fingers. "To convey his +feeling for beauty and grace and splendour," says Mr +Berenson, "Simone possessed means more than sufficient. +He was a master of colour as few have been +before him or after him. He had a feeling for line +<span class="pagenum"><a name="Page_200" id="Page_200">200</a></span> +always remarkable, and once, at least, attaining to a +degree of perfection not to be surpassed. He understood +decorative effects as a great musician understands +his instruments."<a name="FNanchor_84" id="FNanchor_84" href="#Footnote_84" class="fnanchor">[84]</a></p> + +<p>It is a little difficult to find out where Simone +begins his legend of St. Martin, as he seems to +have fitted in the different scenes just where he +could, thinking, as was only right, more of the effect +of decoration than of the sequence of the story. The +two frescoes on the left wall refer to the well-known +act of charity, when St. Martin, a young Lombard +soldier serving in the army of the Emperor Constantine +in Gaul, met, on a bitter winter's day, a beggar +outside the gates of Amiens, and having nothing but +the clothes he wore divided his cloak with the poor +man. It is not one of Simone's pleasing compositions; +far better is the next where Christ appears to +the saint in a dream, wearing the cloak he had given +in charity and saying to the angels who surround +him: "Know ye who hath thus arrayed me? My +servant Martin, though yet unbaptised, hath done +this." The face of the young saint is very calm +and palely outlined against his golden aureole as +he lies asleep, clasping his throat gently with one +hand. With what patience has Simone drawn the +open-work of the sheets, the pattern on the counterpane, +the curtain about the bed; no detail has been +passed over. And who can forget his angels, the +profile of one, the thick waving hair of another, and +the grand pose of the standing figure, a little behind +Christ, whose head is poised so stately upon a well-moulded +neck.</p> + +<div class="figcenter" style="width:483px"><a name="illo219" id="illo219"></a> +<img src="images/illus219.jpg" width="483" height="650" alt="THE KNIGHTHOOD OF ST. MARTIN BY SIMONE MARTINI" /> +<p class="caption">THE KNIGHTHOOD OF ST. MARTIN BY SIMONE MARTINI</p> + +<p class="caption_lt">(<span class="smcap">D. Anderson</span>—<i>photo</i>)]</p> +</div> +<p>Exactly opposite are two scenes belonging to the +early times of the saint's life when he was yet a +soldier. In one the Emperor Constantine is giving +<span class="pagenum"><a name="Page_201" id="Page_201"></a></span> +<span class="pagenum"><a name="Page_203" id="Page_203">203</a></span> +him his sword, while an attendant buckles on the +spurs of knighthood; here also, as in most of the +frescoes, we pick out single figures to dwell on, such +as the youth with a falcon on his wrist, whose profile +is clearly outlined yet tender, with that pale red-golden +tinge over the face by which Simone always +charms us. Remarkable for grace and motion is the +man playing on the mandoline, with a sad dreamy +face, who seems to sway to the sounds of his own +music; whilst almost comic is the player on the double +pipes, with his curious headgear and tartan cloak.</p> + +<p>The next scene is divided by a rocky ridge, behind +which is seen the army of the Gauls, who, by the way, +have Assisan lions on their shields. St. Martin, after +refusing to accept his share of the donations to the +soldiers, declares his intention of leaving the army to +become a priest, and when accused of cowardice by +the Emperor, he offers to go forth and meet the enemy +without sword or shield. Simone pictures him as he +steps forth upon the perilous enterprise, holding the +cross and pointing to the sky, as he refuses the helmet +held out to him by the Emperor. Next day, says the +legend, the Gauls laid down their arms, having submitted +to the word of St. Martin who was then +allowed to quit the world for the religious life.</p> + +<p>On the opposite wall, above the apparition of Christ +with the cloak, we see St. Martin no longer in soldier's +garb, but as the holy Bishop of Tours. The saint has +fallen into a reverie whilst saying mass, and in vain a +priest tries to rouse him by laying a hand upon his +shoulder for his eyes remain closed, and the kneeling +priest waits patiently with the book of the Gospels +upon his knee. Simone never surpassed the dignity, +the religious feeling, the quiet repose and ease expressed +in the figure of St. Martin; while he has kept the +scene as simple as one of Giotto's frescoes, thus +<span class="pagenum"><a name="Page_204" id="Page_204">204</a></span> +making it the most perfect among these compositions. +To the left is a much ruined picture of the restoration +of a child to life through the prayers of the saint, who +was preaching at Chartres. Among a crowd of people +one figure, with a Florentine headgear such as Andrea +del Castagno paints, stands clearly out; below a small +child can be discerned stretching out little hands towards +the kneeling bishop.</p> + +<p>Above this again, almost too high to be clearly seen, +is the death of St. Hilary of Poitiers, at which St. +Martin assisted. One of the mourners has a mantle of +turquoise blue, a beautiful piece of colour like the sky +seen through the arches of the Gothic windows.</p> + +<p>On the other wall, over the fresco where St. Martin +receives knighthood, is recorded the legend of how +"as he went to the church on a certain day, meeting +a poor man naked, he gave him his inner robe, and +covered himself as he best might with his cope. And +the archdeacon, indignant, offering him a short and +narrow vestment, he received it humbly, and went up +to celebrate mass. And a globe of fire appeared above +his head, and when he elevated the host, his arms being +exposed by the shortness of the sleeves, they were +miraculously covered with chains of gold and silver, +suspended on them by angels."<a name="FNanchor_85" id="FNanchor_85" href="#Footnote_85" class="fnanchor">[85]</a></p> + +<p>The next picture, which is very ruined, represents +the visit of St. Martin to the Emperor Valentinian, +who, because he had rudely kept his seat in his presence, +suddenly found it to be on fire, and, as the +legend says, "he burnt that part of his body upon +which he sat, whereupon, being compelled to rise, +contrite and ashamed, he embraced Martin, and granted +all that he required of him."</p> + +<p>Above this is the death of St. Martin, with a graceful +<span class="pagenum"><a name="Page_205" id="Page_205">205</a></span> +flight of angels hovering over the bier singing as +they prepare to carry his soul to heaven. Very fine is +the fresco in the lunette of the entrance, where Cardinal +Gentile, in his franciscan habit, is kneeling before the +saint who bends forward to raise him from so humble +a position. But in the single figures of saints, in the +arch of this chapel, standing like guardian deities within +their Gothic niches, Simone rivals greater artists in +grace and strange beauty. In honour of the franciscan +donor the chief franciscan saints are depicted beside +two others of universal fame. St. Francis and St. +Anthony of Padua, and below them St. Catherine of +Alexandria and St. Mary Magdalen; on the other +side, St. Louis, King of France and St. Louis, Bishop +of Toulouse, and below them St. Clare and St. Elisabeth +of Hungary. Nowhere has St. Clare received +so true an interpretation of her gentle saintliness as in +this painting by Simone, and he has surpassed his other +works in the exquisite drawing of the hand which +holds her habit to one side. It would seem as though +in these saints he had attained the limits of his power +of expressing types of pure beauty, were it not for the +half figures in the embrasures of the window of such +finish and subtle charm as to haunt us like some strain +of long remembered music. There is a bishop in a +cope of creamy white with gold embroidery, a hermit +with a long brown beard, and saints who calmly pray +with clasped hands. The broad white band of pale +shadowed fur is low enough to show the graceful line +of the neck of the young saint in the left hand window, +his hair tinged with pale red and his face so fair as to +seem a shadow upon the wall, coming and going in the +play of light.</p> + +<p>So enthralling is the study of the frescoes that it is +possible to leave the chapel without noticing the stained-glass +windows, perhaps the loveliest in the church +<span class="pagenum"><a name="Page_206" id="Page_206">206</a></span> +where all are lovely. They seem to belong to the +same epoch as the paintings, and in one or two instances +a figure may have been inspired by them, such +as the angels with sword and shield who resemble +Simone's angels in the upper part of the fresco of +St. Martin's death. Cardinal Gentile was in all probability +the donor of these as well as of the chapel, for +he is represented in the central window kneeling before +St. Martin, who is in full episcopals. These windows +are dazzling; there are warriors in red and green, +saints standing against circles of cream-tinted leaves, +St. Jerome in magenta-coloured vestments harmonising +strangely with the crimson of his cardinal's hat; and +St. Anthony of Padua in violet shaded with paler +lights as on the petals of a Florentine iris. A saint +in white is placed against a scarlet background, another +in pale china blue against a sky of deep Madonna blue, +and all these colours lie side by side like masses of +jewels of every shade.</p> + +<p>On leaving we find to the left of the papal throne a +small chapel ornamented only by a window which has +an apostle standing in a plain Gothic niche, the ruby +red and tawny yellow of his mantle making a brilliant +patch of colour in this dark corner of the church. +The head is modern, but the figure, the circular pattern +beneath, and the right half of the window with five +medallions, are, according to Herr Thode, the oldest +pieces of coloured glass in the lower church.</p> + +<p>Just above the papal throne is a handsomely +worked ambo in red marble and mosaic, forming a +kind of pulpit from which many illustrious people +have preached, among them St. Bonaventure and St. +Bernardine of Siena. In the recess a Florentine +artist of the fourteenth century has painted the +Coronation of the Virgin, a fresco worthy of its +beautiful setting; and there is a crucifixion and +<span class="pagenum"><a name="Page_207" id="Page_207">207</a></span> +scenes from the martyrdom of St. Stanislaus of Poland +by a follower of Pietro Lorenzetti, pupil of Simone +Martini. St. Stanislaus was canonised in 1253 when +Innocent IV, came to consecrate the Basilica, and +upon this occasion a miracle took place which redounds +to the honour of the saint. While Cardinal +de Conti (afterwards Alexander IV,) was preaching, +one of the capitals of a pillar above the pulpit fell +upon the head of a woman in the congregation, and +thinking she was dead, as she had sunk down without +a groan, her neighbours covered her over with a +cloak "so as not to disturb the solemnity of the +occasion." But to their amazement when the sermon +ended the woman rose up and gave thanks to St. +Stanislaus, for the blow, far from doing her harm, +had cured her of headaches to which she had been +subject. The legend would long since have been +forgotten, were it not that the capital which fell on +that memorable day is still suspended by chains in +the opposite corner of the nave, and often puzzles the +visitor who does not know its history.</p> + +<p>Below the pulpit is a slab of red marble let into +the wall with these simple words inscribed: "Hic +jacet Jacoba sancta nobilisque romana," by which the +Assisans commemorated the burial place of Madonna +Giacoma da Settesoli the friend of St. Francis, who +after his death lived at Assisi and followed the rule +of the Third order until she died in 1239 (see p. <a href="#Page_114">114</a>).</p> + +<p><i>Left Transept.</i>—To Pietro Lorenzetti was given +the work of decorating these walls with scenes +from the Passion, and so far as completing the rich +colour of the church be succeeded. But when studied +as separate compositions they betray the weakness of +an artist who, as Mr. Berenson remarks, "carries +Duccio's themes to the utmost pitch of frantic +feeling." Great prominence is given to the subject +<span class="pagenum"><a name="Page_208" id="Page_208">208</a></span> +of the crucifixion where the vehement actions of the +figures rather than the nobility of the types are pre-eminent. +It may be of interest to some that the +man on the white horse is said to be Gualtieri, Duke +of Athens, the tyrant of Florence, whose arms Vasari +says he discovered in the fresco which he describes +as the work of Pietro Cavallini.</p> + +<p>A curious composition is that on the opposite wall +where the disciples sit in awkward attitudes and the +servants in the kitchen are seen cleaning the dishes +while a dog hastily licks up the scraps. It would +be difficult to know this represented a religious scene +were it not for the large aureoles of the apostles. +Nor has Pietro succeeded in giving solemnity to the +scene of the Stigmata, where the strained position +of St. Francis and the agitated movement of the +Seraph partake of the general characteristics of these +frescoes. But in his Madonna, St. Francis and St. John +the Evangelist, below the crucifixion, Pietro Lorenzetti +gives his very best and their faces we remember +together with the saints of Simone Martini. Referring +to this fresco M. Berenson says: "At Assisi, +in a fresco by Pietro, of such relief and such enamel +as to seem contrived of ivory and gold rather than +painted, the Madonna holds back heart-broken tears +as she looks fixedly at her child, who, Babe though +he is, addresses her earnestly; but she remains unconsoled."<a name="FNanchor_86" id="FNanchor_86" href="#Footnote_86" class="fnanchor">[86]</a></p> + +<p><i>Chapel of S. Giovanni Battista.</i><a name="FNanchor_87" id="FNanchor_87" href="#Footnote_87" class="fnanchor">[87]</a>—Another lovely +work by Pietro Lorenzetti is the triptych over the +altar, the Madonna, St. Francis and St. John the +Baptist, but here the action of the child leaning towards +<span class="pagenum"><a name="Page_209" id="Page_209">209</a></span> +the Virgin and holding the end of her veil, +is more caressing and suggestive of babyhood. Above +are small heads of angels like those Pietro places in +medallions round the frescoes in the south transept. +This, and the panel picture over the altar in the +opposite chapel, complete the works of the Sienese +school in Assisi. The Umbrian school is represented +by a large and unsympathetic picture by Lo Spagna +(dated 1526), which is however considered by local +admirers of the painter to be his masterpiece. It +is a relief to turn from his yellow-eyed saints and +hard colouring to the windows of this chapel which +are remarkable for their harmony and depth of tone.<a name="FNanchor_88" id="FNanchor_88" href="#Footnote_88" class="fnanchor">[88]</a> +The figures of the central window date from the +second half of the thirteenth century, those of the +left window are at least two centuries later.</p> + +<p><i>The Sacristies.</i>—These open out of St. Giovanni's +Chapel. Both are ornamented with handsomely carved +cupboards of the sixteenth century where the friars +store their vestments and costly lace, and which once +were full of gold and silver vessels amassed during +many centuries. But often during mediæval times +of warfare the friars had to stand aside and see the +sacristies sacked by the Perugians, or even the Assisans, +when they must have envied the peace of +mind of the first franciscans who, possessing nothing, +could have no fear of robbers.<a name="FNanchor_89" id="FNanchor_89" href="#Footnote_89" class="fnanchor">[89]</a></p> + +<p><span class="pagenum"><a name="Page_210" id="Page_210">210</a></span></p> + +<p>Devoted as the citizens were to the memory of +St. Francis they do not seem to have hesitated, when +in want of money, to help themselves liberally to +the things in his church. At one time when the +Baglioni were besieging Assisi, her despot Jacopo +Fiumi gathered the citizens about him, and in an +eloquent harangue called upon them to rob the church +at once before the enemy had entered the gates, lest +the treasure should fall into the hands of the Perugians. +So the sacristies were rifled, and with the +proceeds Jacopo Fiumi rebuilt the walls and the +palaces which had fallen to ruin during the incessant +fighting of past years. The next plunderers were +the soldiers of Napoleon, and it is a marvel that so +many things still remain. A cupboard in the inner +sacristy contains a beautiful cross of rock-crystal ornamented +with miniatures in blue enamel brought by +St. Bonaventure as a gift from St. Louis of France; +there is also the second rule of St. Francis which +was sanctioned by Honorius III. Even more precious +is a small and crumpled piece of parchment, with a +blessing written in the big child-like writing of St. +Francis, which he gave to Brother Leo at La Vernia +after he had received the Stigmata. On one side he +wrote part of the Laudes Creatoris, upon the other the +biblical blessing:</p> + +<div class="poem"> +<p class="o1">"<i>Benedicat tibi Dominus et custodiat te</i>:</p> +<p><i>Ostendat faciem suam tibi et misereatur tui</i>:</p> +<p><i>Convertat vultum suam ad te et de tibi pacem</i>":</p> +</div> + +<p>and then below:</p> +<div class="poem"> +<p class="o1">"<i>Dominus benedicat te, Frate Leo.</i>"</p> +</div> + +<p>Instead of the Latin, the saint signs with the Thau +cross, which is of the shape of the mediæval gallows, +and may have been yet another way of showing his +<span class="pagenum"><a name="Page_211" id="Page_211">211</a></span> +humility by humbling himself even to the level of +malefactors. Many pages have been written about +this relic; the line by Brother Leo in explanation +below the signature of St. Francis:</p> +<div class="poem"> +<p class="o1"> +"<i>Simili modo fecit istud signum Thau cum capite manu sua,</i>"</p> +</div> + +<p>has puzzled many people, but in a pamphlet by Mr +Montgomery Carmichael<a name="FNanchor_90" id="FNanchor_90" href="#Footnote_90" class="fnanchor">[90]</a> it has received a plausible +translation. He thinks that <i>cum capite</i> refers to the +small knob at the top of the Thau, by which St. +Francis meant to represent a malefactor's head; the +line would read thus: "in like manner with his own +hand he made a cross with a head," and not "with +his own head," as some believe. Mr Carmichael +thinks the curious mound out of which the cross +rises is a rough drawing of La Vernia. Above the +benediction, in neatly formed letters, Brother Leo has +written a short account of the sojourn at the Sacred +Mount and of the Vision of the Seraph. This relic +has been mentioned in the archives of the convent +since 1348, and is always carried in procession at +the commencement of the feast of the "Perdono" on +July 31st.</p> + +<p>Almost more honoured by the faithful is the "Sacred +Veil of the most Holy Virgin," which can only be exposed +to the public in the presence of the Bishop of +Assisi, and is shown in times of pilgrimage when the +sacristy and church are full of men and women waiting +for their turn to kiss the holy relic.</p> + +<p>The picture over the door, painted by Giunta +Pisano (?) is always pointed out as a portrait of St. +Francis, but as the painter's first visit to Assisi was +in 1230 he can only have seen the body of the +saint borne to its last resting-place in the Basilica, +and even that is doubtful when we remember with +<span class="pagenum"><a name="Page_212" id="Page_212">212</a></span> +what secrecy the burial was performed. Here the +face is pointed and emaciated, with a curious look +in the eyes as though Giunta had desired to record +his blindness. The figure is surrounded by small +scenes from the miracles of St. Francis, performed +during his lifetime and at his tomb in San Giorgio. +But though in the so-called portraits of the saint, +the artists think more of representing him as the +symbol of asceticism and sanctity than of aiming at +giving a true likeness, both this picture and a fresco +painted in 1216 at Subiaco when the saint stayed +there on his way to Spain, are not very dissimilar +from the graphic description left us by Celano. He +tells us that St. Francis "was rather below the middle +stature with a small round head and a long pinched +face, a full but narrow forehead and candid black +eyes of medium size, his hair likewise was black; +the brows were straight, the nose well-proportioned, +thin and straight, the ears erect but small, and the +temples flat; his speech was kindly, yet ardent and +incisive; his voice powerful, sweet, clear and sonorous; +his teeth were regular, white and set close; his +lips thin and mobile, his beard was black and scant, +his neck thin, his shoulders square; the arms were +short, the hands small with long fingers and almond-shaped +nails, his legs were thin, his feet small, his skin +delicate, and he was very thin...."</p> + +<div class="figcenter"><a name="illo231" id="illo231"></a> +<img src="images/illus231.jpg" width="650" height="427" alt="BIRD'S EYE VIEW OF THE BASILICA AND CONVENT OF SAN FRANCESCO, FROM A DRAWING MADE IN 1820" /> +<p class="caption">BIRD'S EYE VIEW OF THE BASILICA AND CONVENT OF SAN FRANCESCO, FROM A DRAWING MADE IN 1820</p> +</div> + +<p><i>Right Transept.</i><a name="FNanchor_91" id="FNanchor_91" href="#Footnote_91" class="fnanchor">[91]</a>—On the walls between the Chapels +of the Sacramento and of St. Maria Maddalena, Simone +Martini has left some of his loveliest work in the half +figures of franciscan saints he places near the Madonna. +These are St. Francis, St. Louis of Toulouse, St. +Elizabeth of Hungary, St. Clare clothed in the habit + +<span class="pagenum"><a name="Page_214" id="Page_214"></a></span> +<span class="pagenum"><a name="Page_215" id="Page_215">215</a></span> +of her order, always to be recognised when painted +by Simone by her heavy plaits of hair, St. Anthony +of Padua with the lily, St. Louis of France with a +crown of <i>fleur-de-lis</i>, and upon the right of the +Virgin, a noble saint who may be Helen the mother +of King Louis, as she too holds a sceptre with the +lily of France on the top. Never had saints so +majestic a queen as Simone's Madonna. The subdued +greens and tawny reds of their mantles and +their auburn hair look most beautiful against the gold +ground which shines with dull light about them. +Each of their aureoles bears a different pattern in +raised <i>gesso</i>; a garland of flowers, a circle of human +heads, suns, a tracery of roses and ivy, or yet again +another of oak leaves. After Giotto's Allegories and +the frescoes in San Martino, these saints are by far the +loveliest things in San Francesco, and as they look +towards us, ethereal, like a faint moon on a misty +night, they seem the very incarnation of mediæval +faith. Dante created women such as Matilda, who +sings to him in Purgatory as she is picking flowers on +a woodland river's edge, and Simone paints them and +conveys their spirit in the faces of St. Clare and St. +Elizabeth.</p> + +<p class="center p2"><i>The Convent</i></p> + +<p>It is natural to think that the Basilica and Convent +built under the guidance of Elias was as we see it +now in its full magnificence of chapels, porch, colonnades +and cloisters. Certainly the essential form of the +building has not been altered, but in the early days it +stood isolated from the town, surrounded by such rocks +as jut out among the grass in the ravine outside Porta +S. Pietro, and approached by a drawbridge which +made it resemble, even more than it does now, a +<span class="pagenum"><a name="Page_216" id="Page_216">216</a></span> +feudal stronghold guarding the Umbrian valley. Later +on, as the life of the place centred ever more round +the church of the saint, the citizens no longer built +their houses near San Rufino or below the castle, but +close to San Francesco, until a second town sprang +up where once were only rough mountain pastures. +It is still possible to form an idea of how it looked by +following round the base of the hill by the Tescio, +whence a wonderful and unique view of the northern +side of church and convent is obtained (see +<a href="#Page_363">Appendix</a>). Assisi lies hidden, and standing high +above us, shutting out the view of the valley, is San +Francesco; not the building with great arches we are +familiar with, rising high above the vineyards, but a +castle, seen clearly defined and strong against the sky, +whose bastions clasp the hill top as powerfully as a +good rider bestrides his horse. Oak copses cover the +slopes from the convent wall straight down to the +banks of the Tescio, where little mills are set above +deep pools of emerald green water and narrow canals +fringed by poplar trees. The minute detail of the +landscape in this deep ravine gives a curious feeling +that we are walking in the background of one of Pier +della Francesca's pictures—even to the distant view +of low-lying hills where the torrent makes the sudden +bend round the mountain edge; and the contrast is +strange between it and the fortress-church upon the +dark hill, where deep shadows lie across it and +lurk within the crannies of its traceries in the bay +windows of the chapels and in the depths of +jutting stones. Such was the massive building +"Jacopo" planned to stand upon the mountain ridge, +as much a part of the rocks and the red earth as the +cypresses which crown the summit. And in the midst, +but on the southern side, he placed, as if to balance the +rest, a square and boldly conceived bell-tower rising +<span class="pagenum"><a name="Page_217" id="Page_217"></a></span> +<span class="pagenum"><a name="Page_219" id="Page_219">219</a></span> +high above the church.<a name="FNanchor_92" id="FNanchor_92" href="#Footnote_92" class="fnanchor">[92]</a> At the time it was the wonder +of the Assisans, who boasted that for beauty as well as +for solidity it could be counted among the first, not in +Italy only, but in Europe. Bartolomeo of Pisa, came +to cast one of the big bells, and together with his +own name he inscribed those of Elias, Gregory IX, +and Frederick II. On another bell, which has been +recast, was graven a delightful couplet informing the +faithful of the many services which consecrated bronze +could render to the country round.</p> + +<div class="figcenter"><a name="illo235" id="illo235"></a> +<img src="images/illus235.jpg" width="650" height="473" alt="SAN FRANCESCO FROM THE TESCIO" /> +<p class="caption">SAN FRANCESCO FROM THE TESCIO</p> +</div> + +<div class="poem"> +<p class="ispec">"Sabbatha pango, funera plango, fulgura frango:</p> +<p class="i1">Excito lentos, domo cruentos, dissipo ventos."</p> +<p>("I ring in Sunday, I lament for the dead, the lightning I break,</p> +<p>I hurry the sluggards, I vanquish the wicked, the winds I disperse.")</p> +</div> + +<p>To the time of Elias also belongs the fine entrance +to the Upper Church, where the Guelph lion and the +eagle of Frederick II, record the liberality of both +parties towards the building of the church, while the +four animals round the wheel window seem to show +that "Jacopo," notwithstanding his marked love for +pure Gothic architecture, could not quite forget the +strange but fascinating beasts of Lombard façades.</p> + +<div class="figleft"><a name="illo238" id="illo238"></a> +<img src="images/illus238.jpg" width="304" height="482" alt="STAIRCASE LEADING FROM THE UPPER TO THE +LOWER PIAZZA OF SAN FRANCESCO" /> +<p class="caption">STAIRCASE LEADING FROM THE UPPER TO THE<br /> +LOWER PIAZZA OF SAN FRANCESCO</p> +</div> + +<p>One friar in the fifteenth century inherited some of +the enthusiasm of Elias for the basilica; this was +Francesco Nani, the General of the franciscans, +known as Francesco Sansone because his patron, +Sixtus IV, is said to have addressed him with these +words in allusion to his energy and strength of character, +<span class="pagenum"><a name="Page_220" id="Page_220">220</a></span> +"Tu es fortissimus Samson." His name is +found upon the beautiful stalls of the Upper Church, +and it was he who superintended the laying out of the +upper piazza, connected with the lower one by a long +flight of stairs. It may also have been at this time +that the <i>loggie</i> of San +Francesco were built for +the purpose of erecting +booths during the festival +of the "Pardon of St. +Francis." Certainly it +was chiefly at his expense +that Baccio Pintelli +(1478) built the handsome +entrance door and +porch to the Lower +Church, which in olden +times was entered by a +small door close to the +campanile. The architect +fitted his work admirably +into a corner of the +building, completing with +clustered columns of pink +marble, wheel window, +trefoiled arches and stone +traceries, the scheme of +colour and the perfect +proportions for which San +Francesco is so remarkable. +The doors of carved wood, darkened now +and of such massive workmanship as to resemble +bronze, were made in 1546 by Niccolò da Gubbio, +who has carefully commemorated the legend of St. +Francis and the wolf of Gubbio in one of the +panels to the left. Sansone also commissioned the +<span class="pagenum"><a name="Page_221" id="Page_221">221</a></span> +doorway of what is now the entrance to the friars' +convent a year after the porch was finished, then it +was only a small chapel, built by the members of the +Third order when St. Bernardine of Siena revived +the religious enthusiasm of the people. The Assisan +artist placed a bas-relief of the saint in the arch +above the door, and it is still called "la porta di +San Bernardino."</p> + +<div class="figcenter"><a name="illo240" id="illo240"></a> +<img src="images/illus240.jpg" width="390" height="513" alt="SAN FRANCESCO FROM THE PONTE S. VITTORINO" /> +<p class="caption">SAN FRANCESCO FROM THE PONTE S. VITTORINO</p> +</div> + +<p>None should leave Assisi, not even those who only +hurry over for the day, without visiting the convent, +which recalls an eastern building from the whiteness of +its great vaulted rooms, long corridors and arcaded courtyards +when seen against the bluest of summer skies.<a name="FNanchor_93" id="FNanchor_93" href="#Footnote_93" class="fnanchor">[93]</a> +Then from the cool and spacious convent, a place to +linger in upon a hot day in August, we step out into +the open colonnade which skirts the building to the +south, makes a sharp turn west, and then juts out at +the end, facing south again. This last portion was +added by Cardinal Albornoz in 1368, and goes by +the name of the <i>Calcio</i>. But two centuries later the +foundations were found to be insecure, and Sixtus IV, +strengthened it by a bastion, which looks solid enough +to resist even the havoc of an earthquake. The Pope +was a great benefactor of the convent, and the friars +placed his statue in a niche in the bastion, where he +sits, his hand raised in benediction, on a papal throne +overlooking the valley. From the rounded arches of +rough stone, turned by storm and sunshine to russet-red, +pink and yellow, we look out upon one of the +most beautiful and extensive views in Umbria. To the +right is Perugia standing out almost aggressively on +the hill top; opposite, on a separate spur which divides +the valley of Spoleto from that of the Tiber, Bettona +and Montefalco hang upon peaks like the nests of birds +in trees, and beyond are Spoleto, Trevi and Narni, +<span class="pagenum"><a name="Page_222" id="Page_222">222</a></span> +nearer again Spello, and the domes of Foligno in the +plain, with a host of small villages near. All the +Umbrian world lies before us from the convent of San +Francesco.</p> + +<p>Many weary people besides the popes came to rest +<span class="pagenum"><a name="Page_223" id="Page_223">223</a></span> +here in early times, and one mediæval warrior, Count +Guido of Montefeltro, the great leader of the Ghibellines, +laid down his arms and left his castle at Urbino +in the year 1296, to pass his last days as a friar doing +penance within the peaceful shelter of San Francesco +for a long life of intrigue and bloodshed. He prayed +by day, for at night they say he stood gazing out of +his window, one of those we see above the walled +orchard of the monks, watching the stars and attempting +to divine the mysteries and destinies he read there, +exceeding even the superstition of the age by his faith +in the laws of astrology. But his meditations and +careful preparation for a holy death were suddenly disturbed, +and he found himself once more plunged into +the whirl of Italian politics and intrigue. War raged +between Pope Boniface VIII, a Gaetani, and the +powerful family of the Colonna who braved his excommunications, +and, when their Roman palaces were +burnt, fled to their strongholds in the country. Many +of these fell into the hands of the papal troops, but +Penestrino, their principal fief, resisted all attacks and +the Pope was nearly defeated when, remembering the +old soldier Count Guido known to be "more cunning +than any Italian of his time, masterly alike in war and +in diplomacy," he hastened to ask his counsel. The +story is recounted by Dante, who could not forgive the +Ghibelline chieftain for coming to the assistance of the +Pope.</p> + +<p>Boniface, seeking to silence the scruples of the friar, +promised to absolve him from all sin, even before committal, +if only he would tell him how to act so "that +Penestrino cumber earth no more." Guido, whose +subtlety had not deserted him in the cloister, gave an +answer which, while it ensured success to the papal +arms, stamped him as a man of such deceit and treachery +that Dante placed him in the eighth gulf of hell, among +<span class="pagenum"><a name="Page_224" id="Page_224">224</a></span> +the evil counsellors eternally surrounded by flaming +tongues of fire.</p> + +<div class="poem"> +<p class="o1">"Then, yielding to the forced arguments,</p> +<p>Of silence as more perilous I deem'd,</p> +<p>And answer'd: 'Father! since thou washest me</p> +<p class="ospec">'Clear of that guilt wherein I now must fall,</p> +<p class="ospec">'Large promise with performance scant, be sure</p> +<p class="ospec">'Shall make thee triumph in thy lofty seat.'"<a name="FNanchor_94" id="FNanchor_94" href="#Footnote_94" class="fnanchor">[94]</a></p> +</div> + +<p>Besides Count Guido and the popes who, finding +the large and airy rooms of the convent a convenient +summer resort, were constant visitors at Assisi, it +can show a fine list of royal visitors. Among them +is the Queen of Sweden who, in 1655, came escorted +by Papal Nuncios, foreign ambassadors and cavalry, +to pray at the tomb of St. Francis. The Assisans +sent out their best carriages with horses ridden by +postillions to meet her, adorned their palaces with +flags and damask hangings, and rang all the bells +as she approached the Basilica. "The Queen is +called Christina," a chronicler tells us; "she is aged +twenty-nine, is very learned, being able to write in +eleven languages; she is small but very comely.... +One hundred and fifty beds were prepared in the +convent and beautiful it was to see the numerous suite +and the pages of the nobles."</p> + +<div class="figcenter"><a name="illo243" id="illo243"></a> +<img src="images/illus243.jpg" width="432" height="650" alt="A FRIAR OF THE MINOR CONVENTUAL ORDER OF ST. FRANCIS +" /> +<p class="caption">A FRIAR OF THE MINOR CONVENTUAL ORDER OF ST. FRANCIS +</p> +</div> +<hr /> + +<p>It strikes the visitor to Assisi as strange that the +black-robed friars in charge of the Basilica are so +unlike the franciscans with whom everyone is +familiar, and it may be well to give a few facts +relating to the many divisions in the Order which, +as we have seen, began already to change in the time +of Elias. In 1517 a portion of the brethren, desiring +a mitigation of their rule, obtained from Leo X, +a dispensation and received the title of Friars Minor +<span class="pagenum"><a name="Page_225" id="Page_225"></a></span> +<span class="pagenum"><a name="Page_227" id="Page_227">227</a></span> +Conventuals with the permission to choose their own +Minister General. Their dress is shown in the +illustration. Those who kept to the rule more nearly +approaching to that of St. Francis, like those of +Sta. Maria degli Angeli, the Carceri and San +Damiano, were called Friars Minor of the Observance, +or Observants, and take precedence over the +others, enjoying the privilege of electing the "Minister +General of the whole order of the Friars Minor +and successor of St. Francis." In 1528, Matteo +Baschi, an observant, instituted a new branch called +the Capucins, because of their long pointed capuce, +whom he inspired with the desire to lead a hermit's +life in solitary places, preaching to the people but once +in the year. They have deserted their hermitages +and are a very popular order in Italy, devoting themselves +especially to preaching and hearing confessions, +and form quite a distinct family from the rest. The +Basilica at Assisi no longer belongs to the Conventuals, +as after the union of Italy it was declared to be +a national monument. The Government also took +possession of the convent as a school for boys, +leaving only a small portion for the reduced number of +friars to inhabit. They went to law, and the judge +pronounced the convent to be the property of the +Holy See which had never ceased to exercise jurisdiction +over it; but a proviso was made that the +school was to remain in its present quarters until the +Pope or the franciscans should erect a suitable +building for it in another part of the town. As +much money is required for so large an edifice and +sites are not so easily procured, it seems probable that +for many years the sound of boys at play will be +heard in the convent walls instead of the slow footsteps +of silent friars. +</p> + +<p class="center b125 p6">CHAPTER VIII</p> +<p><span class="pagenum"><a name="Page_228" id="Page_228">228</a></span></p> +<p class="center b175"><i>Giotto's Legend of St. Francis in the +Upper Church</i></p> + +<div class="blockquot"> +<p> +"What, therefore, Giotto gave to art was, before all +things, vitality."—<span class="smcap">J. A. Symonds.</span> <i>Renaissance in Italy.</i></p> +</div> + +<p><span class="dropcap">G</span>iotto in the Lower Church had felt his way +towards the full expression of his genius; succeeding +so well in the four Allegories that he was chosen +to illustrate the life of St. Francis, withheld, as we +have seen, from all former artists, while Cimabue was +to hear the poet's praise of his pupil, "Ora ha Giotto +il grido." The task undertaken by the young painter, +already a master at twenty-five, was almost superhuman, +and certainly unique in the career of any artist; +for whereas the pictorial treatment of the New Testament +had been attempted by many during several +centuries, Giotto was destined to invent forms for the +whole franciscan cycle with such perfection that no +succeeding artist has varied his formula. It remains a +wonderful achievement, and the noble manner of its +accomplishment proved him to be, as Mr Roger Fry +expresses it, "the supreme epic painter of the world."</p> + +<p>If St. Francis was fortunate in having his life related +by so admirable a story-teller, Giotto also owed something +to the early chroniclers who seeing, perhaps unconsciously, +the extraordinary poetry and the dramatic +incidents in the saint's career, had faithfully recorded +them in simple and beautiful language. So far the +<span class="pagenum"><a name="Page_229" id="Page_229">229</a></span> +work was ready for Giotto, even the exact scenes were +chosen for him to illustrate, but the problem how to +unfold and make them familiar to the faithful by simple +means, and yet not to lose the dignity and charm of +the theme, remained for him to solve; and the representation, +by a few figures, of a whole dramatic incident +in so vivid a manner could only have succeeded in the +hands of a great master of the fourteenth century. It +is nearly certain that Giotto used St. Bonaventure's +<i>Life of St. Francis</i>, finished in 1263 and founded, +with but few additions, upon <i>The Three Companions</i> +and Celano's first and second <i>Life of St. +Francis</i>. Though written with a certain charm of +style and though it lacks the ring of those early +pages, in which St. Francis becomes known to us in +such a way that we forget he lived seven hundred years +ago; and although the various incidents of his life are +presented like so many beautiful pictures, there is the +feeling always that St. Bonaventure was writing about +a saint already honoured upon earth and in heaven, +and not of the man whom all loved as the "Poverello +d'Assisi." But this legend served Giotto's purpose; +and a knowledge of the words he followed being necessary +in order to see where he simply kept to the +franciscan legend, and where he penetrated the true +spirit of the saint's life and its dramatic interest, we +quote from it at some length, although many of the +main facts have already been treated of in a preceding +chapter.<a name="FNanchor_95" id="FNanchor_95" href="#Footnote_95" class="fnanchor">[95]</a></p> + +<p>1. <i>St. Francis honoured by the Simpleton.</i>—(We begin +on the right wall by the High Altar, and follow straight +<span class="pagenum"><a name="Page_230" id="Page_230">230</a></span> +on to the opposite side, the legend unfolding as in the +pages of a book.)</p> + +<div class="blockquot"> +<p> +"A certain man of great simplicity dwelt in those days +in Assisi, who, by virtue of knowledge divinely infused, +whenever he met Francis in the street, would take off his +mantle, and spread it upon the ground before him, declaring +that he did so because he was a man worthy of all honour +and reverence, who should shortly perform great works and +marvellous deeds...."<a name="FNanchor_96" id="FNanchor_96" href="#Footnote_96" class="fnanchor">[96]</a></p> +</div> + +<p>The bare facts are here narrated which Giotto does +not alter, but he puts such life into the scene that we +feel he might have been present when the simpleton cast +himself at Francis' feet and astonished the Assisans by +his words. Attention is fixed upon the six people in +the foreground. Two worthy citizens have just arrived +in time to see the cloak being spread on the ground before +Francis, and to hear the prophetic words; and as +they turn to each other, one pointing to the scene, the +other raising his hand with a movement of surprise, we +seem to hear their carping criticisms upon the brilliant +youth who, although he spent his time in singing and +carousals, was one day to bring renown to their city. +The young Francis, ever heedless of worldly comment, +is stepping lightly on to the cloak, with a movement of +surprise that he should receive such honour. All have +the Florentine headgear, but the head of St. Francis is +covered by a small white cap fitting close behind the ears, +just showing his hair in front, and we feel that Giotto +would have left him so, but the franciscans, ever to and fro +in the church to see that the story was painted as they +liked, insisted upon an aureole being added. As much +glory for St. Francis they cried, as gold and money +can give him. So Giotto, who disliked unnecessary +decorations, was made to put an aureole above the white +<span class="pagenum"><a name="Page_231" id="Page_231">231</a></span> +cap, larger than any we have ever seen. But take away +the halo and we should yet know which of the figures +is the saint, for he stands a little apart from his two +noble friends with ermine lined cloaks who talk with +hands clasped together, and is perhaps already wondering +about the destiny which awaits him and of which +he was unaware, "for as yet he understood not the +great purposes of God towards him."</p> + +<p>Besides the human interest of the frescoes it is a +delightful task to study the architecture in each scene, +for here, in the Upper Church, Giotto has built a whole +city of little pink houses with balconies, towers and +turrets, of exquisite Gothic basilicas, of temples and +gabled thrones. His priests sit within palaces full of +lancet windows and pointed arches, the groined roofs, +as in the Assisan Church, ablaze with myriads of stars. +What love he had for dainty ornaments, simple, nay +almost severe in outline, but perfectly finished; and he +always likes to show the blue sky overhead, or at +least peeping through one of the windows, making the +marble seem more lustrous and creamy white. Would +that all Florence had been built by him.</p> + +<p>2. <i>St. Francis giving his cloak to a poor Knight.</i></p> + +<div class="blockquot"><p> +"Going forth one day, as was his wont, in apparel suited to +his state, he met a certain soldier of honour and courage, but +poor and vilely clad; of whose poverty, feeling a tender and +sorrowful compassion, he took off his new clothes and gave +them to the poor man-at-arms." +</p> +</div> + +<p>None are there to witness the kind action of the +young saint who, like another St. Martin, has dismounted +to give his mantle to the poor man in a ravine +near a little town enclosed by walls, a church spire +rising upon the opposite hill. Giotto must have been +thinking of the small rock-set towns, with stunted +trees growing outside their walls, in his Tuscan +home in the Mugello when he painted this, instead +<span class="pagenum"><a name="Page_232" id="Page_232">232</a></span> +of the Umbrian town, standing amid vineyards and +cornfields above an open valley with winding rivers, +whose church he was decorating. It is the only +one of the series in which the landscape is an important +part of the picture, in the others it is a mere +accessory.</p> + +<p>3. <i>The Vision of St. Francis.</i></p> + +<div class="blockquot"><p> +"On the following night, when he was asleep, the divine +mercy showed him a spacious and beautiful palace filled with +arms and military ensigns, all marked with the Cross of Christ +to make known to him that his charitable deed done to the +poor soldier for the love of the great King of heaven should +receive an unspeakable reward." +</p></div> + +<p>It will be remembered that after this dream St. +Francis started to join the army of Walter de +Brienne, having wrongly interpreted the vision, which +in reality symbolised the army he was eventually to +lead in the service of the Pope (see p. <a href="#Page_44">44</a>). This +is, perhaps, the least successful of the frescoes; probably +the subject did not appeal strongly to the +painter (he only seems to have enjoyed inventing +the colonnaded palace with its trefoil windows) and +also, as Mr Ruskin explains: "Giotto never succeeded, +to the end of his days, in representing a figure +lying down, and at ease. It is one of the most +curious points in all his character. Just the thing +which he could study from nature without the smallest +hindrance, is the thing he never can paint; while +subtleties of form and gesture, which depend absolutely +on their momentariness, and actions in which +no model can stay an instant, he seizes with infallible +accuracy."<a name="FNanchor_97" id="FNanchor_97" href="#Footnote_97" class="fnanchor">[97]</a></p> + +<p>4. <i>St. Francis praying before the Crucifix in San +Damiano.</i><span class="pagenum"><a name="Page_235" id="Page_235">235</a></span></p> + +<div class="blockquot"><p> +"As he lay prostrate before a crucifix he was filled with +great spiritual consolation, and gazing with tearful eyes upon +<span class="pagenum"><a name="Page_233" id="Page_233"></a></span> +the holy cross of the Lord, he heard with his bodily ears a +voice from the crucifix, which said thrice to him: 'Francis, +go and build up My house, which as thou seest, is falling into +ruin.'" +</p></div> +<p>Unfortunately this fresco is much faded and in +parts peeled off; this, combined with the representation +of a ruined church, gives a curious effect of +total destruction, as if an earthquake had passed over +the land. The figure of the saint, just visible, and +his attitude of earnest prayer is very charming.</p> + +<div class="figcenter" style="width:532px"><a name="illo251" id="illo251"></a> +<img src="images/illus251.jpg" width="532" height="650" alt="ST. FRANCIS RENOUNCES THE WORLD" /> +<p class="caption">ST. FRANCIS RENOUNCES THE WORLD</p> +<p class="caption_lt">(<span class="smcap">D. Anderson</span>—<i>photo</i>)</p> +</div> + +<p>5. <i>St. Francis renounces the world.</i></p> + +<div class="blockquot"><p> +"And now his father, ... brought this son, ... before +the Bishop of Assisi to compel him to renounce in his hands +all his inheritance.... As soon, therefore, as he came into +the Bishop's presence, without a moment's delay, neither +waiting for his father's demand nor uttering a word himself, +he laid aside all his clothes, and gave them back to his +father.... With marvellous fervour he then turned to +his father, and spoke thus to him in the presence of all: +'Until this hour I have called thee my father on earth; from +henceforth, I may say confidently, my Father Who art in +heaven.'"</p> +</div> +<p>This, perhaps the most interesting of Giotto's +frescoes, can be compared with the one in Sta. Croce +at Florence on the same subject, painted when time +and labour had given greater strength to his genius. +The Assisan scene is treated with more simplicity, +and, if less perfect as a decorative scheme, possesses +quite as much dramatic interest and vitality. A little +block of pink houses on either side reminds us that +we are outside the Bishop's palace in the Piazza S. +Maria Maggiore, where the scene is said to have +occurred. Of course all the Assisans have turned +out to see how the quarrel between Bernardone and +his son will end. They stand behind the irate father +like a Greek chorus, while one, evidently a citizen +of distinction from his ermine lined cloak and tippet, +restrains Messer Pietro, who is throwing back his arm +<span class="pagenum"><a name="Page_236" id="Page_236">236</a></span> +with the evident intention of striking his son. Francis' +passion for repairing Assisan churches and ministering +to the wants of the poor had proved a costly business +to the thrifty merchant, who loved his money and +had little sympathy with Assisan beggars (sojourners +in Assisi may agree with him). Delightful are the +two tiny children who with one hand clutch up their +garments, full of stones to throw at St. Francis. The +bishop is the calmest person there, turning to his +priests he seems to say: "All is well, there is God +the Father's hand in the sky (with a little patience +it can be distinguished in the fresco), and we are sure +to gain the day, spite of Pietro's angry words." +And so he quietly folds his episcopal mantle around +St. Francis, who from this moment becomes indeed +the Child of heaven. It may seem strange, as Mr +Ruskin truly observes, that St. Francis, one of whose +virtues was obedience, should begin life by disobeying +his father, but Giotto means to show that the young +saint was casting off all worldly restraint in order +to obey the Supreme Power, and the scene is a counterpart +to Dante's lines referring to his marriage with the +Lady Poverty.</p> + +<div class="poem"> +<p class="o1">"A dame, to whom none openeth pleasure's gate</p> +<p>More than to death, was, 'gainst his father's will,</p> +<p>His stripling choice: and he did make her his,</p> +<p>Before the spiritual court, by nuptial bonds,</p> +<p>And in his father's sight: from day to day,</p> +<p>Then loved her more devoutly."<a name="FNanchor_98" id="FNanchor_98" href="#Footnote_98" class="fnanchor">[98]</a></p> +</div> +<p>6. <i>The dream of Innocent III.</i></p> + +<div class="blockquot"> +<p>"He saw in a dream the Lateran Basilica, now falling +into ruin, supported by the shoulders of a poor, despised, +and feeble man. 'Truly,' said he, 'this is he who by his +works and his teaching shall sustain the Church of Christ.'"</p> +</div> + +<p>In the representations of this vision painted for +<span class="pagenum"><a name="Page_237" id="Page_237">237</a></span> +Dominican churches, the Lateran is always supported +by the two great founders, Francis and Dominic, who, +in their different ways, helped Innocent in his difficult +task of reforming the Church. Giotto shows his +power and the advance art is making under his hand, in +the figure of St. Francis, who with body slightly bent +back and one hand on his hip, seems to support the +great weight, while his feet are so firmly planted that +there is no uncomfortable feeling of strain and only a +sense of strength and security. Two men are seated +by the bedside of the Pope, one is asleep while the other +keeps watch, and in his slightly wearied attitude and +the reposeful figure of the sleeper, Giotto's keen observation +of the ordinary incidents of every day life +is very apparent.</p> + +<p>7. <i>Innocent III, sanctions the Rule of St. Francis.</i></p> + +<div class="blockquot"><p> +"He was filled with a great and special devotion and love +for the servant of God. He granted all his petitions, and +promised to grant him still greater things. He approved +the Rule, gave him a mission to preach penance, and granted +to all the lay brothers in the company of the servant of God +to wear a tonsure smaller than that worn by priests, and +freely to preach the Word of God." +</p></div> + +<p>Giotto, in his fresco, has to represent the most +important event in the life of the saint—his arrival at +the papal court when he comes face to face with one +of the greatest of the Roman Pontiffs; and by the +simplest possible means the scene is brought before us. +Here are no crimson-robed cardinals, no gilded papal +throne; the bishops grouped behind Innocent are hardly +noticed, or even the brethren who, with hands clasped +as though in prayer, press closely to their leader like a +flock of sheep round their shepherd. The eye is so fixed +upon the two central figures, that all else fades away. +Giotto has seized the supreme moment when the Pope, +having overcome his fear lest St. Francis should falter +<span class="pagenum"><a name="Page_238" id="Page_238">238</a></span> +in a life of poverty and prove to be only another +heretical leader of which Italy had already too many, +is, with kingly gesture, giving the Umbrian penitent +authority to preach throughout the land. St. Francis, +holding out his hand to receive his simple Rule, now +bearing the papal seals, looks up with steady gaze; he +is the most humble among men kneeling at the feet of +Rome's sovereign, but strong in love, in faith and +in knowledge of the righteousness of his mission. M. +Paul Sabatier has beautifully illustrated the meaning of +Giotto when he writes: "On pourrait croire que le +peintre avait trempé ses lèvres dans la coupe du Voyant +Calabrais [Joachim de Flore] et qu'il a voulu +symboliser dans l'attitude de ces deux hommes la rencontre +des représentants de deux âges de l'humanité, +celui de la Loi et celui de l'Amour."</p> + +<p>8. <i>Vision of the Friars at Rivo-Torto.</i></p> + +<div class="blockquot"><p> +"Now while the brethren abode in the place aforesaid, the +holy man went on a certain Saturday into the city of Assisi, +for he was to preach on the Sunday morning in the Cathedral +Church. And being thus absent in body from his children, and +engaged in devout prayer to God (as was his custom throughout +the night), in a certain hut in the canon's garden, about +midnight, whilst some of the brethren were asleep and others +watching in prayer, a chariot of fire, of marvellous splendour, +was seen to enter the door, and thrice to pass hither and +thither through the house; ..." +</p></div> + +<p>Giotto's was not a nature to find much enjoyment +in the portrayal of such events as saints being carried +aloft in fiery chariots, and in dealing with this miracle +he dedicated all his power to representing the astonishment +of the brethren who witness the vision at Rivo-Torto. +Two talk together and point to St. Francis +being borne across the heavens by crimson horses, one +hastens to awaken his companions who are huddled +together in their hut like tired dogs asleep, and another +starts from his slumbers to hear the wondrous news. +<span class="pagenum"><a name="Page_239" id="Page_239">239</a></span></p> + +<p>9. <i>Vision of Brother Pacifico.</i></p> + +<div class="blockquot"><p> +"This friar being in company with the holy man, entered +with him into a certain deserted church, and there, as he was +praying fervently he fell into an ecstacy, and amid many +thrones in heaven he saw one more glorious than all the rest, +adorned with precious stones of most glorious brightness. +And marvelling at the surpassing brightness of that throne, +he began anxiously to consider within himself who should be +found worthy to fill it. Then he heard a voice saying to +him: 'This was the throne of one of the fallen angels, and +now it is reserved for the humble Francis.'" +</p></div> + +<p>With what devotion St. Francis, his hands crossed +upon his breast, prays upon the steps of the altar, +while the friar behind is intent on asking questions +about the marvellous thrones he sees poised above his +head. Nothing can exceed the grace of the wide-winged +angel floating down to earth to record the +humility of Francis, his garments slightly spread by +his movement through the air.</p> + +<p>10. <i>St. Francis chases the Devils away from Arezzo.</i></p> + +<div class="blockquot"><p> +"In order to disperse these seditious powers of the air, he +sent as his herald Brother Sylvester, a man simple as a dove, +saying to him: 'Go to the gates of the city, and there in the +Name of Almighty God command the demons by virtue of +holy obedience, that without delay they depart from that +place....'" +</p></div> + +<p>The main facts of the legend are followed closely in +this fresco, but St. Bonaventure does not tell us how +the miracle was performed, while Giotto, understanding +the soul of Francis, paints him kneeling outside the +gates of Arezzo praying with intense fervour for the +salvation of the city. His faith is so strong that he +does not even look up like Brother Sylvester, to see +the demons flee away; some springing from off the +chimneys, others circling above the towers, their bat-like +wings outspread. The figure of Brother Sylvester +is very fine, and the way he is lifting his tunic and +<span class="pagenum"><a name="Page_240" id="Page_240">240</a></span> +stepping forward, as he stretches out one arm with a +gesture of command towards the demons, could not be +rendered with more ease and truth.</p> + +<p>11. <i>St. Francis and Brother Illuminatus before the +Sultan of Egypt.</i></p> + +<div class="blockquot"><p> +"When they had gone a little further, they met with a +band of Saracens, who, quickly falling upon them, like wolves +upon a flock of sheep, cruelly seized and bound the servants +of God ... having in many ways afflicted and oppressed +them, they were ... according to the holy man's desire, +brought into the presence of the Sultan. And being +questioned by that prince whence and for what purpose they +had come ... the servant of Christ, being enlightened +from on high, answered him thus: 'If thou and thy people +will be converted to Christ I will willingly abide with thee. +But if thou art doubtful whether or not to forsake the law +of Mohamed for the faith of Christ, command a great fire to +be lighted, and I will go into it with thy priests, that it may +be known which faith should be held to be the most certain +and the most holy.' To whom the Sultan made answer: 'I +do not believe that any of my priests would be willing to +expose himself to the fire or to endure any manner of torment +in defence of his faith.' Then said the holy man: 'If thou +wilt promise me for thyself and thy people that thou wilt +embrace the worship of Christ if I come forth unharmed, I +will enter the fire alone.' ... But the Sultan answered that +he dared not accept this challenge, because he feared a sedition +of the people." +</p></div> + +<p>This subject, from its dramatic interest, appealed to +Giotto, giving full scope to his powers, both as a story-teller, +and as a painter with such genius for portraying +dignity and nobility of character. The principal +persons, the Sultan and St. Francis, are here clearly +placed before us as Giotto wished us to conceive them, +and how correctly he realised their characters we learn +from the chronicles of the time. "We saw," writes +Jacques de Vitry in one of his letters, "Brother Francis +arrive, who is the founder of the Minorite Order; he +was a simple man, without letters, but very lovable +and dear to God as well as to men. He came while +<span class="pagenum"><a name="Page_241" id="Page_241">241</a></span> +the army of the Crusaders was under Damietta, and +was much respected by all." This is indeed the man +depicted by Giotto in the slight figure of the preacher +standing at the foot of the marble throne, so humble, +yet full of that secret power which won even the +Sultan's admiration. But though the story centres in +St. Francis, the person Giotto wishes all to notice is +the Sultan, who, far from being an ignorant heathen +to be converted, conveys the idea of a most noble +and kingly person, Malek Camel in short, known +throughout the East as the "Perfect Prince." His +mollahs had wished to kill St. Francis and his companion, +and the fine answer he made was worthy of his +high character. "Seigneurs," he said, addressing his +visitors, "they have commanded me by Mahomet and +by the law to have your heads cut off. For thus the +law commands; but I will go against the order, or else +I should render you bad guerdon for having risked +death to save my soul."</p> + +<p>Giotto has chosen the most dramatic moment when +St. Francis offers to go through the ordeal by fire with +the mahommedan priests, to prove the power of the +Christian God. With one look back upon the fire +the mollahs gather their robes around them and hurriedly +leave the Sultan's presence; St. Francis points towards +the flames as though he were assuring the Sultan that +they will not hurt him, while the friar behind gazes +contemptuously after the retreating figures of the +mollahs.</p> + +<p>Dante and Milton in their different ways were able +to give us a vivid idea of fire, flame and heat, and so +would Giotto have done had he expressed his ideas +by words instead of in painting; but he was wise enough +not to attempt it in his fresco, and so in lieu of a blaze +of crimson flames we have only what looks like a +stunted red cypress, realistic enough to make us understand +<span class="pagenum"><a name="Page_242" id="Page_242">242</a></span> +the story without drawing our attention away +from the main interest of the scene. In this fresco we +are again reminded of the simple methods, grand and +impressive by their very straightforwardness, by which +he brings before us so strange a scene and accentuates +the importance of an event in his own individual way.</p> + +<p>12. <i>Ecstasy of St. Francis.</i></p> + +<p>This legend is not recounted by St. Bonaventure, +Celano, or in <i>The Three Companions</i>, but there is a +tradition of how St. Francis one day in divine communion +with God, was wrapt in ecstasy and his +companions saw him raised from the ground in a cloud. +All that is human in the scene Giotto has done as +well as possible, but he evidently found it hard to +realise how St. Francis would have looked rising up +in a cloud, so he has devoted himself to rendering +truthfully the astonishment of the disciples who witness +the miracle.</p> + +<p>13. <i>The Institution of the Feast at Greccio.</i></p> + +<div class="blockquot"><p> +"... in order to excite the inhabitants of Greccio to +commemorate the nativity of the Infant Jesus with great devotion, +he determined to keep it with all possible solemnity; +and lest he should be accused of lightness or novelty, he +asked and obtained the permission of the sovereign Pontiff. +Then he prepared a manger, and brought hay, an ox and +an ass to the place appointed. The brethren were summoned, +the people ran together, the forest resounded with their +voices, and that venerable night was made glorious by many +brilliant lights and sonorous psalms of praise. The man of +God stood before the manger, full of devotion and piety, +bathed in tears and radiant with joy; many masses were +said before it, and the Holy Gospel was chanted by Francis, +the Levite of Christ.... A certain valiant and veracious +soldier, Master John of Greccio, who, for the love of Christ, +had left the warfare of this world, and become a dear friend of +the holy man, affirmed that he beheld an Infant marvellously +beautiful sleeping in that manger, whom the blessed Father +Francis embraced with both his arms, as if he would awake +him from sleep."</p> +</div> +<p><span class="pagenum"><a name="Page_243" id="Page_243">243</a></span></p> + +<p>Besides the wonderful way in which Giotto has +succeeded, to use the words of Mr Roger Fry, "in +making visible, as it were, the sudden thrill which +penetrates an assembly at a moment of supreme significance," +there is the further interest of knowing +that the scene of the Nativity arranged by St. Francis +at Greccio, was the first of the mystery plays represented +in Italy which were the beginning of the Italian +drama. Giotto makes not only Master John of Greccio +see the miracle of the Holy Child lying in the saint's +arms and smiling up into his face, but also those who +accompany him and some of the friars, while the other +brethren, singing with mouths wide open like young +birds awaiting their food, are much too occupied to +notice what passes around them. A group of women, +their heads swathed in white veils, are entering at the +door, and the whole scene is one of animation and festivity. +The marble canopy, with tall marble columns +and gabled towers, over the altar is one of Giotto's +most exquisite and graceful designs. But Giotto the +shepherd has not succeeded so happily in depicting an +ox which lies at the saint's feet like a purring cat.</p> + +<p>14. <i>The Miracle of the Water.</i></p> + +<div class="blockquot"><p> +"Another time, when the man of God wished to go to +a certain desert place, that he might give himself the more +freely to contemplation, being very weak, he rode upon an ass +belonging to a poor man. It being a hot summer's day, the +poor man, as he followed the servant of Christ, became weary +with the long way and the steep ascent, and beginning to +faint with fatigue and burning thirst, he called after the +saint: 'Behold,' he said, 'I shall die of thirst unless I can +find a little water at once to refresh me.' Then without +delay the man of God got off the ass, and kneeling down +with his hands stretched out to heaven, he ceased not to pray +till he knew he was heard." +</p></div> + +<p>Giotto has here rendered the aridity of the summit +of La Vernia, its pinnacles of rocks with stunted trees. +<span class="pagenum"><a name="Page_244" id="Page_244">244</a></span> +Two friars, by now quite accustomed to miracles, +converse together as they lead the donkey from which +St. Francis has dismounted to pray that the thirsty +man's wishes may be gratified. The grouping of the +figures repeat the pointed lines of the landscape, and +the whole is harmonious and of great charm of composition. +It was justly admired by Vasari, who thought +the peasant drinking was worthy of "perpetual praise." +Florentine writers were continually harping on what +they considered to be Giotto's claim to immortality, +his genius for portraying nature so that his copy seemed +as real as life, an opinion shared by Vasari when he gives +his reason for admiring this particular fresco. "The +eager desire," he says, "with which the man bends down +to the water is portrayed with such marvellous effect, that +one could almost believe him to be a living man actually +drinking."</p> + +<p>Over the door is a medallion of the Madonna and +Child which once was by Giotto, but now, alas, the +eyes of faith must see his handiwork through several +layers of paint with which restorers have been allowed +to cover it. A slightly sardonic smile has been +added to the Madonna, and to appreciate what is left +of her charm it is necessary to look at her from the +other end of the church, where the beauty of line and +composition can still be discerned notwithstanding the +barbarous treatment she has undergone.</p> + +<p>15. <i>St. Francis Preaching to the Birds at Bevagna.</i></p> + +<div class="blockquot"><p> +"When he drew near to Bevagna, he came to a place +where a great multitude of birds of different kinds were +assembled together, which, when they saw the holy man, +came swiftly to the place, and saluted him as if they had the +use of reason. They all turned towards him and welcomed +him; those which were on the trees bowed their heads in an +unaccustomed manner, and all looked earnestly at him, until +he went to them and seriously admonished them to listen to +the Word of the Lord.... While he spoke these and other +<span class="pagenum"><a name="Page_245" id="Page_245">245</a></span> +such words to them, the birds rejoiced in a marvellous +manner, swelling their throats, spreading their wings, +opening their beaks, and looking at him with great +attention." +</p></div> + +<p>This theme has been treated by another artist in the +Lower Church, with little success as we have seen; it +is also sometimes introduced in the predellas of big +pictures of the school of Cimabue; but it remained for +Giotto to give us a picture as beautiful in colour as +those left by the early chroniclers in words. He never +painted it again on a large scale, and the small representation +in the predella of the picture in the Louvre +follows the Assisan fresco in every detail. Two friars +whose brown habits are tinted with mauve, one tree, a +blue, uncertain landscape and some dozen birds, are all +he thought necessary to explain the story, and yet +the whole poetry of St. Francis' life is here, the +keynote of his character, which has made him the +most beloved among saints, and the man who though +poor, unlettered and often reviled, was to herald the +coming of a new age in religion, art and literature. +With what love he bends towards his little feathered +brethren as he beckons them to him, and they gather +fearlessly round him while he points to the skies and +tells them in simple words their duties towards their +Creator.</p> + +<p>Another Florentine, Benozzo Gozzoli, painted +this subject; there across the Assisan valley at +Montefalco we can see it. His birds are certainly +better drawn, there are more of them too, and we +can even amuse ourselves by distinguishing among them +golden orioles, blackbirds, doves and wood pigeons, +but no one would hesitate to say that real charm +and poetry are missing. Giotto's fresco, painted 600 +years ago, is somewhat faded and many of the birds +are partly effaced, but we do not feel it matters +<span class="pagenum"><a name="Page_246" id="Page_246">246</a></span> +much what they are—we only love the fact that St. +Francis called the Umbrian birds around him and +preached them a sermon with the same care as if +he had been in the presence of a pope, and that +Giotto believed the legend and took pains with his +work, intending that we also should believe and understand +something of the sweetness of this Umbrian +scene.</p> + +<p>16. <i>Death of the Knight of Celano.</i></p> + +<div class="blockquot"><p> +"When the holy man came into the soldier's house all +the family rejoiced greatly to receive this poor one of the +Lord. And before he began to eat, according to his custom, +the holy man offered his usual prayers and praises to God, +with his eyes raised to heaven. When he had finished his +prayer, he familiarly called his kind host aside, and said to +him: 'Behold, my host and brother, in compliance with thy +prayers I have come to eat in thy house. But now attend +to that which I say to thee, for thou shalt eat no more here, +but elsewhere. Therefore, confess thy sins with truly penitent +contrition; let nothing remain in thee unrevealed by +true confession, for the Lord will requite thee to-day for the +kindness with which thou hast received His poor servant.' +The good man believed these holy words, and disclosing all +his sins in confession to the companion of St. Francis, he +set all his house in order, making himself ready for death, +and preparing himself for it to the best of his power. They +then sat down to table, and the others began to eat, but +the spirit of the host immediately departed, according to +the words of the man of God, which foretold his sudden +death." +</p></div> + +<p>This is one of the most characteristic of Giotto's +works, showing his power, unique at that time, of +touching upon human sorrow with simplicity, truth +and restraint. Here is no exaggerated gesture of +grief, no feigned expression of surprise or false note +to make us doubt the truth of the tragedy that has +befallen the house of Celano. But the movement +of the crowd of sorrowing people, the men gazing +down on the dead knight, the women weeping, their +<span class="pagenum"><a name="Page_247" id="Page_247"></a></span> +<span class="pagenum"><a name="Page_249" id="Page_249">249</a></span> +fair hair falling about their shoulders, tell better than +any restless movement the awful grief which fills +their hearts. It has happened so suddenly that the +friar still sits at table with his fork in his hand, +while St. Francis hast just risen to go to the people's +assistance, while a man in the Florentine dress turns +to him seeming, from the gesture of his hand, to +say: "See, your prophecy has been fulfilled but too +soon."</p> + +<div class="figcenter" style="width:474px"><a name="illo265" id="illo265"></a> +<img src="images/illus265.jpg" width="474" height="650" alt="DEATH OF THE KNIGHT OF CELANO" /> +<p class="caption">DEATH OF THE KNIGHT OF CELANO</p> +<p class="caption_lt">(<span class="smcap">D. Anderson</span>—<i>photo</i>)</p> +</div> + +<p>17. <i>St. Francis preaches before Honorius III.</i></p> + +<div class="blockquot"><p> +"Having to preach on a certain day before the Pope and +the cardinals, at the suggestion of the Cardinal of Ostia he +learned a sermon by heart, which he had carefully prepared; +when he was about to speak it for their edification he wholly +forgot everything he had to say, so that he could not utter a +word. He related with true humility what had befallen him, +and then, having invoked the aid of the Holy Spirit, he began +at once to move the hearts of these great men...." +</p></div> + +<p>In this fine fresco Giotto has represented St. Francis +holding his audience as though spell-bound by the power +of his eloquence, and the contrast is great between the +charming figure of the saint and that of the stern and +earnest Pope, who, deep in thought, is leaning his chin +on his hand, perhaps wondering at the strange chance +which has brought the slight brown figure, so dusty and +so poorly clad, so ethereal and so eloquent, into the +midst of the papal court. It is delightful to study the +faces and gestures of the listeners; some are all enthusiasm +and interest, like the charming young cardinal in an +orange-tinted robe, whose thoughts seem to be far away +following where St. Francis' burning words are leading +them; but the older man gazes critically at the saint, +perhaps saying within himself: "What is this I hear, +we must give up all, our fat benefices, our comfortable +Roman palaces, to follow Christ"; and the cardinal on +the right of the Pope also seems surprised at the new +<span class="pagenum"><a name="Page_250" id="Page_250">250</a></span> +doctrines of love, poverty and sacrifice. Four others +lean their heads on their hands; but how varied are the +gestures, from the Pope, all eagerness and keen attention, +to the cardinal bowing his head sadly thinking, +like the man of great possessions, how pleasant it would +be to become perfect, but how impossible it is to leave +the goods of this world. St. Francis' companion is +seated at his master's feet as though affirming, "I follow +his teaching, and all he says is right."</p> + +<p>18. <i>The Apparition of St. Francis.</i></p> + +<div class="blockquot"><p> +"For when the illustrious preacher and glorious Confessor, +Anthony, who is now with Christ, was preaching to the +brethren in the chapel at Arles on the title upon the Cross—'Jesus +of Nazareth, the King of the Jews'—a certain friar +of approved virtue named Monaldus, casting his eyes by divine +inspiration upon the door of the chapter-house, beheld, with +his bodily eyes, the blessed Francis raised in the air, blessing +the brethren, with his arms outstretched in the form of a +Cross." +</p></div> + +<p>The friars sit in various attitudes of somewhat +fatigued attention before St. Anthony who is standing, +and none seem as yet to be aware of the apparition +of St. Francis, who appears at the open door +under a Gothic archway, the blue sky behind him. +There is a strange feeling of peace about the scene.</p> + +<p>19. <i>The Stigmata.</i></p> +<div class="poem"> +<p class="i4">"... On the hard rock,</p> +<p>'Twixt Arno and the Tiber, he from Christ</p> +<p>Took the last signet, which his limbs two years</p> +<p>Did carry...."<a name="FNanchor_99" id="FNanchor_99" href="#Footnote_99" class="fnanchor">[99]</a></p> +</div> +<p>This fresco is unhappily much ruined; enough however +remains to trace a close resemblance to Giotto's +predella of the same subject now in the Louvre, but +where the solemnity of the scene is increased by the +saint being alone with the Seraph upon La Vernia.</p> + +<hr /> + +<p><span class="pagenum"><a name="Page_251" id="Page_251">251</a></span></p> + +<p>It may be well here to give some of the various +opinions as to the authorship of these frescoes, though in +this small book it is impossible to go at all deeply into +the subject. Some, following Baron von Rumohr, hold +that the only paintings in the Upper Church by Giotto, +are the two by the door, the <i>Miracle of the Water</i> and +the <i>Sermon to the Birds</i>, while Messrs. Crowe and +Cavalcaselle give also the first of the series and the last +five to him, but while "youthful and feeling his way," +and all the rest to Gaddo Gaddi, or maybe Filippo +Rusutti. Lastly, Mr Bernhard Berenson is of opinion +that Giotto's style is to be clearly traced from the first +fresco, <i>St. Francis honoured by the Simpleton</i>, to the +nineteenth, <i>The Stigmata</i>; and they show so much +affinity to the work of the great Florentine in Sta. +Croce and elsewhere, that it is impossible not to agree +with him. In the remaining frescoes, representing the +death and miracles of St. Francis, he sees a close +resemblance to the work of the artist who painted in +the chapel of St. Nicholas (Lower Church), and +who may have aided Giotto in the Upper Church +before being chosen to continue his master's work.</p> + +<p>20. <i>Death of St. Francis.</i></p> + +<div class="blockquot"><p> +"The hour of his departure being at hand, he commanded all +the brethren who were in that place to be called to him, and +comforted them with consoling words concerning his death, +exhorting them with fatherly affection to the divine love.... +When he had finished these loving admonitions, this man, +most dear to God, commanded that the Book of the Gospels +should be brought to him, and ... his most holy soul being +set free and absorbed in the abyss of the divine glory, the +blessed man slept in the Lord." +</p></div> + +<p>This fresco has suffered from the damp and all that +clearly remains are the angels, in whom the artist's +feeling for graceful movement is shown, their flight +down towards the dead recalling the rush of the +<span class="pagenum"><a name="Page_252" id="Page_252">252</a></span> +swallows' wings as they circle in the evening above the +towers of San Francesco.</p> + +<p>21. <i>The Apparitions of St. Francis.</i></p> + +<div class="blockquot"><p> +"... Brother Augustine, a holy and just man, was +minister of the Friars at Lavoro: he being at the point of +death, and having for a long time lost the use of speech, +exclaimed suddenly, in the hearing of all who stood around: +'Wait for me, Father, wait for me; I am coming with +thee....'</p> + +<p>"At the same time the Bishop of Assisi was making a +devout pilgrimage to the church of St. Michael, on Mount +Gargano. To him the Blessed Francis appeared on the very +night of his departure, saying: 'Behold I leave the world and +go to Heaven.'" +</p></div> + +<p>In one fresco the artist has represented two different +scenes, the greater prominence being given to the dying +friar surrounded by many brethren. In neither is +shown the figure of St. Francis, as the artist probably +thought that it would have been difficult to introduce +the apparition twice. But while the gesture of the +friar stretching out his arms and the arrangement of +the others explain the story, it would be difficult, without +St. Bonaventure's legend, to know the feelings of +the bishop who is so calmly sleeping in the background.</p> + +<p>22. <i>The Incredulous Knight of Assisi.</i></p> + +<div class="blockquot"><p> +"... when the holy man had departed from this life, +and his sacred spirit had entered its eternal house ... many +of the citizens of Assisi were admitted to see and kiss the +Sacred Stigmata. Among these was a certain soldier, a +learned and prudent man, named Jerome, held in high estimation +in the city, who, doubting the miracle of the Sacred +Stigmata, and being incredulous like another Thomas, more +boldly and eagerly than the rest moved the nails in the +presence of his fellow-citizens, and touched with his own +hands the hands and feet of the holy man; and while +he thus touched these palpable signs of the wounds of +Christ, his heart was healed and freed from every wound of +doubt."</p> +</div> +<p><span class="pagenum"><a name="Page_253" id="Page_253">253</a></span></p> + +<p>This fresco is so much ruined that it is difficult to +enjoy it as a whole, but some of the figures of the +young acolytes bearing lighted torches, and the priests +reading the service and sprinkling the body with holy +water, are very life-like.</p> + +<p>23. <i>The Mourning of the Nuns of San Damiano.</i></p> + +<div class="blockquot"><p> +"Passing by the church of St. Damian, where that noble +virgin, Clare, now glorious in heaven, abode with the virgins +her sisters, the holy body, adorned with celestial jewels [the +marks of the Stigmata], remained there awhile, till those +holy virgins could see and kiss them." +</p></div> + +<p>This, the loveliest of the last nine frescoes, recalls +the one in St. Nicholas' Chapel of the three prisoners +imploring the saint's protection; even to the basilica +which forms the background of both. Considering +that it is the last farewell of St. Clare and her companions +to St. Francis the artist might have given a +more tragic touch to the scene, but all is made subservient +to the rendering of graceful figures, like the +charming nuns who talk together as they hasten out of +San Damiano, whose humble façade of stone the artist +has transformed into a building of marble and mosaic +almost rivalling the glories of such cathedrals as Siena +and Orvieto. St. Clare stoops to kiss the saint while +priests and citizens wait to resume their hymns of praise, +and a small child climbs up a tree and tears down +branches to strew upon the road in front of the bier.<a name="FNanchor_100" id="FNanchor_100" href="#Footnote_100" class="fnanchor">[100]</a></p> + +<p>24. <i>The Canonisation of St. Francis.</i></p> + +<div class="blockquot"><p> +"The Sovereign Pontiff, Gregory IX, ... determined +with pious counsel and holy consideration to pay to the holy +man that veneration and honour of which he knew him to +<span class="pagenum"><a name="Page_254" id="Page_254">254</a></span> +be most worthy ... and coming himself in person to the +city of Assisi in the year of our Lord's Incarnation, 1228, on +Sunday the 6th of July, with many ceremonies and great +solemnity, he inscribed the Blessed Father in the catalogue +of the saints." +</p></div> + +<p>This fresco is so ruined that it is impossible to form +any idea of its composition; about the only object +clearly to be seen is the sepulchral urn of St. Francis, +represented beneath an iron grating in the church of +San Giorgio.</p> + +<p>25. <i>The Dream of Gregory IX, at Perugia.</i></p> + +<div class="blockquot"><p> +"On a certain night, then, as the Pontiff was afterwards +wont to relate with many tears, the Blessed Francis appeared +to him in a dream, and with unwonted severity in his countenance, +reproving him for the doubt which lurked in his +heart, raised his right arm, discovered the wound, and commanded +that a vessel should be brought to receive the blood +which issued from his side. The Supreme Pontiff still in +vision, brought him the vessel, which seemed to be filled +even to the brim with the blood which flowed from his +side." +</p></div> + +<p>We are here left with an impression that the artist was +hampered by not having enough figures for his composition, +and the four men seated on the ground and +guarding the Pope, compare unfavourably with Giotto's +fresco of the three grand watchers by Innocent III, +upon the opposite wall.</p> + +<p>16. <i>St. Francis cures the Wounded Man.</i></p> + +<div class="blockquot"><p> +"It happened in the city of Ilerda, in Catalonia, that a +good man, named John, who was very devout to St. Francis, +had to pass through a street, in which certain men were +lying in wait to kill him and ... wounded him with so +many dagger-strokes as to leave him without hope of life.... +The poor man's cure was considered impossible by all +the physicians.... And, behold, as the sufferer lay alone +on his bed, frequently calling on the name of Francis ... +one stood by him in the habit of a Friar Minor, who, as it +seemed to him, came in by a window, and calling him by +<span class="pagenum"><a name="Page_255" id="Page_255">255</a></span> +his name, said, 'Because thou hast trusted in me, behold, the +Lord will deliver thee.'" +</p></div> + +<p>The artist having here an incident less difficult to +deal with than visions and dreams, betrays a certain +humour in the stout figure of the doctor, who, as he +leaves the room, turns to the two women as though +saying, "He has begun to pray, as if that can help him +when I have failed to cure him." Meantime St. +Francis, escorted by two tall and graceful angels with +great wings, is laying his hands upon the wounded +man. Here, as in most of these latter frescoes, a single +scene is divided into more than one episode; this seems +to us to be the great difference between them and the +works of Giotto, where the eye is immediately attracted +towards the principal figure or figures, the others only +serving to complete the composition.</p> + +<p>27. <i>The last Confession of the Woman of Benevento.</i></p> + +<div class="blockquot"><p> +"... a certain woman who had a special devotion to St. +Francis, went the way of all flesh. Now, all the clergy being +assembled round the corpse to keep the accustomed vigils, +and say the usual psalms and prayers, suddenly that woman +rose on her feet, in presence of them all, on the bier where she +lay, and calling to her one of the priests ... 'Father,' she +said, 'I wish to confess. As soon as I was dead, I was sent to +a dreadful dungeon, because I had never confessed a certain sin +which I will now make known to you. But St. Francis, whom +I have ever devoutly served, having prayed for me, I have +been suffered to return to the body, that having revealed that +sin, I may be made worthy of eternal life.' ... She made +her confession, therefore, trembling to the priest, and having +received absolution, quietly lay down on the bier, and slept +peacefully in the Lord." +</p></div> + +<p>The legend is dramatic and the artist has not failed +to make us feel the great sadness and solemnity of the +scene. A moment more, and the group of people to +the left will come forward to carry the woman away +for burial while the relations weep most bitterly; they +<span class="pagenum"><a name="Page_256" id="Page_256">256</a></span> +stand aside with heads bowed in grief, for already the +presence of death is felt. Only the sorrow of the +child, who stretches out his arms, has passed away +upon seeing her rise to speak with the priest. Very +tall and slender are the figures of the women, bending +and swaying together like flowers in a gentle +breeze.</p> + +<p>28. <i>St. Francis releases Peter of Alesia from Prison.</i></p> + +<div class="blockquot"><p> +"When Pope Gregory IX, was sitting in the chair of St. +Peter, a certain man named Peter, of the city of Alesia, on an +accusation of heresy, was carried to Rome, and, by command +of the same Pontiff, was given in custody to the Bishop of +Tivoli. He, having been charged to keep him in safety ... +bound him with heavy chains and imprisoned him in a dark +dungeon.... This man began to call with many prayers +and tears upon St. Francis ... beseeching him to have mercy +upon him.... About twilight on the vigil of his feast, St. +Francis mercifully appeared to him in prison, and, calling +him by his name, commanded him immediately to arise.... +Then, by the power of the presence of the holy man, he beheld +the fetters fall broken from his feet, and the doors of +the prison were unlocked without anyone to open them, so +that he could go forth unbound and free." +</p></div> + +<p>Everything here gives the impression of height; the +tall slim figures, the high doorway, and the slender +tower and arches. St. Francis is seen flying up to +the skies with the same swift motion the artist has +given to the figure of St. Nicholas in the Lower +Church, and the "Greek Chorus" to the left serves +to show surprise at the unusual occurrence of a prisoner +suddenly emerging from his prison with broken fetters +in his hands.</p> + +<hr /> + +<p>None should leave the church without looking at +the stalls in the choir; they are by Domenico da San +Severino, made in 1501, by order, as an inscription +tells us, of Francesco Sansone, General of the franciscan +<span class="pagenum"><a name="Page_257" id="Page_257">257</a></span> +order, and friend of Sixtus IV. The artist +only took ten years to execute this really wonderful +work; the intarsia figures of the stalls in pale yellow +wood, most of them fancy portraits of the companions +of St. Francis, are remarkable for their form and character. +They betray, in the opinion of Mr Berenson, +Venetian influences of Crivelli and of the school of +the Vivarini.</p> + +<div class="figcenter"><a name="illo275" id="illo275"></a> +<img src="images/illus275.jpg" width="300" height="267" alt="ARMS OF THE FRANCISCANS FROM THE INTARSIA OF THE STALLS" /> +<p class="caption">ARMS OF THE FRANCISCANS FROM THE INTARSIA OF THE STALLS</p> +</div> + +<p class="center b125 p6">CHAPTER IX</p> +<p><span class="pagenum"><a name="Page_258" id="Page_258">258</a></span></p> + +<p class="center b175"><i>St. Clare at San Damiano. The +Church of Santa Chiara.</i></p> + +<div class="blockquot"><p> +"Comme les fleurs, les âmes ont leur parfum qui ne trompe +jamais."—<span class="smcap">P. Sabatier</span>. <i>Vie de S. François d'Assise</i>. +</p></div> + +<p><span class="dropcap">T</span>he days of St. Clare from the age of eighteen +until her death in 1253 were passed within the +convent walls of San Damiano, and though peaceful +enough, for a mediæval lady, they were full of events +and varied interest.</p> + +<p>She was born on the 10th of July 1194 in Assisi +of noble parents, her father being Count Favorino Scifi +(spelt also Scefi) the descendant of an ancient Roman +family who owned a large palace in the town, and +a castle on the slope of Mount Subasio to the east +of the ravine where the Carceri lie among the ilex +woods. The castle gave the title of Count of Sasso +Rosso to its owners, and was the cause of much skirmishing +between the Scifi and the Ghislerio who were +continually wresting it from each other, until in 1300, +during one of these struggles, the walls were razed to the +ground and no one sought afterwards to repair its ruins. +Of Sasso Rosso a few stones still remain, which, as +they catch the morning light, are seen from Assisi like +a grey crag projecting from the mountain, high above +the road to Spello. When not fighting beneath the +walls of his castle Count Favorino was generally away +on some skirmishing expedition, and during his absences, +<span class="pagenum"><a name="Page_259" id="Page_259">259</a></span> +his wife, the Lady Ortolana of the noble family of the +Fiumi, would depart upon a pilgrimage to the south of +Italy or even to the Holy Land.<a name="FNanchor_101" id="FNanchor_101" href="#Footnote_101" class="fnanchor">[101]</a> An old writer remarks +that her name "Ortolana (market gardener) was +very appropriate, because from her, as from a well-tended +orchard, sprang most noble plants." After her +return from Palestine she one night heard a voice +speaking these prophetic words to which she listened +with great awe. "Be not afraid Ortolana, for from +thee shall arise a light so bright and clear that the +darkness of the earth shall be illuminated thereby." +So the daughter who was born soon after was called +Chiara in memory of the divine message. With so +pious a mother it is not surprising that Clare should have +grown up thoughtful and fond of praying; we even +hear of her seeking solitary corners in the palace where +she would be found saying her rosary, using pebbles +like the hermits of old instead of beads upon a chain. +But her evident inclination for a religious life in no +way alarmed Count Favorino, who had made up his +mind that she should marry a wealthy young Assisan +noble, for even at an early age she showed great promise +of beauty. "Her face was oval," says a chronicler, +"her forehead spacious, her complexion brilliant, +and her eyebrows and hair very fair. A celestial smile +played in her eyes and around her mouth; her nose was +well-proportioned and slightly aquiline; of good stature +she was rather inclined to stoutness, but not to excess." +A little while and her fate in life would have been +sealed in the ordinary way, and she would have continued +<span class="pagenum"><a name="Page_260" id="Page_260">260</a></span> +to look out upon the world through the barred +windows of some old Assisan palace; but great changes +were being wrought in the town even when Clare had +just passed into girlhood. With the rest of her fellow-citizens, +rich and poor, she was destined to feel the +potent influence of one who suddenly appeared in +their midst like an inspired prophet of old, calling +on all to repent, and picturing higher ideals in +life than any had hitherto dreamed of. Although +her first meeting with St. Francis has not been recorded +by any early biographer, we may be sure that +from the age of fourteen, and perhaps even before, the +story of his doings had been familiar to her, for the +stir his conversion made among the people, his quarrels +with his father, and the many followers he gained, +even among the nobles, were of too extraordinary a +nature to pass without comment in the family of the +Scifi.<a name="FNanchor_102" id="FNanchor_102" href="#Footnote_102" class="fnanchor">[102]</a> Their palace being near the Porta Nuova it is +certain that Clare and her younger sister Agnes must +have often seen St. Francis pass on his way to San +Damiano, carrying the bricks which he had begged +from door to door to repair its crumbling walls, and +heard him scoffed at by the children and cursed by his +angry father. As his fame as a preacher grew the +Scifi family hurried with the rest to listen to his +sermons in the cathedral, or perhaps even in the +market-place, where he would stand upon the steps of +the old temple and gather the peasants around him on +a market day. But the decisive time arrived in the +year 1212, when St. Francis, by then the acknowledged +founder of a new order sanctioned by the Pope, +and no longer jeered at as a mad enthusiast, came to +<span class="pagenum"><a name="Page_261" id="Page_261">261</a></span> +preach during Lent in the church of San Giorgio. It +was the parish church of the Scifi, and the whole +family attended every service. Clare was then +eighteen, young enough to be carried away by the +words of the franciscan and build for herself a life +outside her present existence; old enough to have felt +unbearable the trammels of a degraded age, and to +long, during those years of warfare to which all the +cities of the valley were subjected, for an escape to +where peace and purity could be found. Only dimly +she saw her way to a perfect love of Christ. The +preacher's words were addressed to all, but she felt +them as an especial call to herself, and unhesitatingly +she resolved to seek out the friar at the Portiuncula +and ask his help and counsel in what was no easy task. +Instinctively knowing her mother could be of no aid, +even if she sympathised in her cravings for a more +spiritual life, she gained the confidence of her aunt, +Bianca Guelfucci, who all through played her part +regardless of Count Favorino's possible revenge.</p> + +<p>Even during the first two years of his mission St. +Francis was accustomed to receive many men who +wished to leave home and comforts, and tramp along +the country roads with him, but when the young +Chiara Scifi threw herself at his feet imploring him to +help her to enter upon a new way of life, his heart was +troubled, and, reflecting on what wide results his preaching +was taking, fear even may have formed part of his +surprise. Bernard of Quintavalle he had bidden +sell all that he had, distribute it to the poor, and join +him at the leper houses; but before allowing Clare to +take the veil he sought to prove her vocation beyond +a doubt, and bade her go from door to door through the +town begging her bread, clad in rough sack-cloth with +a hood drawn about her face. Her piety only increased +until St. Francis, believing that he was called upon to +<span class="pagenum"><a name="Page_262" id="Page_262">262</a></span> +help her, resolved to act the part of the spiritual knight +errant.</p> + +<div class="figleft"><a name="illo280" id="illo280"></a> +<img src="images/illus280.jpg" width="266" height="408" alt="DOOR THROUGH WHICH ST. CLARE +LEFT THE PALAZZO SCIFI" /> +<p class="caption">DOOR THROUGH WHICH ST. CLARE<br /> +LEFT THE PALAZZO SCIFI</p> +</div> + +<p>On Palm Sunday, arrayed in their richest clothes, +the members of the Scifi and the Fiumi families +attended high mass in the cathedral, and with the rest +of the citizens went up to receive the branches of +palms. But to the astonishment +of all Clare remained +kneeling as if wrapt in a +dream, and in vain the bishop +waited for her to follow +the procession to the altar. +All eyes were upon her as +the bishop, with paternal +tenderness, came down from +the altar steps to where the +young girl knelt and placed +the palm in her hand. That +night Clare left her father's +house for ever. A small +door in the Scifi palace is +still shown through which +she is said to have escaped. +It had been walled up for +some time, but the fragile +girl gifted that night with +superhuman strength and +courage, tore down timber +and stones and joined Bianca Guelfucci, who was +waiting with some trembling maidservants where +the arch spans the street, to accompany her to the +Portiuncula (see p. <a href="#Page_104">104</a>). Great was the consternation +in the family when next morning her flight was +discovered, and news came that she had found shelter +in the benedictine convent near Bastia. Count +Favorino and his wife lost no time in following her, +<span class="pagenum"><a name="Page_263" id="Page_263">263</a></span> +fully persuaded that by threats or entreaties they would +be able to induce her to return home and marry the +man of her father's choice; but they knew little of +the strength of character which lay hidden beneath the +gentle nature of the eldest and hitherto most docile of +their daughters. The violent words of her father and +the tears of her mother in no way shook Clare's determination; +approaching the altar she placed one hand +upon it while with the other she raised her veil, and +facing her parents showed them the close cut hair which +marked her as the bride of Jesus Christ. No earthly +power, she said, should sever her from the life she +had chosen of her own free will, and crest-fallen they +left the convent without another word. It was hardly +surprising that Agnes, the second sister, who sometimes +went to see St. Clare at Bastia, should wish to take +the veil. At this the fury of Count Favorino knew +no bounds, and he sent his brother Monaldo with +several armed followers, among whom may have been +Clare's slighted lover, to force Agnes, if persuasion +failed, to abandon her vocation. She was at their +mercy but refused to leave the convent, so they caught +her by her long fair hair and dragged her across the +fields towards the town, kicking her as they went; her +cries filled the air, "Clare, my sister, help, so that I +may not be taken from my heavenly spouse." The +prayers of Clare were heard, for suddenly the slight +form of the girl became as lead in the arms of the +soldiers, and in vain they tried to lift her. Monaldo, +beside himself with rage, drew his sword to strike her +when his arm dropt withered and useless by his side. +Clare, who had by this time come upon the scene, +begged them to desist from their cruel acts, and cowed +by what had happened they slunk away, leaving the +sisters to return to the convent.</p> + +<p>St. Francis seeing the devotion and steady vocation +<span class="pagenum"><a name="Page_264" id="Page_264">264</a></span> +of both Clare and Agnes, and doubtless foreseeing that +many would follow their example, began to seek for +some shelter where they could lead a life of prayer and +labour. Again the Benedictines of Mount Subasio +came forward with a gift, offering another humble +sanctuary which the saint had repaired some years +before. This was San Damiano, a chapel so old that +none could tell its origin; the vague legend that it +stands on the site of a pagan necropolis seems confirmed +by a lofty fragment of Roman masonry which juts up +on the roadside between the Porta Nuova and San +Damiano. With his own hands St. Francis built a +few rude cells near the chapel, resembling the cluster +of huts by the Portiuncula, and here the "Poor Ladies" +were to pass their days in prayer and manual labour. +The little humble grey stone building among the olive +trees with the pomgranates flowering against its walls, +so different to a convent of the present day, must have +seemed to Clare the realisation of a freer life than ever +she had known before. Others felt its charm and before +long several friends had joined her besides Bianca Guelfucci, +while upon the death of Count Favorino, Madonna +Ortolana received the habit from the hands of St. Francis +together with her youngest daughter Beatrice. The fame +of the order spread far and wide, gaining so many +novices that several new houses were founded in Italy +even during the first few years. In those early days St. +Clare was given no written law to follow, but like the +brethren she and her nuns learnt all the perfection of a +religious life from St. Francis, who would often stop +at San Damiano on his way to and from the town. +He did not allow them to go beyond their boundaries, +but a busy life was to be passed in their cells; owning +nothing, they were to depend entirely upon what the +brothers could beg for them in the town and country +round, and when provisions were scarce they fasted. +<span class="pagenum"><a name="Page_265" id="Page_265">265</a></span> +In return the nuns spun the grey stuff for the habits of +the friars and the linen for their altars; and after St. +Francis received the Stigmata, St. Clare fashioned +sandals for him with space for the nails so that he +might walk with more ease. Often the poor came +to seek help at her hands, and many times the sick +were tended in a little mud hut near her cell which she +used as a hospital. Silently her life was passed, and to +those who looked on from the outside perhaps it might +have seemed of small avail compared with the very +apparent results of St. Francis' endeavours to help his +fellow creatures. But very quietly she was guiding +the women of mediæval Italy towards higher aims, for +even those who could not follow her into the cloister +were aided in their lives at home by the thought of the +pure-souled gentle nun of San Damiano. Not the least +important part of her work was the womanly sympathy +and help which she gave to St. Francis. He turned +to her when in trouble, and it was she who encouraged +him to continue preaching to the people when, at one +time he thought that his vocation was to be a life of +solitary prayer and not of constant contact with mankind. +He counted on her prayers, and trusting in her +counsel went forward once more to preach the words +of redemption. From her lonely cell she watched his +work with tender solicitude, and when blind and ill he +came for the last time to San Damiano she tended +to his wants in a little hut she erected for him not far +from the convent whence, across the vineyard and olive +grove which separated them, the first strains of his +glorious Canticle to the Sun came to her one morning. +Her gentle influence played an important part in his +life, giving him a friendship which is one of the most +beautiful things to dwell on in their lives. Some have +sneered at its purity, and compared so ideal a connection +to a commonplace mediæval tale of monk and nun; +<span class="pagenum"><a name="Page_266" id="Page_266">266</a></span> +but it is degrading even to hint at such an ending to +the love of these two for each other, and impossible +to believe it after reading M. Sabatier's beautiful +chapter on St. Clare, where he touches, in some +of his most charming pages, upon a side of St. +Francis' character that most biographers have but +little understood.</p> + +<p>A beautiful story in the <i>Fioretti</i> relates how once +St. Clare, desiring greatly to eat with St. Francis, a +boon he had never accorded her, was granted the request +at the earnest prayer of the brethren, "and +that she may be the more consoled," he said, "I +will that this breaking of bread take place in St. +Mary of the Angels; for she has been so long +shut up in S. Damian that it will rejoice her to +see again the House of Mary, where her hair was +shorn off, and she became the bride of Christ." +Once more St. Clare came to the plain of the +Portiuncula, and the saint spoke so sweetly and eloquently +of heavenly things that all remained wrapped +in ecstacy, oblivious of the food which was spread +before them on the floor and, as Clare dwelt in +divine contemplation, a great flame sprang up and +shrouded them in celestial light. The Assisans and +the people of Bettona, looking down from their +walls upon the plain, thought that the Portiuncula +was on fire, and hurried to the assistance of their +beloved saint. "But coming close to the House," +says the <i>Fioretti</i>, "they entered within, and found +St. Francis and St. Clare with all their company in +contemplation wrapt in God as they sat round the +humble board." Comforted by this spiritual feast +St. Clare returned to San Damiano, where she was +expected with great anxiety, as it had been imagined +that St. Francis might have sent her to rule some +other convent, "wherefore the sisters rejoiced exceedingly +<span class="pagenum"><a name="Page_267" id="Page_267">267</a></span> +when they saw her face again." Those +were peaceful and happy days, but sorrow came +when news reached her that St. Francis was near +his end; "she wept most bitterly, and refused to +be comforted," for she too was ill, and feared to +die before she could see his face again. This fear +she signified through a brother unto the Blessed +Francis, and when the saint, who loved her with a +singular and paternal affection, heard it, he had pity on +her; and considering that her desire to see him once +more could not be fulfilled in the future, he sent her +a letter with his benediction and absolving her from +every fault.... "Go and tell sister Clare to lay aside +all sadness and sorrow, for now she cannot see me, +but of a truth before her death both she and her +sisters shall see me and be greatly comforted." But +the last she saw of him was through a lattice window, +when they brought his dead body for the nuns to see +and kiss the pierced hands and feet (see p. <a href="#Page_119">119</a>).</p> + +<div class="figleft"><a name="illo286" id="illo286"></a> +<img src="images/illus286.jpg" width="348" height="366" alt="SAN DAMIANO, SHOWING THE WINDOW WITH +THE LEDGE WHENCE ST. CLARE ROUTED +THE SARACENS" /> +<p class="caption">SAN DAMIANO, SHOWING THE WINDOW WITH<br /> +THE LEDGE WHENCE ST. CLARE ROUTED<br /> +THE SARACENS</p> +</div> + +<p class="p2">A strange thing happened to disturb the peaceful +serenity of their lives at San Damiano in the year +1234, when the army of Frederic II, was fighting +in the north of Italy, and a detachment of Saracen +troops under one of his generals, Vitale d'Anversa, +came through Umbria, pillaging the country as they +passed. Assisi was a desirable prey, as it had been to +many before them, and coming to the convent of San +Damiano they scaled its walls, preparatory to a final +rush upon the town. The terror of the nuns may be +imagined, and running to the cell where Clare lay ill +in bed they cowered round her "like frightened doves +when the hawk has stooped upon their dovecote." +Taking the Blessed Sacrament, which she was allowed +to keep in a little chapel next to her cell, she proceeded +to face the whole army, trusting like St. +<span class="pagenum"><a name="Page_268" id="Page_268">268</a></span> +Martin in the power of prayer and personal courage. +As she walked towards the window overlooking the +small courtyard a voice spoke to her from the ciborium +saying, "Assisi will have much to suffer, but my arm +shall defend her." Raising the Blessed Sacrament on +high she stood at the open window, against which the +soldiers had already +placed a ladder; +those who were +ascending, as they +looked up towards +her, fell back blinded, +while the others took +to flight, and thus +cloister and city +were saved through +the intercession of +the gentle saint. +Vitale d'Anversa, +who had not been +present at the prodigy, +probably thinking +the soldiers had +failed in their enterprise +through lack of +valour, came with a +still larger company +of men, and led them in person to storm the town. +St. Clare, hearing what peril encompassed Assisi, +and being asked by the citizens to intercede with +Heaven as the enemy had sworn to bury them beneath +their city walls, gathered all her nuns about her, and +knelt in prayer with them. At dawn the next +morning a furious tempest arose, scattering the tents +of the Saracens in every direction, and causing such +a panic that they took refuge in hasty flight. The +<span class="pagenum"><a name="Page_269" id="Page_269">269</a></span> +gratitude of the citizens increased their love for St. +Clare, as all attributed their release to her prayers, +and to this day she is regarded as the deliverer of +her country.</p> + +<p>One cannot help regretting that while so many contemporary +chroniclers have left detailed and varied accounts +of St. Francis, they only casually allude to St. Clare, +calling her "a sweet spring blossom," or "the chief +rival of the Blessed Francis in the observance of Gospel +perfection," but leaving later writers to form their own +pictures of the saint. And the picture they give is +always of a silent and prayerful nun, beautiful of feature, +sweet and gentle of disposition, coming ever to the help +of those who needed it, and acting the part of a guardian +angel to the Assisans. Her horizon was bounded +by the mountains of the Spoletan valley; and from the +outside world, on which her influence worked so surely +during her life and for long centuries after her death, +only faint echoes reached her when a pope or a cardinal +came to see her, or a princess wrote her a letter from +some distant country. Among the many royal and +noble people who had entered a Poor Clare sisterhood, +or like St. Elizabeth of Hungary had joined the Third +Order, was the Blessed Agnes, daughter of the King +of Bohemia, who, kindled with a desire for a religious +life upon hearing the story of St. Clare, refused the +hand of Frederick II, and passed her life in a convent. +Often she wrote to the Assisan abbess getting in reply +most charming letters, beginning "To her who +is dearer to me than any other mortal," or "To the +daughter of the King of Kings, to the Queen of Virgins, +to the worthy spouse of Jesus Christ; the unworthy +servant of the poor nuns of San Damiano sends +greetings and rejoicings in the good fortune of living +always in the extremest poverty." These two never +met, but their friendship was a close one, and their +<span class="pagenum"><a name="Page_270" id="Page_270">270</a></span> +correspondence, of which many letters are preserved, +ceased only with their death.</p> + +<p>St. Clare survived St. Francis twenty-seven years, +and they were sad years for one, who, like her clung +so devoutly to his rule and teaching. She lived to see +the first divisions among the franciscans, and before +she died the corner-stone of the great Basilica had +been raised, filling her with dismay for the future, +for in its very grandeur and beauty she saw the downfall +of the franciscan ideal. Not only did she witness +all these changes, but in her own convent she had many +battles to fight for the preservation of the rule she +loved, she even courageously opposed the commands of +the Pope himself who wished to mould the nuns to his +wishes as he had done the friars. Even during the +lifetime of St. Francis, while he was absent on a +distant pilgrimage, Gregory IX, then Cardinal Ugolino, +persuaded St. Clare of the necessity of having a written +rule, and gave her that of the Benedictine nuns. +But when she found that, although it was strict enough, +it allowed the holding of property in community, +which was entirely against the spirit of her order, she +refused to agree to the innovation. So upon the saint's +return he composed a written rule for the sisters, so +strict, it is said, that its perusal drew tears from the +eyes of the Cardinal Ugolino. Still she had to fight +the battle of loyalty to a dead saint's memory; for the +very year that Gregory came to Assisi for the canonisation +of St. Francis he paid a visit to St. Clare, and +with earnest words endeavoured to persuade her to +mitigate her rule. She held so firmly to her way that +the Pope thought she might perhaps be thinking of the +vow of poverty which she had made at the Portiuncula, +and told her he could absolve her from it through the +powers of his papal keys. Then Clare summoned all +her courage as she faced the Pontiff, and said to him +<span class="pagenum"><a name="Page_271" id="Page_271">271</a></span> +these simple words which showed him he need try no +more to tempt her from duty, "Ah holy father," she +cried, "I crave for the absolution of my sins, but I +desire not to be absolved from following Jesus Christ."</p> + +<p>Gregory had often been puzzled by the unique unworldliness +of St. Francis; his admiration for St. Clare +was even more profound, and in reading his letters after +leaving the franciscan abbess one forgets that he was +over eighty at the time. With him she had gained +her point once and for all, but upon his death she had +to oppose the wishes of Innocent IV, who did all in his +power to merge the franciscan order of Poor Clares +into an ordinary Benedictine community. Again it +ended in the triumph of St. Clare, and the day before +her death she had the joy of receiving the news that +the Pope had issued a papal bull sanctioning the rule +for which both St. Francis and she had fought; +namely, that they were to live absolutely poor without +any worldly possession of any kind. "N'est-ce pas," +says M. Sabatier, "un des plus beaux tableaux de +l'histoire religieuse, que celui de cette femme qui, +pendant plus d'un quart de siècle, soutient contre les +papes qui se succèdent sur le trône pontifical une lutte +de tous les instants; qui demeure également respectueuse +et inébranlable, et ne consent à mourir qu'après avoir +remporté la victoire?"</p> + +<p>St. Clare during the remaining years of her life +suffered continually from ill-health, and it was from +a bed of infirmity that she so ardently prayed the Pope +to sanction her rule of poverty, and enjoined the +sisterhood to keep its tenets faithfully. Like St. +Francis, brave and cheerful to the last, she called her +weeping companions around her to give them her final +blessing and farewell. Among them knelt the Blessed +Agnes, who had come from her nunnery in Florence +to assist her sister, and the three holy brethren Leo, +<span class="pagenum"><a name="Page_272" id="Page_272">272</a></span> +Angelo and Juniper. On the 11th of August 1253, +the feast of St. Rufino, as she was preparing to leave +the world they heard her speak, but so softly that the +words were lost to them. "Mother, with whom are +you conversing?" asked one of the nuns, and she +answered: "Sister, I am speaking with this little soul +of mine, now blessed, to whom the glory of paradise +is already opening."</p> + +<p>Then as the evening closed in and they were still +watching, a great light was seen to fill the doorway +leading from the oratory of St. Clare to her cell; and +from out of it came a long procession of white-robed +virgins led by the Queen of Heaven, whose head was +crowned with a diadem of shining gold, and whose +eyes sent forth such splendour as might have changed +the night into the brightest day. And as each of the +celestial visitors stooped to kiss St. Clare, the watching +nuns knew that her soul had already reached its home.</p> + +<hr /> + +<p>Once the little chapel of San Damiano has been seen +there can be no fear of ever forgetting the charm +attached to the memory of St. Clare, for she has left +there something of her own character and personality, +which we feel instinctively without being able quite to +explain its presence. So near the town, only just +outside its walls, this little sanctuary yet remains as in +the olden times, one of the most peaceful spots that +could have been chosen for a nunnery; but the silence +which falls upon one while resting on the stone seats +before entering the courtyard, has this difference with the +silence of such a piazza as that of San Rufino or of some +of the Assisan streets; that there the buildings tell of an +age which is dead whose memories raise no responsive +echoes in our hearts, whereas San Damiano is filled +with the associations of those who, living so long ago, +yet have left the atmosphere of their presence as a living +<span class="pagenum"><a name="Page_273" id="Page_273">273</a></span> +influence among us. As we look at the steep paths +below us leading through the fields and the oak trees +down to the plain, to Rivo-Torto and the Portiuncula, +we think how often St. Francis went up and down it +whenever he passed to see St. Clare and her sisters. +And how many times did Brother Bernard come with +messages when he lay dying, and news was anxiously +awaited at San Damiano; then along the grass path +skirting the hill from Porta Mojano were seen the crowds +of nobles, townsfolk, peasants and friars bearing the +dead body of the saint to San Giorgio, and pausing +awhile at the convent for the love of St. Clare. A +pope with all his cardinals next passes, on a visit to the +young abbess; St. Bonaventure stops to ask her prayers; +while the poor and the ill were ever knocking at the +convent door to obtain her help or a word of kindly +sympathy. In the Umbrian land it is so easy to realise +these things, they are more than simply memories for +those who have time to pause and dream awhile; and +sometimes it has seemed, while reading the <i>Fioretti</i> or +Brother Leo's chronicle beneath the olive trees of San +Damiano, that we have slipped back through the ages, and +looking up we half expect to see the hurrying figure of +St. Francis moving quickly in and out among the trees. +Suddenly the low sound of chanting comes through +the open door of the convent reaching us like the +incessant drone of a swarm of bees in the sunshine, +until it dies away, and brown-clothed, sandalled +brethren pass out across the courtyard, and two by +two disappear down the hill on their way to the +Portiuncula. They bring a whole gallery of portraits +before our eyes, of brethren we read of, the companions +of St. Francis; but when we look along the path they +have taken and see the church of the Angeli standing +high in the midst of the broad valley, its dome showing +dark purple against the afternoon light, where we had +<span class="pagenum"><a name="Page_274" id="Page_274">274</a></span> +thought to catch a glimpse of the Portiuncula and a +circle of mud huts, the dream of the olden time fades +suddenly away. As we turn to enter the little church +of San Damiano with the image of the great church +of the plain still in our thoughts, we feel how much we +owe to the reverence of the people and the friars who +have kept it so simple and unadorned, its big stones +left rough and weather-beaten as when St. Francis +came to prepare a dwelling-house for sister Clare. +Truly says M. Sabatier, "ce petit coin de terre +ombrienne sera, pour nos descendants, comme ce puits +de Jacob où Jésus s'assit un instant, un des parvis +préférés du culte en esprit et en vérité."</p> + +<p>The church is very small and dim, with no frescoed +walls or altar pictures to arouse the visitor's interest, and +only its connection with the names of Francis and Clare +bring the crowds who come to pray here. Even the +crucifix which spoke to St. Francis, telling him to rebuild +the ruined sanctuary, no longer hangs in the choir, but is +now in the keeping of the nuns in Santa Chiara. A +few relics are kept in the cupboard—a pectoral cross +given by St. Bonaventure, the bell with which St. +Clare called the sisters to office, her breviary written +by Brother Leo in his neat, small writing, and the +tabernacle of alabaster which she held up before the +invading host of Saracens upon that memorable occasion. +There is also a small loaf of bread which recalls +the well-known story recounted in the <i>Fioretti</i> (cap. +xxxiii.) of how Pope Innocent IV, came to see St. Clare, +"to hear her speak of things celestial and divine; and +as they were thus discoursing together on diverse +matters, St. Clare ordered dinner to be made ready, +and the bread to be laid on the table so that the Holy +Father might bless it; and when their spiritual conference +was finished, St. Clare, kneeling most reverently, +prayed him to bless the bread which was on the +<span class="pagenum"><a name="Page_275" id="Page_275">275</a></span> +table. The Holy Father replied: 'Most faithful +Sister Clare, I will that thou shouldst bless this bread +and make upon it the sign of the most blessed Cross of +Christ, to whom thou hast so entirely given thyself.' +St. Clare said: 'Holy Father, pardon me, for I +should be guilty of too great a presumption if in the +presence of the Vicar of Christ, I, who am but a +miserable woman, should presume to give such a +benediction.' And the Pope answered: 'That this +should not be ascribed to presumption, but to the merit +of obedience, I command thee by holy obedience to +make the sign of the Holy Cross on this bread, and to +bless it in the name of God.' Then St. Clare, as a +true daughter of obedience, most devoutly blessed that +bread with the sign of the Holy Cross. And marvellous +to say, incontinently on all the loaves the +sign of the Holy Cross appeared most fairly impressed; +then of that bread part was eaten and part kept for +the miracle's sake."</p> + +<p>A ring belonging to St. Clare was also kept here, +until in the year 1615 a Spanish franciscan vicar-general +with his secretary came to visit San Damiano, +and such was his devotion for anything that had +belonged to the saintly abbess that when a few months +later the relics were being shown to some other visitors, +the precious ring was missing. A great disturbance +arose in the city, and angry letters were speedily sent +after the Spanish priest as suspicion had fallen upon +him at once; he did not deny that he had piously +stolen the ring, but as it was now well upon its way to +Spain where, he assured the irate Assisans, it would +be much honoured and well cared for, he refused +to return it. The citizens and friars still regret the +day that the Spanish dignitary and his secretary called +at San Damiano.</p> + +<p>The small chapel out of the nave was built in the +<span class="pagenum"><a name="Page_276" id="Page_276">276</a></span> +middle of the seventeenth century to contain the large +Crucifix which is still there, and whose story is very +famous. In 1634 Brother Innocenzo of Palermo was +sent to the convent to carve a crucifix for the friars, his +sanctity and the talent he possessed as an artist being +well known. After nine days he completed all except +the head, and on returning next morning after early +mass he found that mysterious hands had fashioned it +during the night; not only was it of wonderful workmanship, +but looking at it from three different points +of view three different expressions were seen—of peace, +of agony, and of death. The fame of the Crucifix +spread throughout Umbria, and people flocked to San +Damiano. "Now, the devil," says a chronicler, +"very wrath to see such devotion in so many hearts, +turned his mind to finding out some means of sowing +seeds of discord. Through his doing there arose in +Assisi a whisper that owing to the rapidly growing fame +of this Crucifix, the ancient one of the cathedral would +lose the veneration in which it had hitherto been held."</p> + +<p>Now before placing the Crucifix of San Damiano +in its place over the high altar the monks settled that +it should be carried in solemn procession through +Assisi. "But," writes the angry chronicler, "those +who had joined this diabolical conspiracy against our +Crucifix were not slow to prevent this, and had recourse +to the Inquisitor of Perugia, who was induced +to send his vicar to stop the procession, and bid the +monks of San Damiano to keep their Crucifix hidden +and allow no one to see it." There arose a terrible +storm in the troubled community of Assisi, between +those who took the part of the "persecuted Crucifix" +and those who sided with the jealous canons of the +cathedral. Finally, the case was placed before the +Pope himself, and all waited anxiously the result of +his investigations. A duplicate of the Crucifix of +<span class="pagenum"><a name="Page_277" id="Page_277">277</a></span> +San Damiano was sent to Rome that it might be +well examined by the Pope and the whole college of +cardinals, and they not finding in the pious Brother +Innocenzio's work anything contrary to the teaching +of the gospel, it was unanimously decreed that the +Crucifix of San Damiano might receive all the homage +and love of the friars and citizens. So on a burning +Sunday in August solemn high mass was sung at the +altar of St. Clare in San Damiano and, although the +friars were defrauded of their procession, such was the +concourse of people who came to gain the plenary indulgence +granted by His Holiness that the good friars rejoiced, +and were comforted for all the persecution they +had suffered on account of this marvellous Crucifix. +What must have been the feelings of Brother Innocenzo +as he stood by the high altar and watched the +crowd of worshippers and the women lifting up their +streaming eyes to the crucifix he had fashioned in his +cell? The devotion to it grew as the years passed on, +and we read that a century later the monks were +obliged "for their greater quiet to transfer it from the +choir to the chapel," where it now is, after which the +monks could say their office in peace. Now we see it +surrounded with votive offerings, and our guide pours +forth an incessant stream of praise, and recounts at +length numberless miracles.</p> + +<p>Through the chapel of the Crucifix we reach the +choir of St. Clare, left as when she used it, with +the old worm-eaten stalls against the wall. It is +probable that originally this was part of the house +of the priest who had the keeping of San Damiano +before the benedictines gave it to the Poor Clares; +for here is shown the recess in the wall where St. +Francis hid when his father came to seek for him, +and where he is supposed to have lived in hiding +for a whole month until the storm should have blown +<span class="pagenum"><a name="Page_278" id="Page_278">278</a></span> +over. It was for the rebuilding of the chapel that +he had taken bales of costly stuffs from the Bernardone +warehouse in Assisi to sell at the fair of +Foligno, and thus called forth the wrath of Messer +Pietro. The good priest of San Damiano was so +much astonished at this sudden conversion of Francis, +that thinking he mocked him he refused to accept +the purse of gold, which Francis finally threw on to +a dusty window-sill. But the priest soon became +his friend, allowing him to remain at San Damiano +and partake of such humble fare as he could give, +joining him in repairing of the poor ruined chapel.</p> + +<p>An artist of the sixteenth century had sought to +adorn the altar with a fresco of the Crucifixion which +was only discovered a few months ago, but the whitewashed +walls and severe simplicity of the rest seem +more in keeping with the place than this crude attempt +at decoration. By a rough flight of stairs we reach +the small private oratory of St. Clare, which communicated +with her cell and where, in her latter days +of illness, she was permitted to keep the Blessed +Sacrament. The rest of the convent being strict +"clausura," ever since the Marquess of Ripon +bought San Damiano from the Italian Government +and gave it into the keeping of the franciscan friars, +can only be seen by men. Within is the refectory +of St. Clare where Innocent IV, dined with her and +witnessed the miracle of the loaves, and Eusebio di +San Giorgio (1507) has painted in the cloister two +fine frescoes of the Annunciation and St. Francis receiving +the Stigmata.</p> + +<p>But anyone may step out into the small and charming +garden of St. Clare which is on a level with +her oratory. Walls rising on either side leave only +a narrow vista of the valley where Bevagna, and +Montefalco on her hill, can just be seen. Within +<span class="pagenum"><a name="Page_279" id="Page_279">279</a></span> +this small enclosed space the saint is said to have +taken her daily exercise and carefully attended to +the flowers, and the friars to this day keep a row of +flowers there in memory of her. It will be well on +leaving the chapel of San Damiano to look at the +open chapel in the courtyard where Tiberio d'Assisi +has painted one of his most pleasing compositions. +The Madonna is seated in an Umbrian valley, low +lines of hills fade away in the distance, and franciscan +saints, among whom St. Jerome with his lion +seems curiously out of place, surround her, while at +her feet is placed the kneeling figure of the nun +who succeeded St. Clare as abbess. It is signed +and dated 1517, while the fresco on the side-wall of +St. Sebastian and St. Roch was painted five years +later. In another corner of the courtyard, near the +entrance, is a painting in a niche of the Madonna +and saints by some Umbrian artist who felt the influence +of both Giotto and Simone Martini, so that +we have a curious, if pleasing result.</p> + +<p class="center p2"><span class="smcap">Santa Chiara</span></p> + +<p>St. Clare was no sooner dead than the people, as +they had done with St. Francis, sought to honour +her memory, but in this case, Innocent IV, being +in Assisi for the consecration of the Franciscan +Basilica, the funeral service was conducted by the +Pope and cardinals. Such a gathering of church +dignitaries, Assisan nobles, priors and people had +certainly never been seen in the humble convent of +San Damiano; their presence, though honouring the +saint, filled the hearts of the nuns with sorrow for +they knew they had come to take the body of St. +Clare to Assisi. With tears they consented to its +being placed in safety in San Giorgio, but only on +the condition that they might eventually be allowed +<span class="pagenum"><a name="Page_280" id="Page_280">280</a></span> +to live near her tomb in some humble shelter. San +Damiano without her, alive or dead, meant little to +them, and they were ready to abandon a home of +so many memories to go where they and their successors +could guard her body to the end of time. +Devotion to her memory and belief in her sanctity +was not solely confined to them; when the friars +rose to intone the service of the dead, Pope Innocent +signified that there should be silence, and to the +wonder of all ordered high mass to be sung and +the funeral service to be changed into one of triumph, +in honour of her who he believed was already with +the Virgins in heaven. It was a kind of canonisation, +but could not be regarded as valid without the usual +preliminaries being performed, and the cardinals, more +cautious and less enthusiastic than His Holiness, persuaded +him to wait and in the meanwhile allow the +ordinary service to proceed. To this he consented, +and then amidst music and singing the Pope led the +people up the hill where years before another saint +had been borne to the same church of San Giorgio, +and as on that day a funeral ceremony became a +triumphal procession.</p> + +<p>Innocent IV, died soon after, and it was Alexander +IV, who in September 1255, two years after her +death, canonized St. Clare in a Bull replete with +magnificent eulogy in which there is a constant +play upon her name: "Clara claris præclara meritis, +magnæ in coelo claritate gloriæ, ac in terra miraculorum +sublimum clare gaudet ... O admiranda +Claræ beatæ claritas." Another two years were +allowed to elapse before they began to erect a building +to her memory; besides the readiness shown by +every town to honour their saints, the Assisans had +especial cause to remember St. Clare, as she had +twice saved them from the Saracen army of Frederic +<span class="pagenum"><a name="Page_281" id="Page_281">281</a></span> +II. Willingly the magistrates and nobles, besides +many strangers who had heard of the saint's renown, +contributed money for the new building, and Fra +Filippo Campello the minorite was chosen as the +architect. Fine as his new work proved to be it +was rather the copy of a masterpiece than the inspiration +of a great architect, which makes it more probable +that he was only employed in completing the +church of San Francesco from the designs of that +first mysterious architect, and not, as some have said, +its sole builder.</p> + +<p>The canons of San Rufino offered the church and +hospital of San Giorgio which belonged to them. A +more fitting site for the church to be raised in honour +of St. Clare could not have been chosen, for it was +here that St. Francis had learnt to read and write as a +child under the guidance of the parish priest; here he +preached his first sermon, and later touched the heart +of Clare by his words during the lenten services; and +here both of them were laid in their stone urns until +their last resting places were ready. So around the +little old parish church with its many memories, and +within sight of the Scifi palace, arose "as if by magic" +the new temple with its tall and slender campanile. +The hospital enlarged and improved became the convent, +and the church was used by the nuns as a choir, +the rest of the large building, which they could only +see through iron gratings, being for the use of the congregation. +With its alternate layers of pink and cream-coloured +stone, wheel window and finely modelled +door, the church fits well into its sunny piazza, and +is a beautiful ending to the eastern side of Assisi. But +in building it Fra Filippo forgot the crumbling nature +of the soil, and failed to overcome the difficulty of position +as had been done so admirably at San Francesco, +so that in 1351 it became necessary to prop up the sides +<span class="pagenum"><a name="Page_282" id="Page_282">282</a></span> +by strong flying buttresses, which, while serving as an +imposing arched entrance to the side of the church, +sadly detract from the feeling of solidity of the main +building. A darker stone with no rosy tints was used +for the convent, which makes it look very grim and +old as it rises out of a soft and silvery setting of olive +trees on the hillside, with orchards near of peaches +and almonds. There is a great charm in the brown, +weather-beaten convent, though a certain sadness when +we remember, in looking at its tiny windows like holes +in the wall through which only narrow vistas of the +beautiful valley can be seen, how changed must be the +lives of these cloistered nuns from those of the Poor +<span class="pagenum"><a name="Page_283" id="Page_283">283</a></span> +Ladies of San Damiano in the time of St. Clare. They +are now an order of the orthodox type, an order given +to prayer and not to labour, and seeing no human face +from the outside world except through an iron grating. +So early as 1267 their connection with the franciscan +brotherhood ceased; the brethren no longer heard their +confessions or begged for them through the land as St. +Francis had decreed; they lived under the patronage +of the Pope, who declared their convent to be +under the especial jurisdiction of the Holy See, and on +the feast of St. Francis called upon the nuns to send a +pound of wax candles in sign of tribute. As the Pope +had often in olden times become master of Assisi so +now he obtained the rule over her monastic institutions, +gaining the temporal allegiance of the religious, as he +had gained that of the citizens.</p> + +<div class="figcenter"><a name="illo300" id="illo300"></a> +<img src="images/illus300.jpg" width="450" height="397" alt="SANTA CHIARA" /> +<p class="caption">SANTA CHIARA</p> +</div> + +<p>Upon entering the church of Santa Chiara out of +the sunshine, we are struck with a sense of the coldness +of its scant ornamentation, a want of colour, and a +general idea that artists in first directing their steps to +San Francesco had not had time to give much thought +to the church of the gentle saint. Giottino is said by +Vasari to have painted frescoes here, and they may be +those ruined bits of colour in the right transept where +it is only possible to distinguish a few heads or parts of +figures here and there in what seems to be a procession, +perhaps the Translation of St. Clare from San Damiano to +San Giorgio. It is said that their present condition of ruin +is due to the German bishop Spader who, fearing that +the nuns might see too much of the world through the +narrow grating because of the number of people who came +to see the frescoes, had them whitewashed in the seventeenth +century. The people came less, the nuns were +safer, but Giottino's (?) frescoes are lost to us and we +do not bless the memory of the German bishop of +Assisi. The frescoes of the ceiling he did not +<span class="pagenum"><a name="Page_284" id="Page_284">284</a></span> +touch, and we have in them some interesting work of +an artist of the fourteenth century whose name is unknown, +but who undoubtedly followed the Giottesque +traditions, though not with the fidelity or the genius of +the artist who painted the legend of St. Nicholas in +San Francesco. In decorating the four spandrels he +has been influenced by the allegories of Giotto, and +the angels are grouped round the principal figures in +much the same manner; they kneel, some with hands +crossed upon their breasts, but they are silent worshippers +with not a single instrument among them. The +saints who stand in the midst of the angels in Gothic +tabernacles are the Madonna with a charming Infant +Jesus who grasps her mantle, and St. Clare; St. Cecilia +crowned with roses, and St. Lucy; St. Agnes holding +a lamb, and St. Rose of Viterbo; St. Catherine, and +St. Margaret with a book in her hand. The artist has +used such soft harmonious colours and bordered his +frescoes with such pretty medallions of saints' heads +and designs of foliage that one wishes he had been +given the whole church to decorate and thus saved it +from its present desolate appearance.</p> + +<p>The large crucifix behind the altar, a characteristic +work of that time, has been ascribed to Margaritone, +Giunta Pisano, or Cimabue. It was painted, as the inscription +says, by the order of the abbess Benedicta, +who succeeded St. Clare and was the first to rule in +the new convent, but the artist did not sign his name. +The chapel of St. Agnes contains a Madonna which +Herr Thode with far-seeing eyes recognises through all +its layers of modern paint as Cimabue's work. There +is also a much retouched, but rather charming picture +of St. Clare, painted according to its inscription in +1283. She stands in her heavy brown dress and +mantle, a thick cord round her waist, and on either +side are scenes from her life. The small triptych of +<span class="pagenum"><a name="Page_285" id="Page_285">285</a></span> +the Crucifixion on a gold ground is an interesting work +by the artist of the four frescoes of the ceiling, and a +nearer view of some of the peculiarities of his style is +obtained. It is impossible to mistake the long slender +necks, the curiously shaped ears with the upper part +very long, the narrow eyes, straight noses and small +mouths, sometimes drooping slightly at the corners, +which he gives his figures. He is another of those +nameless painters who came to Assisi in the wake of +the great Florentine.</p> + +<p>The visitor would leave Santa Chiara with a feeling +of disappointment were it not for the chapel of San +Giorgio, the original place so often mentioned in connection +with St. Francis and now open to the public. +The crucifix of the tenth century, so famous for having +bowed its head to St. Francis in the church of San +Damiano bidding him to repair the ruined churches +of Assisi, is to be removed from the parlour, where it is +temporarily kept, and placed behind the altar. The +chapel, with a groined roof, is square, small and of +perfect form, and ornamented with several frescoes. +On the left wall is a delightful St. George fighting the +dragon in the presence of a tall princess, her face showing +very white against her red hair. There is a naïve +scene of the Magi, whose sleeves are as long and whose +hands are as spidery as those of the princess; and +above is an Annunciation. Behind the curtain in the +fresco a small child is standing who is evidently the +donor, but some people believe he represents the Infant +Jesus, which certainly would account for the surprised +attitude of the Virgin. This wall was painted in the +sixteenth century by some artist of the Gubbio school, +but his name we have been unable to discover. Quite +a different character marks the frescoes upon the next +wall, which would seem to be the work of an Umbrian +scholar of Simone Martini, or at least by one more +<span class="pagenum"><a name="Page_286" id="Page_286">286</a></span> +influenced by the Sienese than the Florentine masters. +There is a softness and an ivory tone in the paintings +of the saints, a languid look in their eyes, a sweetness +about the mouth peculiar to the Umbrian followers of +Simone, who like him succeed less well with male than +with female saints. Here the Madonna, seated on a +Gothic throne against a crimson dais, with a broad +forehead and blue eyes, her soft veil falling in graceful +folds about her slender neck, is unusually charming. +The St. George with his shield is perhaps less disappointing +than St. Francis, but then Simone fails to +quite express the nature of the Seraphic Preacher. +We turn to St. Clare of the oval face and clear brown +eyes, and feel that the painter had a subject which +appealed to him, even to the brown habit and black +veil which makes the face seem more delicate and fair. +Above are the Crucifixion, Entombment and Resurrection, +suggesting in the strained attitudes of the figures a +follower of Pietro Lorenzetti. Some remains of frescoes +upon the next wall resemble those in the nave of the +Lower Church, and probably also belong to the second +half of the thirteenth century. Indeed the architecture +of the chapel bears a striking resemblance to San +Francesco, so that although this is the original building +of San Giorgio which existed long before the Franciscan +Basilica, it was in all probability remodelled by +Fra Campello, who may have given it the pretty +groined roof.</p> + +<p>But above all the works of art and all the views of +church or convent, the pious pilgrim treasures the +privilege of being able to gaze upon the body of the +saint in the crypt below the high altar reached by +a broad flight of marble stairs. St. Clare had been +buried so far out of sight and reach that her tomb was +only found in the year 1850, after much search had +been made. Five bishops, with Cardinal Pecci, now +<span class="pagenum"><a name="Page_287" id="Page_287">287</a></span> +Pope Leo XIII, and the magistrates of the town, were +present at the opening of the sepulchre; the iron bars +which bound it were filed asunder, and the body of the +saint was found lying clad in her brown habit as if +buried but a little while since; the wild thyme which +her companions had sprinkled round her six hundred +years ago, withered as it was, still sent up a sweet +fragrance, while a few green and tender leaves are said +to have been clinging to her veil. So great was the +joy at discovering this precious relic that a procession +was organised "with pomp impossible to describe."</p> + +<div class="figcenter"><a name="illo305" id="illo305"></a> +<img src="images/illus305.jpg" width="450" height="303" alt="SANTA CHIARA FROM NEAR THE PORTA MOJANO" /> +<p class="caption">SANTA CHIARA FROM NEAR THE PORTA MOJANO</p> +</div> + +<p>On the Sunday at dawn every bell commenced to +ring calling the people to high mass, and never, says +a proud chronicler, were so many bishops and such +a crowd seen as upon that day. At the elevation of +the Host the bells pealed forth again announcing the +solemn moment to the neighbouring villages; soon +after the procession was formed of lay confraternities, +<span class="pagenum"><a name="Page_288" id="Page_288">288</a></span> +priests and friars, and little children dressed as +angels strewed the way with flowers. The peasants, +with tears raining down their cheeks, pressed near the +coffin, and had to be kept back by some of the Austrian +soldiers then quartered in Assisi. First they went +to the Cathedral, then to San Francesco, "the body +of St. Clare thus going to salute the body of her great +master. Oh admirable disposition of God." It was +evening before they returned to the church of Santa +Chiara, where the nuns anxiously awaited them at the +entrance of their cloister to place the body of their +foundress in the chapel of San Giorgio until a sanctuary +should be built beneath the high altar. It was soon +finished, ornamented with Egyptian alabaster and Italian +marbles, and the body of St. Clare was laid there to be +venerated by the faithful.</p> + +<p>As pilgrims stand before a grating in the dimly +lighted crypt the gentle rustle of a nun's dress is +heard; slowly invisible hands draw the curtain aside, +and St. Clare is seen lying in a glass case upon a +satin bed, her face clearly outlined against her black +and white veils, whilst her brown habit is drawn in +straight folds about her body. She clasps the book +of her Rule in one hand, and in the other holds a lily +with small diamonds shining on the stamens. The +silence is unbroken save for the gentle clicking of the +rosary beads slipping through the fingers of the invisible +nun who keeps watch, and as she lets the curtain down +again and blows out the lights there is a feeling that +we have intruded upon the calm sleep of the "Seraphic +Mother."</p> + +<p class="center b125 p6">CHAPTER X</p> +<p><span class="pagenum"><a name="Page_289" id="Page_289">289</a></span></p> +<p class="center b175"><i>Other Buildings in the Town</i></p> + +<div class="blockquot"><p> +The Cathedral of San Rufino. Roman Assisi. The Palazzo +Pubblico. The Chiesa Nuova. S. Paolo. Sta. Maria Maggiore. +S. Quirico. S. Appolinare. S. Pietro. The Confraternities +(Chiesa dei Pellegrini, etc.). The Castle. +</p></div> + +<p><span class="dropcap">A</span>ssisi is the only town we know of in Italy where +the interest does not centre round its cathedral +and a certain sadness is felt, which perhaps is not difficult +to explain; St. Francis holds all in his spell now +just as he held the people long ago, so that the saints +who first preached Christianity to the Assisans, were +martyred and brought honour to the city, are almost +forgotten and their churches deserted. The citizens, +though proud of their Duomo, with its beautiful brown +façade, hardly appear to love it, and we have often +thought that they too feel the sense of gloom and isolation +in the small piazza, which makes it a place ill-fitted +to linger in for long. Men come and go so +silently, women fill their pitchers at the fountain but +only the splashing of water is heard, and they quickly +disappear down a street; even the houses have no life, +for while the windows are open no one looks out, and +the total absence of flowers gives them a further look +of desolation. This part of the town was already old +in mediæval times, and the far away mystery of an +age which has few records still lives around the cathedral +and its bell tower. San Rufino stands in the very +<span class="pagenum"><a name="Page_290" id="Page_290">290</a></span> +centre of Roman Assisi and its history begins very +soon after the Roman era, one might say was contemporary +with it, as the saint whose name it bears, was +martyred in the reign of Diocletian. All the details +of his death, together with the charming legend about +the building of the cathedral, come down to us in a +hymn by St. Peter Damian, who, although writing in +1052 of things which it is true happened long before, +<span class="pagenum"><a name="Page_291" id="Page_291">291</a></span> +had very likely learnt the traditions about it from the +Assisans while he lived in his mountain hermitage near +Gubbio. The story goes back to the time when the +Roman consul of Assisi received orders to stamp out +the fast-spreading roots of Christianity, and began his +work by putting to death St. Rufino, the pastor of +the tiny flock. The soldiers hurried the Bishop down +to the river Chiaggio and, after torturing him in horrible +fashion, flung him into the water with a heavy stone +round his neck. Some say that the Emperor Diocletian +came in person to see his orders carried out. +That night the Assisan Christians stole down to the +valley to rescue the body of their Bishop and place it +in safety within the castle of Costano, which still stands +in the fields close to the river but almost hidden by +the peasant houses built around it. Here, in a marble +sarcophagus he rested, cared for and protected by each +succeeding generation of Christians who had learned +from tradition to love his memory, and secretly they +visited the castle in the plain to pray by the tomb of +the martyred saint. Their vigilance continued until +the fifth century, when the Christians had already +begun to burn the Pagan temples and build churches +of their own. Christianity, indeed, spread so rapidly +throughout Umbria that other towns cultivated a love +for relics, and fearing that the body of St. Rufino +might be stolen from the castle in the open country, +the Assisans took the first opportunity of bringing it +within the town. In the year 412 Bishop Basileo, +with his clergy and congregation met at Costano, to +seek through prayer some inspiration so that they +might know where to take the body of their saint. +As they knelt by his tomb an old man of venerable +aspect suddenly appeared among them, and spoke these +words in the Lord's name: "Take," he said, "two +heifers which have not felt the yoke, and harness them +<span class="pagenum"><a name="Page_292" id="Page_292">292</a></span> +to a car whereon you shall lay the body of St. Rufino. +Follow the road taken by the heifers and where they +stop, there, in his honour shall ye build a church." +These words were faithfully obeyed: the heifers, knowing +what they were to do, turned towards Assisi, and +brought the relics, through what is now the Porta S. +Pietro, to that portion of the old town known as the +"Good Mother" because the goddess Ceres is said to +be buried there. The heifers then turned slowly round, +faced the Bishop and his people, and refused to move. +For some obscure reason the place did not please the +Assisans, and they began to build a church further up +the hill; but every morning they found the walls, which +had been erected during the preceding day, pulled +down, until discouraged, they submitted to the augury, +and returned to the spot chosen by the heifers. Before +long, over the tomb of the Roman goddess, arose the +first Christian church of Assisi, dedicated to San +Rufino.</p> + +<div class="figcenter"><a name="illo308" id="illo308"></a> +<img src="images/illus308.jpg" width="389" height="500" alt="CAMPANILE OF SAN RUFINO" /> +<p class="caption">CAMPANILE OF SAN RUFINO</p> +</div> + +<p>A few years ago the late Canon Elisei who has +written many interesting pamphlets on the cathedral, +obtained permission from the government to +clear away the rubble beneath the present church; +masses of Roman inscriptions and pieces of sculpture +were brought to light, together with part of the primitive +church of Bishop Basileo, and the whole of what +is known as the Chiesa Ugonia, from the Bishop of +that name who built it in 1028. With lighted torches +the visitor can descend to the primitive basilica and +realise what a peaceful spot had been chosen for this +early place of worship, while picturing the Christians +as they knelt round the body of their Bishop, +the light falling dimly upon them through the +narrow Lombard windows. The six columns, with +their varied capitals rising straight from the ground +without the support of bases, give a somewhat +<span class="pagenum"><a name="Page_293" id="Page_293">293</a></span> +funereal aspect, recalling a crypt rather than a +church. The few vestiges of frescoes in the apse—St. +Mark and his lion, and St. Costanso, Bishop of +Perugia—are said to be, with the paintings in S. +Celso at Verona, the oldest in Italy after those in the +catacombs at Rome. Ruins of other frescoes, perhaps +of the same date, can be traced above the door +of the first basilica, together with some stone-work +in low relief of vine leaves and grapes, but it is difficult +to see them without going behind a column built in +total disregard of this lower building. The Roman +sarcophagus is still in the apse where the altar once +stood, but open and neglected, for the body of St. +Rufino now lies beneath the altar of the present cathedral. +It is ornamented in rough high relief with the +story of Endymion; Diana steps from her chariot +towards the sleeping shepherd, Pomona has her arms +full of fruit and flowers, and there are nymphs and little +gods of love and sleep. "It appeared to us," remarks +one prudish chronicler of the church, "the first time +we beheld it, that it was indecent to have present before +the eyes of the faithful so unseemly a fable; our scruples +we however laid aside in remembering that Holy Church +is endowed with the power of purging from temples, +altars and urns, all pagan abominations, and from superstition +to turn them to the true service of God." No +such scruples existed during the early times, and there +is an amusing story of how the people wishing to place +the marble sarcophagus, which had been left at Costano +five centuries before, in the Chiesa Ugonia, +were prevented by the Bishop who admired it, and +had given orders that it should be brought to his +palace at Sta. Maria Maggiore. A great tumult +arose in the town, but although the people came to +blows and the fight was serious on both sides, no blood +was shed. A further miracle took place when the +<span class="pagenum"><a name="Page_294" id="Page_294">294</a></span> +Bishop, determined to have his way, sent sixty men +down to Costano who were unable to move the sarcophagus +which remained as though rooted in the +earth; and the event was the more remarkable as +seven men afterwards brought it at a run up the +hill to the church of San Rufino, where it remains +to this day.</p> + +<p>Already two basilicas had been built in honour of +the saint, but the Assisans dissatisfied with their size +and magnificence, in the year 1134 called in the most +famous architect of the day, Maestro Giovanni of +Gubbio, who before his death in 1210 had all but +completed the present cathedral and campanile. It +is a great surprise when, emerging from the narrow +street leading from the Piazza Minerva thinking to +have seen all that is loveliest in Assisi, we suddenly +catch sight of the cathedral and its bell-tower. The +rough brown stone which Maestro Giovanni has so +beautifully worked into delicately rounded columns, +cornices, rose-windows and doors with fantastic beasts, +sometimes looks as dark as a capucin's habit, but there +are moments in the late afternoon when all the warmth +of the sun's rays sinks into it, radiating hues of golden +orange which as suddenly deepen to dark brown again +as the light dies away behind the Perugian hills.</p> + +<p>All three doors are fine with their quaint ornaments +of birds and beasts and flowers, but upon the central +one Giovanni expended all his art. It is framed in +by a double pattern of water-lilies and leaves, of +human faces, beasts, penguins and other birds with +a colour in their wings like tarnished gold. The +red marble lions which guard the entrance, with +long arched necks and symmetrical curls, a human +figure between their paws, may belong to an even +earlier period, and perhaps were taken by Giovanni +da Gubbio from the Chiesa Ugonia to decorate his +<span class="pagenum"><a name="Page_295" id="Page_295">295</a></span> +façade, together with the etruscan-looking figures of +God the Father, the Virgin and St. Rufino in the +lunette above. Just below the windows a long row +of animals, such pre-historic beasts as may have walked +upon Subasio when no man was there to interrupt their +<span class="pagenum"><a name="Page_296" id="Page_296">296</a></span> +passage, seem to move in endless procession, and look +down with faces one has seen in dreams.</p> + +<div class="figcenter"><a name="illo313" id="illo313"></a> +<img src="images/illus313.jpg" width="389" height="477" alt="DOOR OF SAN RUFINO" /> +<p class="caption">DOOR OF SAN RUFINO</p> +</div> + +<p>The interior of the cathedral is a disappointment; at +first we accuse the great Maestro Giovanni for this painful +collection of truncated lines and inharmonious shapes, +until we find how utterly his work was ruined in the +sixteenth century by Galeazzo Alessi of Perugia. To +understand what the church was five centuries before +Alessi came, it is necessary to climb the campanile +(only those who are attracted by ricketty ladders and +dizzy heights are advised to make the trial), and when +nearly half way up step out on to Alessi's roof, whence +we can view the havoc he has made. But he could +not spoil Giovanni's rose-windows, and through one of +them we see the castle on its green hill and the town +below, cut into sections as though we were looking +at the Umbrian world through a kaleidoscope.</p> + +<p>The outside of San Rufino is so lovely that we +should be inclined to advise none to enter, and thus spoil +the impression it makes, were it not for the triptych +by Niccolò da Foligno, "the first painter in whom the +emotional, now passionate and violent, now mystic and +estatic, temperament of St. Francis' countrymen was +revealed."<a name="FNanchor_103" id="FNanchor_103" href="#Footnote_103" class="fnanchor">[103]</a> Here we find a dreamy Madonna with +flaxen hair, surrounded by tiny angels even fairer than +herself in crimson and golden garments folded about +their hips. The lunettes above are studded with +patches of jewel-colour, angels spreading their pointed +wings upwards as they seem to be wafted to and fro +by a breeze. Four tall and serious saints stand round +the Virgin like columns; to the right St. Peter Damian +busily writing in a book, and St. Marcello, an Assisan +martyr of the fourth century who might pass for a +typical Italian priest of the present day. On the left +<span class="pagenum"><a name="Page_297" id="Page_297">297</a></span> +is St. Rufino in the act of giving his pastoral blessing, +and St. Esuberanzio, another of Assisi's early martyrs, +holding a missal. They stand in a meadow thickly +overgrown with flowers drawn with all Niccolò's firm +outline and love of detail. Fine as the picture is, it +cannot compare with the charming predella where the +artist has worked with the delicacy of a miniature painter. +It represents the martyrdom of St. Rufino; in the +first small compartment the Roman soldiers on horseback, +their lances held high in the air, followed by a +group of prying boys, watch the Bishop's tortures as +the flames shoot up around him; and in the distance +are two small hill-towns with the towers of Costano in +the plain. Then follows the scene where two young +Assisan Christians have come down to the Chiaggio to +rescue the body of their saint from the river. He lies +stiffly in their arms, attired in his episcopal vestments, +and the water has sucked the long folds of his cope +below its surface. The last represents the procession +of citizens led by Bishop Basileo bringing St. Rufino's +body from Costano, and is one of the most exquisite +bits of Umbrian painting. Niccolò has placed the +scene in early morning, the air is keen among the +mountains, the sun has just reached Assisi, seen against +the white slopes of Subasio, and turns its houses to a +rosy hue, while the tiny wood in the plain is still in +deepest shadow. The white-robed acolytes mount the +hill in the sunlight followed by the people and the +heifers which ought, Niccolò has forgotten, according +to the legend, to have led the way. The picture is +signed Opus Nicholai De Fuligneo MCCCCLX.</p> + +<p>The only other fine things in the cathedral are the +stalls of intarsia work of carved wood, by Giovanni di +Pier Giacomo da San Severino (1520), a pupil of the +man who executed the far finer stalls in San Francesco. +In the chapel of the Madonna del Pianto is a +<span class="pagenum"><a name="Page_298" id="Page_298">298</a></span> +curious wooden statue of the Pietà, how old and +whether of the Italian or French school it is difficult +to say. A tablet records that in 1494 because of the +great dissensions in the town this Madonna was seen to +weep, for which she has been much honoured, as is +shown by the innumerable ex-votos hung by the faithful +round her altar.</p> + +<div class="figcenter"><a name="illo316" id="illo316"></a> +<img src="images/illus316.jpg" width="400" height="401" alt="THE DOME AND APSE OF SAN RUFINO FROM THE CANON'S GARDEN" /> +<p class="caption">THE DOME AND APSE OF SAN RUFINO FROM THE CANON'S GARDEN</p> +</div> + +<p>The marble statue of St. Francis is by the French +artist, M. Dupré (a replica in bronze stands in the +Piazza), while that of St. Clare is by his daughter, +who both generously gave their work to Assisi in +<span class="pagenum"><a name="Page_299" id="Page_299">299</a></span> +1882. The statue of St. Rufino is by another +Frenchman, M. Lemoyne.</p> + +<p>The proudest possession of San Rufino is the font in +which St. Francis, St. Clare, St. Agnes and Frederick +II, were baptised, and the stone is shown upon which +the angel knelt, who in the disguise of a pilgrim +assisted at the baptism of Assisi's saint. Often did +Francis come to San Rufino to preach when the small +church of S. Giorgio could no longer hold the +crowds who flocked to hear him, and the hut where +the saint spent his nights in prayer and meditation +before he preached in the cathedral is now a chapel. +This was the place of the miracle when his companions +at Rivo-Torto saw him descend towards them in a +chariot of fire (see p. <a href="#Page_238">238</a>). In the time of the saint +it was the cottage of a market-gardener and still stands +amidst a vineyard, one of the prettiest and sunniest +spots in the town, where vines, onions, wild flowers +and cherry trees grow in happy confusion, and birds +and peasants sing all day long.</p> + +<p>The charm of the Cathedral is best realised after +witnessing one of its many ceremonies, when the canons +in crimson and purple, processions of scarlet clothed +boys swinging censers, and the Bishop seated beneath +a canopy of yellow damask his cope drawn stiffly to +the ground by a fussing acolyte, recall some of the +magnificence of the middle ages. The young priests +bow low before the Bishop on their way to the altar, +return to their seats and bow again; incense fills the +church; the organ peals half drown the tenor's +song, and through it all, from the stalls, drone the +voices of the canons reciting their office. It is a +gorgeous service but without a congregation, for even +the beggars have not stolen in; and Niccolò's Madonna +looks out upon the scene with big soft eyes which +seem to follow us into the darkest corners of the aisles. +<span class="pagenum"><a name="Page_300" id="Page_300">300</a></span></p> + +<p class="center p2"><span class="smcap">Roman Assisi.</span></p> + +<p>Assisi is so much a place of one idea—of one interest—around +which everything has grown, that it is difficult +to remember that a fairly important town existed +in Roman times, and that the Roman buildings, still to +be seen are, in the opinion of Mr Freeman, worth a +visit even if the church of San Francesco had never +arisen. Some pleasant hours may be passed finding +the sites of pagan monuments, the remains of ancient +walls, and tracing the outline of the original town. In +every case we see how Roman Assisi has, in a very +marked way, become part of Mediæval Assisi, palaces +having been erected upon the foundations of Roman +houses and Christian churches upon the sites of ancient +temples. The Temple of Hercules stood at the bend +of Via S. Quirico (now Via Garibaldi) where it turns +up to the ancient palace of the Scifi; while the Porta +Mojano, near which old walls and part of an aqueduct +can be seen, took its name from a temple of Janus +which stood between it and the Vescovado. Standing +a little off the Piazza Nuova, in a part of the town +known as the "Gorga," are the remains of the amphitheatre. +It would be difficult to find much of the +original edifice, but houses having been built exactly +on the ancient site its shape has been preserved, and this +strange medley of old and new was thought worthy of a +doric entrance gate by Galeazzo Alessi. Much the +same thing has happened with many of the castles in +the country near Assisi, where the peasant houses are +grouped round them in such a way that only by penetrating +into the midst of a tangled mass of dwellings +can the vestige of a tower be here and there discerned +to remind us of its former state. Assisi, though of no +military importance at that time, aspired to become a +little Roman town even more perfect than her neighbours +<span class="pagenum"><a name="Page_301" id="Page_301">301</a></span> +on the hills. The broad and strongly built drain +which extends from near the Porta Perlici beneath the +Piazza Nuova to the garden behind San Rufino, is +said to have been used to carry off the water from the +amphitheatre after the mimic sea-fights which in +Roman times were so popular. A use was found for +all things, and in time of war a Roman drain proved +a most efficient means of escape, especially when the +Baglioni were raiding the town and putting to death +all they met upon their road.</p> + +<p>Some small remains of a Roman theatre are to be +seen near the cathedral but so buried amidst a wild +garden that it is difficult to form any just idea of its +extent. The most splendid piece of masonry, a +Roman cistern, lies beneath the campanile of the +cathedral and can be easily looked into by the light of +a torch, the sacristan even suggests a descent into its +dark depths by means of a rickety ladder. An inscription +recording the proud fact that Assisi possessed an +amphitheatre has been removed to the cathedral where +it is placed above the side entrance to the left. Other +large portions of Roman walls are to be found at the +back of a shop in the Via Portica and also in the Via +San Paolo; both are marked upon the map. In those +days the town seems to have been identical with what +we now call old Assisi, namely the quarter round San +Rufino extending to the portion round San Francescuccio +where are noticed the arched Lombard +windows.</p> + +<p>But by far the most interesting record of this early +age is the Temple of Minerva, which in spite of the +damage done when it was turned into a church, and +the way in which the mediæval buildings are crowded +round it, yet remains one of the most beautiful of +ancient monuments. The raising of the Piazza makes +it difficult to realise, without going below ground, how +<span class="pagenum"><a name="Page_302" id="Page_302">302</a></span> +imposing the temple must have been when its steps led +straight down to the Forum. This can be reached by +descending from the Piazza into the "scavi," or excavations, +where stands the great altar with drains for +the blood of the victims; the long inscription giving +the name of the donor of the Temple runs:</p> + +<p><span class="smcap">GAL. TETTIENVS PARDALAS ET TETTIENA GALENE +TETTRASTILVM SVA PECVNIA FECERVNT, ITEM SIMVLACRA +CASTORIS ET POLLVCIS. MVNICIPIBVS ASISINATIBVS DONO +DEDER. ET DEDICATIONE EPVLVM DECVRIONIBVS SING. XV. +SEVIR. XIII. PLEBI X. DEDERVNT. S.C.L.D.</span></p> + +<p>It is well known that Goethe went to Assisi solely +to see the Temple, and surprised the citizens by going +straight down the hill again without stopping to visit +San Francesco. He wished to keep unimpaired the +impression this perfect piece of classical architecture +had made upon his mind, and we cannot refrain from +translating his enthusiastic description of it for these +pages.</p> + +<p>"From Palladio and Volkmann I had gathered +that a beautiful temple of Minerva, of the time of +Augustus, was still standing and perfectly preserved. +Asking a good-looking youth where Maria della +Minerva was, he led me up through the city which +stands on a hill. At length we reached the oldest +part of the town, and I beheld the noble building +standing before me, the first complete monument of +ancient days that I had seen. A modest temple as +befitted so small a town, yet so perfect, so finely conceived, +that its beauty would strike one anywhere. +But above all its position! Since reading in Vitruvius +and Palladio how cities ought to be built and temples +and other public edifices situated, I have a great respect +for these things.... The temple stands half way up +the mountain, just where two hills meet together, on +a piazza which to this day is called the Piazza.... +<span class="pagenum"><a name="Page_303" id="Page_303">303</a></span> +In old times there were probably no houses opposite +to prevent the view. Abolish them in imagination, +and one would look towards the south over a most +fertile land, whilst the sanctuary of Minerva would be +visible from everywhere. Probably the plan of the +streets dates from long ago as they follow the conformation +and sinuosities of the mountain. The temple +is not in the centre of the Piazza, but is so placed that +a striking, though fore-shortened, view of it is obtained +by the traveller coming from Rome. Not only should +the building itself be drawn but also its fine position. +I could not gaze my full of the façade; how harmonious +and genial is the conception of the artist.... Unwillingly +I tore myself away, and determined to draw +the attention of all architects to it so that correct +drawings may be made; for once again have I been +convinced that tradition is untrustworthy. Palladio, +on whom I relied, gives us, it is true, a picture of this +temple, but he cannot have seen it, as he actually places +pedestals on the level whereby the columns are thrown +up too high, and we have an ugly Palmyrian monstrosity +instead of what is a tranquil, charming object, +satisfying to both the eye and the understanding. It +is impossible to describe the deep impression I received +from the contemplation of this edifice, and it will +produce everlasting fruit."<a name="FNanchor_104" id="FNanchor_104" href="#Footnote_104" class="fnanchor">[104]</a></p> + +<p class="center p2"><span class="smcap">S. Paolo</span><a name="FNanchor_105" id="FNanchor_105" href="#Footnote_105" class="fnanchor">[105]</a></p> + +<p>A little off the Piazza della Minerva is the old +Benedictine church dedicated to St. Paolo, erected in +1074, when it probably stood alone with its monastery +<span class="pagenum"><a name="Page_304" id="Page_304">304</a></span> +and not, as now, wedged in with other houses. Built +in the very heart of Roman Assisi, its foundations rest +upon solid walls of travertine, where a secret passage +reaches to the castle. In this part of the town there +are several underground passages spreading out in +various directions, reminding us of the insecurity of +life in the early times when Pagan consuls persecuted +the weaker Christian sect. Just within the doorway +of the church, now alas thickly coated with whitewash, +is an ionic column belonging to some building of +importance which must have stood within the Forum. +Few people visit S. Paolo as it is only mentioned in +local guide-books, and the passing stranger is generally +told that there is nothing to see which is borne out by +the modesty of its exterior; but no lover of the early +Umbrian school who has the time to spare should fail +to step in, if only for a moment, as on a wall to the +left of the entrance is a large fresco by Matteo da +Gualdo. He has signed the date in the corner—1475—though +not his name, but it would be difficult to +mistake so characteristic a work of this delightful +painter. The Virgin, tall and stately, is accompanied +by St. Lucy, who holds her eyes upon a dish and is +clothed in a richly coloured orange gown falling in +heavy folds about her; on the other side is St. Ansano, +the patron of the Sienese, looking in his elegant green +jacket, trimmed with fur, more like a courtier than a +holy martyr. He holds his lungs in one hand, because +he is a patron of people suffering from consumption, +but why we know not, as there was nothing in the way +he met his death in the river Arbia by the order of +Diocletian to explain the presence of this strange +symbol. He stands in Matteo's fresco very daintily +by the Madonna's side, pointing her out to the small +donor who is seen kneeling in a doorway. The colour +is deep, perhaps a little crude, and if the figures may +<span class="pagenum"><a name="Page_305" id="Page_305">305</a></span> +seem somewhat stiff and their draperies angular, all such +defects are amply redeemed by the small angels on +the arch above, who composedly gaze down upon the +Madonna as they sing and play to her.</p> + +<p class="center p2"><span class="smcap">Palazzo Pubblico or Palazzo Communale</span></p> + +<p>In the beginning of the thirteenth century the civil +affairs of Assisi had assumed such large proportions +that it was found impossible to transact business in +unsheltered quarters of the piazza as had hitherto been +done, and the citizens determined to build a Palazzo +Pubblico. Other towns were rising to municipal importance, +notably Perugia whose palace for her priors +proved a beautiful example of a gothic building, +while Assisi was directing all efforts to adorn her +churches. A house was bought belonging to the same +Benedictine abbot of Mount Subasio, who had given +the humble dwellings to St. Francis, and on its site +they erected the present municipal palace, which was +enlarged in 1275 and again in the fifteenth century, +but it always remained a humble building with little +pretensions to fine architecture. Here the priors and +the consuls ruled the citizens in the absence of a +despot, while in the palace of the Capitano del Popolo +(now the residence of the Carabinieri), whose tower +dates from 1276, the council of the citizens met to +check the tyranny of the governing faction. These +municipal magnates lived upon opposite sides of +the Piazza, and acted as a drag upon each +other in civil matters. The many small towns, +villages and castles which were beneath the yoke +of Assisi in mediæval times have been represented +by a modern artist in the entrance hall of the Palazzo +Pubblico, and are a happy record of her days of conquest +<span class="pagenum"><a name="Page_306" id="Page_306">306</a></span> +and prosperity, which are duly remembered by +the citizens. There is also a picture by Sermei of St. +Francis blessing Assisi from the plain which, painted +in the sixteenth century, is interesting as a likeness of +the town at that time. There is also a picture of +Elias hung upon the wall, intended as a portrait and +not as an object for popular devotion. An effort has +been made to adapt one of the rooms as a gallery of +Umbrian art, and a few frescoes taken from walls and +convents and transferred to canvas are preserved here, +giving some idea, notwithstanding their ruined condition, +of the liberal way in which Umbrian artists distributed +their work in every corner of the town. The +gateway of S. Giacomo exposed to constant sun, +wind and rain, was yet thought a fitting place for +Fiorenzo di Lorenzo to paint a fresco of a beautiful +Madonna. It now looks sadly out of place in this room +of the Municipio with a little paper ticket on the +corner of the canvas marking it as No. 17. The +half figures of angels, No. 23 and No. 24, by Matteo +da Gualdo, were taken from the Confraternity of S. +Crispino together with No. 21. From the Chiesa +dei Pellegrini came No. 5, the Madonna and Saints by +Ottaviano Nelli of Gubbio; while No. 6, a Madonna, +with angels holding a red damask curtain behind her, +was found at the fountain of Mojano and is attributed +to Tiberio d'Assisi. That mysterious painter L'Ingegno +d'Assisi may be the author of No. 12. Vasari recounts +how he learnt his art in the workshop of Perugino in +company with Raphael, and even helped his master in +the Cambio frescoes. His real name was Andrea Aloisi, +the nickname of Ingegno arising from the fact that +he was looked up to by his fellow citizens as a very +remarkable man, for not only could he paint beautiful +Madonnas but he was a distinguished Procurator, +Arbitrator, Syndic and Camerlingo Apostolico. But +<span class="pagenum"><a name="Page_307" id="Page_307">307</a></span> +to try and trace his work is like following a will-o'-the-wisp, +for no sooner do we hear of a fresco by +him than it eventually turns out to be by Fiorenzo +di Lorenzo or by Adone Doni, and this fresco in +the Municipio is the only one in Assisi which may be +by him. If it is, Tiberio d'Assisi would seem to +have been his master and not Perugino.</p> + +<p>In the same room is a small but interesting painting +in fresco (No. 87), the figure of a winged Mercury, +which was excavated a few years ago in the Casa +Rocchi, via Cristofani. In another room is the head +of a saint which some believe to be also of Roman +times, but a good authority attributes it to a late +follower of Raphael. The saint's head is seen against +a shadowy blue landscape, and like all Umbrian things +has an indescribable charm, a feeling that the artist +loved the valleys in spring-time, and tried to convey +some of the soft colour of the young corn and budding +trees into the picture he was painting.</p> + +<p class="center p2"><span class="smcap">The Chiesa Nuova</span></p> + +<p>A little below the Piazza della Minerva is the +Chiesa Nuova, built at the expense of Philip III, of +Spain in 1615 by the Assisan artist Giorgetti and +finished in seven years. Few people come to Assisi +without visiting it, for although containing nothing +of artistic value, it stands upon the site of the Casa +Bernardone, and recalls many incidents of St. Francis' +life. The small door is shown through which Madonna +Pica passed when the angel disguised as a pilgrim +told her that her son was to be born in a stable, and +we see part of the cell where St. Francis endured such +cruel imprisonment from his father, until his mother in +the absence of Messer Pietro let him out to return +<span class="pagenum"><a name="Page_308" id="Page_308">308</a></span> +to his haunts at San Damiano and the Carceri.<a name="FNanchor_106" id="FNanchor_106" href="#Footnote_106" class="fnanchor">[106]</a> Other +places preserve more of the charm of the saint than +the Chiesa Nuova.</p> + +<p>Two buildings in the town are intimately connected +with St. Francis, his father's shop in the Via Portica +the entrance of which the sculptor of St. Bernardino's +door at the franciscan convent has adorned with a +beautiful pattern of flowers, shields and cupids; and +the house of Bernard of Quintavalle which is reached +from this street by the Via S. Gregorio. It is now +the Palazzo Sbaraglini and has no doubt been much +enlarged since the thirteenth century, but the little old +door above a flight of steps bears the unmistakable stamp +of age; it leads into a long vaulted room, now a chapel, +which there seems every reason to believe was the +one where Bernard, the rich noble, invited St. Francis +to stay with him at a time when he doubted his +sanctity. The story is too long to quote and extracts +would only spoil it, but the pilgrim to Assisi +should read it as related in that franciscan testament, +the <i>Fioretti</i> (chap. iii.). Popular devotion has +happily not tampered with this corner of the town as +it has with the house of the Bernardone.</p> + +<div class="figright"><a name="illo327" id="illo327"></a> +<img src="images/illus327.jpg" width="280" height="450" alt="CAMPANILE OF STA. MARIA MAGGIORE" /> +<p class="caption">CAMPANILE OF STA. MARIA MAGGIORE</p> +</div> + +<p class="center p2"><span class="smcap">Sta. Maria Maggiore</span></p> + +<p>This romanesque church stands above a Roman +building whose columns and mosaic floor can easily be +seen from the garden behind the apse, and for many +centuries it was the cathedral of Assisi as is testified by +its close proximity to the Bishop's palace. But there is +now little to remind us of any pretensions to splendour +<span class="pagenum"><a name="Page_309" id="Page_309">309</a></span> +which it may once have possessed, only vestiges +of the frescoes destroyed by the great earthquake of +1832 can be seen on its walls, and an Annunciation +in a cupboard of the +sacristy—in such +strange places do we +find an ancient fresco +in Assisi. The church +was already an old +building in the twelfth +century, for we hear +of its being restored +and enlarged after a +fire by Giovanni da +Gubbio, and finished +later by the help of St. +Francis who is said +to have rebuilt the +apse. One gladly +hurries out of it into +the little piazza which, +though the humblest +looking in Assisi, is +very famous for the +scenes it has witnessed. +Here St. Francis renounced +the world in +the presence of his +angry father, and received +protection from +Bishop Guido; (see p. +<a href="#Page_235">235</a>). Many years later the dying saint was brought to +rest at the Bishop's palace near the church, and edified +those who guarded the gates by singing so gaily in the +midst of terrible suffering. Then again when a quarrel +arose between Guido and the Podestà of Assisi, two +<span class="pagenum"><a name="Page_310" id="Page_310">310</a></span> +friars came up with a message of peace from St. Francis, +then on his deathbed at the Portiuncula, who had heard +with grief of the dissension. The story, and it is a true +one we may be sure, has been faithfully recorded by +Brother Leo, who tells us how "when all were assembled +together in the piazza by the Bishop's palace +the two brethren rose up and said: "The blessed +<span class="pagenum"><a name="Page_311" id="Page_311">311</a></span> +Francis in his illness has composed a canticle to the +Lord concerning His creatures, to the praise of the +Lord Himself and for the edification of the people." +It was the verse beginning "Praised be my Lord for +all those who pardon one another for His love's sake," +which he had added to his Hymn to the Sun (see p. +<a href="#Page_79">79</a>). All listened intently to the message which so +touched the heart of the Podestà that he flung himself +at the Bishop's feet and promised to make amends for +his offence for the love of Christ and the Blessed +Francis. The Bishop lifting him from the ground +spoke words of forgiveness and peace, and then "with +great kindness and love they embraced and kissed one +another."</p> + +<div class="figcenter"><a name="illo328" id="illo328"></a> +<img src="images/illus328.jpg" width="450" height="567" alt="EAST FRONT OF SAN FRANCESCO" /> +<p class="caption">EAST FRONT OF SAN FRANCESCO</p> +</div> + +<p class="center p2"><span class="smcap">Convents of S. Quirico and S. Appolinare</span></p> + +<p>Every church and convent wall in Assisi was once +adorned by frescoes, and even now, when time and ill-usage +have done their best to ruin them, it is still +possible to come upon delightful specimens of Umbrian +art. But they are so stowed away in out of the way +corners that one hardly likes to pass a door, however +poor and uninviting, without glancing in to see what +treasure may be hidden away behind it.</p> + +<p>Curiosity was amply rewarded one day while visiting +the convent of S. Quirico which we pass on the way +from Sta. Maria Maggiore to S. Pietro, attracted there +by the small fresco of the Virgin and St. Anne by +Matteo da Gualdo over the door. The whitewashed +parlour contained nothing of interest, not even a nun +peered through the iron grating, but a murmur from the +attendant about frescoes drew us to a window where, +above the brown-tiled roof under a rough pent ledge, +exposed to rain and wind, was a fresco of Christ rising +from the tomb, and four small angels. It is not perhaps +one of Matteo da Gualdo's most pleasing compositions +<span class="pagenum"><a name="Page_312" id="Page_312">312</a></span> +and might be passed unnoticed in a gallery, +but the thought of the wealth of Umbrian art, when +masters left their paintings over gateways upon city +walls, and above a roof where even the nuns can +scarcely see it as they walk in the cloister below, give +it a peculiarly Assisan charm which we cannot easily +forget. A few steps further on, down the Borgo San +Pietro, is the large convent of S. Appolinare, remarkable +for its pretty campanile of brick, and a wheel +window above the door. It once possessed many +frescoes of the fourteenth and fifteenth century, but +now it is not worth while to seek admittance for they +are much destroyed; some have been ruthlessly cut in +two by lowering the ceiling of the rooms, and only +here and there, where the whitewash has peeled off, +faces of Madonnas and saints look out like ghosts imprisoned +in a convent wall.</p> + +<p class="center p2"><span class="smcap">S. Pietro</span></p> + +<p>The church of S. Pietro stands upon a grass +piazza surrounded by mulberry trees, with a broad +outlook upon the valley. The central door, supported +by two lions, has a twisted design of water-plants +and birds which formerly were coloured, but +now only show here and there traces of green stalks +on a dark red background. A finely carved inscription +above it records that in the year 1218 the cistercian +Abbot Rustico built the façade, but its proud historians +believe the church itself to have existed in the second +century, thus claiming for it the honour of being the +first church erected in Assisi. The present building +cannot be older than 1253 when it was rebuilt after a +great fire, and consecrated by Innocent IV. The interior +is finely proportioned, and the remains of ancient +frescoes discovered upon the walls show the zeal of +<span class="pagenum"><a name="Page_313" id="Page_313">313</a></span> +the Assisans in making all their churches, as well as +San Francesco, as beautiful as they could.</p> + +<div class="figcenter"><a name="illo331" id="illo331"></a> +<img src="images/illus331.jpg" width="450" height="329" alt="CHURCH OF S. PIETRO" /> +<p class="caption">CHURCH OF S. PIETRO</p> +</div> + +<p>In the small chapel to the left of the high altar are +four stencilled medallions of a hunter with his dogs +chasing a stag, besides symmetrical patterns like those +of the nave of the Lower Church of San Francesco. +Over the altar is a signed picture by Matteo da Gualdo +(he was at Assisi in 1458, but the date here is partly +effaced), of a Madonna with a choir of angels, and +upon either side St. Peter and the Assisan martyr St. +Vittorino. By standing on the altar steps a fresco +of the Annunciation of the fifteenth century may be +seen on the wall of the sacristy, discovered beneath the +usual layer of whitewash some fifty years ago. The +angel's profile, the hair turned back in waves from the +face over the shoulders, is clearly outlined, and shows +pale against the golden light of his wings. But the +real treasures of this church, according to a pious +author, are the bones of St. Vittorino, an Assisan +<span class="pagenum"><a name="Page_314" id="Page_314">314</a></span> +Christian who was the second Bishop of Assisi, and +died a martyr's death in the third century. In 1642 +these relics were deposited in a more suitable marble +urn than the one that had contained them before, during +a grand ceremony presided over by a Baglioni, Bishop +of Perugia. Other bones and ashes of some Roman +martyrs were afterwards added which were taken +from the cemetery at Rome by the Abbot of San +Pietro "to further enrich his church."</p> + +<p class="center p2"><span class="smcap">The Confraternities</span></p> + +<p>An enduring mark of St. Francis' influence is seen +in the number of confraternities established in Assisi +which, if they have lost many of their primitive customs, +still retain a hold upon the people and are the +great feature of the town. Hardly a day passes without +seeing members either preparing for a service in +one of their chapels, or following a church procession, +or carrying the dead along the cypress walk from Porta +S. Giacomo to the cemetery. Clothed in long grey +hooded cloaks, holding lanterns and candles and singing +their mediæval hymns, these citizens of the nineteenth +century belong to Assisi of the past as much as +all her frescoes and early buildings. Their origin goes +back to the middle of the thirteenth century when, out +of the great devotional movement due to St. Francis, +arose that strange body of penitents the Flagellants, +who are said to have first appeared in Perugia, and +thence spread throughout Italy.<a name="FNanchor_107" id="FNanchor_107" href="#Footnote_107" class="fnanchor">[107]</a> "The movement," +says Dr Creighton, "passed away; but it left its dress +as a distinctive badge to the confraternities of mercy +which are familiar to the traveller in the streets of +many cities of Italy." Assisi was among the first to +<span class="pagenum"><a name="Page_315" id="Page_315">315</a></span> +witness the hordes of fanatics who roamed from town +to town increasing as they passed like a swarm of locusts +through the land, and often at night going forth into +the streets clothed in white garments to dance a dance +of the dead, clanging bones together as they sang. It +<span class="pagenum"><a name="Page_316" id="Page_316">316</a></span> +was inevitable that their passage through Assisi should +have its results, and many brotherhoods were founded; +those who had no chapels of their own met in S. Pietro +or S. Maria delle Rose, where they performed their +penances, sometimes, as in the case of the Battuti (Flagellants), +beating themselves as they sang the wild, love-inspired +hymns of Jacopone da Todi, the franciscan +poet of Umbria. Since those days their fervour has +taken a more practical form, and very simple are their +services.</p> + +<div class="figcenter"><a name="illo333" id="illo333"></a> +<img src="images/illus333.jpg" width="450" height="590" alt="CONFRATERNITY OF SAN FRANCESCUCCIO IN VIA GARIBALDI" /> +<p class="caption">CONFRATERNITY OF SAN FRANCESCUCCIO IN VIA GARIBALDI</p> +</div> + +<p>The members of <i>San Francescuccio</i>, or <i>Delle Stimate</i>, +ever to and fro upon some errand of mercy, belong +to the most important confraternity, and own one of +the most picturesque chapels in the towns. When its +doors are open during early Mass or Benediction the +sound of prayer and chanting comes across the quiet +road, and in the blaze of candle-light is seen the great +Crucifixion of Ottaviano Nelli (?) in the lunette of the +wall above the altar. At other times, the chapel being +so sunk below the level of the road with no windows +to light it, both fresco and the charming groined roof, +blue as that of San Francesco, can with difficulty be +seen. The pent roof outside overshadows some Umbrian +frescoes by Matteo da Gualdo recording the famous +miracle of the roses which flowered for St. Francis in +the snow, and which he offered to the Virgin at the Altar +of the Portiuncula. On the wall to the right are some +ruined frescoes in terra-verde by a scholar of Matteo.</p> + +<p>Another confraternity in this street is <i>San Crispino</i>, +which once possessed a picture by Niccolò Alunno, +but that has long since disappeared, and only faint +patches of colour remain above its gateway. There are +many other confraternities, but as they do not all +possess pictures of interest, we only mention three +others; and first of these, the <i>Oratory of St. Anthony +the Abbot</i>, or <i>Chiesa dei Pellegrini</i>, which every visitor +<span class="pagenum"><a name="Page_317" id="Page_317">317</a></span> +to Assisi ought to visit.<a name="FNanchor_108" id="FNanchor_108" href="#Footnote_108" class="fnanchor">[108]</a> After the Church of San +Francesco it is by far the most important sight of the +town; a Lombard façade, a Roman temple, or a +mediæval castle, delightful and beautiful as they are, +may be seen elsewhere, but we know nothing with +such individual charm as the little chapel of St. +Anthony, in the Via Superba. So often a hundred +vicissitudes arrested the adornment of a building during +those troubled times of the middle ages, but here +we find a small and perfectly proportioned oratory +decorated with frescoes upon the ceiling and upon +every wall, by two Umbrian masters who have +sought to make it a complete and perfect sanctuary +of Umbrian art.</p> + +<p>Built in 1431 by the piety of the brotherhood of +St. Anthony the Abbot, it served as a private chapel +to the adjoining hospital, where pilgrims coming to +pray at the shrine of St. Francis found food and +shelter for three days. The liberal donations given +by Guidantonio, Duke of Urbino and sometime +Lord of Assisi, whose devotion to the saint was +great, may have enabled the confraternity to adorn +it with its many frescoes. Outside, in the arched +niche above the door, are the patrons of the chapel, +St. Anthony and St. James of Campostello, that +great saint of pilgrims, with a frieze of small angels +above them playing upon various instruments, also +by Matteo da Gualdo. To him we owe the fair +Madonna over the altar who gazes so dreamily before +her, and sits so straight upon her throne. Angels +<span class="pagenum"><a name="Page_318" id="Page_318">318</a></span> +gather round bending towards their instruments with +earnest faces; Matteo's angels can never only calmly +pray, they must sing or else play on tambourines, +viole d'amore, cymbals and organs. Less pleasing +are the large figures of St. James and St. Anthony, +while in contrast to them are the slender winged +figures on either side bearing tall candelabra, and +moving forward with such stately step, their white +garments sweeping in long folds behind them, their +fair curls just ruffled by the air. Surely Matteo must +have been thinking of a group of babies at play in the +cornfields, or under the hedges near his own Umbrian +town, when he painted that frieze of laughing children, +with little caps fitting so closely round their heads, +who are tossing the branches of red and white roses +up into the air. Each one is different, and all are full +of graceful movement. They divide the frescoes +below from that of the Annunciation, which recalls +the manner of Boccatis da Camerino, the master of +Matteo. He paints a swallow, the bird of returning +spring, perched outside the Virgin's bedroom, to +symbolise the promise of redemption, and a lion cub +meant to represent the lion of Judah walks leisurely +towards the Madonna.</p> + +<p>Matteo da Gualdo, as the inscription tells, worked +here in 1468, and Pier Antonio da Foligno, known as +Mezzastris, came in 1482 to paint the rest of the chapel, +and upon the right wall he related the most famous of +St. James' miracles in a naïve and delightful manner. +The legends tell how in the time of Pope Calixtus II, +a certain German with his wife and son on their way +to the saint's Spanish shrine of Campostello lodged at +Tolosa, where their host's daughter fell in love with +the fair young German. But he, being a cautious +youth, resisted every advance of the Spanish maiden, +who sought to avenge herself by hiding a silver drinking +<span class="pagenum"><a name="Page_319" id="Page_319">319</a></span> +cup belonging to her father in his wallet. The +theft was discovered, and the judge of Tolosa condemned +the young pilgrim to be hanged. Pier Antonio +has painted the scene when the father and mother, after +visiting Campostello, return to take a last look at the +place where their son was executed and find him well: +"O my mother! O my father!" he says, "do not +lament for me, as I have never been in better cheer, +the blessed Apostle James is at my side, sustaining me +and filling me with celestial joy and comfort." In +the fresco near the altar the story is continued; the +judge, stout and imposing as one of Benozzo Gozzoli's +Florentine merchants, is seated at a table in crimson +and ermine robes surrounded by his friends, when the +pilgrim and his wife arrive and beg him to release +their son. Somewhat bored at being interrupted at his +banquet he mocks them, saying: "What meanest thou, +good woman? Thou art beside thyself. If thy son +lives so do these fowls before me." No sooner had +he spoken than, to the astonishment of all, the cock +and hen stood up on the dish and the cock began to crow, +as we see in Mezzastris' fresco. On the opposite wall +are miracles of St. Anthony. In the fresco near the door +he is sitting in the porch of the church surrounded by +his companion hermits; they are watching the arrival +of camels which, in answer to the saint's prayer, have +brought a supply of food neatly corded on their backs. +The artist has pictured the desert with sandy mountains, +little flowers growing in the burning sand and thick +grass in the wood by the convent. In the second +fresco St. Anthony, beneath a portico of lapis lazzuli +and green serpentine, is distributing the food brought +by the friendly camels, to the beggars, who appear as +suddenly upon the scene as the beggars do in an Assisan +street.</p> + +<p>The four figures in the ceiling, Pope Leo III, St. +<span class="pagenum"><a name="Page_320" id="Page_320">320</a></span> +Bonaventure, St. Isidor of Seville and St. Augustine, +and the angels with shield-shaped wings, are also by +Mezzastris. A graceful piece of his work is the +Christ above the door, in a glory of angels who form +a wreath around Him with their wings like sheaves +of yellow wheat. Delightful, but very different from +Matteo's, are the cupid-angels flying across the sky on +clouds, and the two seated playing with a shield upon +which is painted the pilgrim's scallop-shell.</p> + +<div class="figcenter"><a name="illo338" id="illo338"></a> +<img src="images/illus338.jpg" width="450" height="351" alt="MONTE FRUMENTARIO IN THE VIA PRINCIPE DI NAPOLI" /> +<p class="caption">MONTE FRUMENTARIO IN THE VIA PRINCIPE DI NAPOLI</p> +</div> + +<p>The figure of St. James near the door is of small +interest, being a much restored work of a pupil of +Perugino; but in the dark corner on the other side is, +says Mr Berenson, a youthful work of Fiorenzo di +Lorenzo. It is the young St. Ansano holding his +lungs suspended daintily from one finger as in the +fresco of S. Paolo, and looking so charming in his page's +<span class="pagenum"><a name="Page_321" id="Page_321">321</a></span> +dress, his fair curls falling about his shoulders. He +stands at the entrance of a cave with pointed rocks +above, and saxifrage and ferns delicately drawn are +growing in their crevices. Would that Mezzastris +had given his pupil a larger space of wall to work on, +so that we might have had more saints and landscapes +like these. We leave the chapel with regret, giving +one last look at Matteo's Madonna and his frieze of +child-angels, and then go out into the long broad +Via Principe di Napole. Its fine palaces, once the +abode of some of the richest nobles of the town, have +now been turned into schools and hospitals, and our +thoughts once more revert to the past days of prosperity +and magnificence as we walk along this grand but +silent street where the grass grows unmolested between +the stones. A little way further on to the right is the +fine <i>loggia</i> of the <i>Monte Frumentario</i> which in olden +times was an agricultural Monte di Pietà, where +the peasants who had no other possessions than the +produce of the fields would come to pawn their grain +in time of need. The door is finely sculptured, and +the delicate chiselling of the capitals of the pillars of +the <i>loggia</i> mark it as a work of the fourteenth century. +Not far from the Chiesa dei Pellegrini, but to the left, +stands one of the oldest Assisan houses which does +not seem to have suffered much alteration since it was +built. It was the lodge of the Comacine guild of +workers, who have left their sign of the rose +between the compass over the entrance, and two pieces +of sculpture, showing that those to whom the house +belonged were people who worked at some trade. +It does not appear to have been a dwelling-house, +but only a place where the members of the guild, +employed in building the different civil and religious +buildings for the Assisans, could meet together to discuss +their interests, draw out their plans and execute +<span class="pagenum"><a name="Page_322" id="Page_322">322</a></span> +different pieces of their work. They probably did +not build the house, but perhaps in the year 1485, +which is the date above the door, adapted for their +use one already standing.<a name="FNanchor_109" id="FNanchor_109" href="#Footnote_109" class="fnanchor">[109]</a> It is always pointed out as +the <i>Casa di Metastasio</i>, but his paternal dwelling is a +less interesting house, standing +at the angle of Via S. Giacomo +and Via S. Croce, which can +be reached from the Comacine +Lodge by the steep by-street +of S. Andrea. Metastasio, +though the Trapassi were Assisans, +had little to do with +the town as his family were +engaged in trade at Rome, +where he was born in 1698. +There he was found improvising +songs to a crowd of +wondering people by the celebrated +Vincenzo Gravina, who +adopted and educated him. +When set to music, Metastasio's +poetry brought all Rome +to his feet and earned him the +title of Cæsarean poet from the +Emperor Charles VI; he ended +his life at the court of Vienna +as the favourite of Maria +Theresa, honoured by all the +great musicians of the day. Truly he has little to do +with Assisi, yet he must be added to the list of her +numerous illustrious citizens.</p> + +<div class="figleft"><a name="illo340" id="illo340"></a> +<img src="images/illus340.jpg" width="172" height="300" alt="HOUSE OF THE COMACINE BUILDERS +IN THE VIA PRINCIPE DI NAPOLE" /> +<p class="caption">HOUSE OF THE COMACINE BUILDERS<br /> +IN THE VIA PRINCIPE DI NAPOLE</p> +</div> + +<p>Following the street by the Casa di Metastasio, +<span class="pagenum"><a name="Page_323" id="Page_323">323</a></span> +we get into delightful lanes above the town and reach +another little confraternity, the oldest of all, <i>San +Rufinuccio</i>.<a name="FNanchor_110" id="FNanchor_110" href="#Footnote_110" class="fnanchor">[110]</a> Its small chapel, built of alternate layers +of pink and white Subasian stone, is a very characteristic +example of an Umbrian way-side sanctuary, always open +in the olden days for the peasants to come into for rest +and prayer. It is worth a visit, not only because the +way there is beautiful, but also for the grand Crucifixion +painted above the altar by the decorator of St. +Nicholas' Chapel in San Francesco. It is a strong +and splendid composition, which even much repainting +has been unable to destroy. Unfortunately the scenes +at the sides can only just be seen. Below, the half-length +Madonna and angels by another artist recall the +Annunciation of S. Pietro, in the marked outline of +their pale faces and the rainbow colour of clothes and +wings.</p> + +<p>Turning off from the Via Nuova to the left we +mount still higher through the olive groves along a path +possessing no name, but which is the nicest way to the +heights above the town. We come in a few minutes +to the confraternity of <i>San Lorenzo</i>, standing somewhat +below the level of the castle. It has nothing of +interest inside, but behind the wooden covering of the +gateway at the side is a fresco by an unknown Umbrian +artist, an Assisan perhaps, who above the Virgin's +throne signs himself "Chola Pictor." He paints the +faces of his saints with a smooth surface, betraying +the influence of Simone Martini which he felt together +with many of his fellow Umbrian artists. The Virgin's +throne is full of wonderful ornaments; unfortunately +the fresco has suffered from a large crack across the +wall. Very quaint is a group of hooded members of +the confraternity at her feet, and there is a charming +<span class="pagenum"><a name="Page_324" id="Page_324">324</a></span> +figure of St. Rufino, young, with an oval face and +brown eyes, but to be seen only from the top of a +ladder as he is painted in a corner of the arch. It +has been suggested to remove this much-ruined painting +to the safer custody of the Municipio, but we hope +this will not occur, for, taken away from its gateway +on the hillside, where the redstarts build their nests +and the evening sun lights up the colour in the Virgin's +face, its interest and charm would be lost.</p> + +<p class="center p2"><span class="smcap">The Castle or "la Rocca d'Assisi"</span></p> + +<p>Within her city walls Assisi possesses nothing +wilder or more beautiful than the undulating slopes +which rise from the city up to the Castle, where +wild orchises grow among the grass, and the hedges +of acacia wind around the hill. The town lies +so directly below, that by stepping to the edge and +looking across the white acacias, we can only see +a mass of brown roofs all purple at sundown, the +tops of towers and the battlements of gateways. +Then there are places where the grassy hillocks +stand up so high that they hide the town altogether, +and we seem to be looking out upon the broad vista +of the valley from an isolated peak. At all times it +is beautiful; but choose a stormy day in springtime, +when the clouds are driving upwards from the plain +only lately covered with mist, and the nearer hills +are dark their cities catching the late evening sunshine +as it breaks through the storm, while wind-swept +Subasio looks bleak in the white light showing here +and there patches of palest green. And behind us, +cresting the hill, so near the town yet seen absolutely +alone and clear against the sky, rise the tower +and the vast walls of the Rocca d'Assisi, looking, not +like a ruin crumbling beneath the constant driving +<span class="pagenum"><a name="Page_325" id="Page_325">325</a></span> +of wind and rain, but as though torn down in war-time, +grand in its destruction. It stands upon the site +of an ancient burial ground, where in remote times +the Umbrian augurs came to watch for omens from +the heights of a tower that is said to have crowned +the summit. The legend of this building gave rise +to the belief that a castle stood here in very early +times which was taken by Totila when he besieged +<span class="pagenum"><a name="Page_326" id="Page_326">326</a></span> +Assisi. But it is more probable that when Charlemagne +rebuilt the town in 733 after it had been +destroyed by his army, he also erected a castle to +enable the Papal emissaries to keep the people in +subjection; or perhaps the citizens themselves may +have wished to protect themselves more securely from +passing armies (see p. <a href="#Page_16">16</a>). It ended by becoming, +much to the displeasure of the people the residence of +whoever held Assisi for the time, and in the twelfth +century they experienced the despotic rule of Conrad +of Suabia, who lived here with his young charge, +Frederic II. When, by the superior power of the +Pope, Conrad was driven out of Umbria, the citizens +did their best to destroy the walls which had harboured +a tyrant, and to avoid further tyranny they obtained an +edict forbidding the erection of another fortress. But +promises such as these were vain indeed, for when, in +1367, escaping from the hated yoke of the Perugians +Assisi welcomed Cardinal Albornoz in the Pope's +name as her ruler, she lent a willing ear to his +plans for rebuilding the castle. The people were +well satisfied as they watched the improvements he +made in the town, and two centuries had so dimmed +the remembrances of Conrad's tyranny, that they +gladly assisted him, little deeming that they were +giving away their liberty. Albornoz, not slow to +perceive what a valuable possession it would prove +to the rulers of Assisi, spared neither money nor +efforts to make it large and strong. By his orders +the castle keep, which we see to this day, called +the "maschio," and the squarely-set walls enclosing +it were erected, and in a very few years the Rocca again +rose proudly on its hill, warning the Umbrian people +of its newly-found importance, and enticing passing +<i>condottieri</i> to lay siege to a town that offered so fine +a prize. Albornoz also rebuilt most of the city walls +<span class="pagenum"><a name="Page_327" id="Page_327">327</a></span> +which had been so battered during the Perugian wars; +we can trace them from gateway to gateway encircling +the city, and it is curious to see how in the upper +portion near San Rufino large open spaces exist, as if +in those active days when the Assisans had hopes of +becoming powerful, they purposely set the walls far +back to provide for a large and flourishing town. The +feeling of arrested growth is one of the most mournful +spectacles, and we half wonder if the great castle +dominating the heights was not in part the cause of it. +There was war enough at the time, inevitable among +the restless factions of a people groping towards freedom +and power, but here above the town was placed a +fresh cause of dissension and struggle against perpetual +bondage through varied tyrannies.</p> + +<p>Albornoz, in planning out the city walls, discovered +that the part between Porta Cappuccini and Porta +Perlici, where the hill descends towards the ravine, +needed protection, so he built the strong fortress of San +Antonio known as the Rocca Minore. It had a +separate governor or Castellano, and though of minor +importance, proved very efficient in repelling the attacks +of besieging armies. The principal tower, though +somewhat ruined, still looks very fine within its square +enclosure of massive walls, now covered in places with +heavy curtains of ivy, the home of countless birds. A +pious Castellano in the fifteenth century left a fresco +of the Crucifixion in the chapel with his portrait at +the foot of the Cross, and as we look at it through the +wooden gateway we are reminded of what otherwise +from the deserted look of the place it is easy to forget, +that people once lived and prayed at the Rocca as well +as fought.</p> + +<div class="figcenter"><a name="illo343" id="illo343"></a> +<img src="images/illus343.jpg" width="450" height="521" alt="LOOKING ACROSS THE ASSISAN ROOFS TOWARDS THE EAST" /> +<p class="caption">LOOKING ACROSS THE ASSISAN ROOFS TOWARDS THE EAST</p> +</div> + +<p>Cardinal Albornoz left the castle in charge of two +Assisan captains, but from 1376 an uninterrupted line +of governors received their salaries from whoever was +<span class="pagenum"><a name="Page_328" id="Page_328">328</a></span> +master of Assisi at the time. Always chosen from +other towns their privileges were quite distinct from +those of the civil governors; but in the fifteenth century, +owing to the weakness of the Priors, who failed +to keep order among the lawless nobles of the town, +their power increased. The Papal Legate then gave +into the hands of the Castellano authority to issue edicts +which the Priors had to obey, and in 1515 he was +invested with the title of Podestà and Pretor of +Assisi. But none of these governors seems to have +misused their power over the town, probably because +their rule was of too short a duration to carry out any +ambitious scheme. And when the despot for the time +being of Assisi came to stay, he took up his quarters +in the castle, ruling governors, magistrates and people +alike. In the time of the despot Broglia di Trino, +we hear of the Priors wearily toiling up the steep +ascent to place before him the acts they had passed in +the municipal palace. He received them always in the +open air, holding his councils either in the first enclosure +by the well, or in the second by the castle keep, where +many important conclusions were arrived at, and plans +for the city's dominion laid out.</p> + +<p>So perfect is the harmony of the castle from wherever +it is seen, that it is difficult to realise how many +hands have formed it, how many times its walls have +been battered down and rebuilt at different periods by +popes, cardinals, and passing <i>condottieri</i>, who have nearly +all left their arms upon its walls as a record of their +munificence. After Albornoz had built the principal +mass of fortifications little was done until 1458, when +Jacopo Piccinino, the son of the great general, entered +Assisi as master, and obtained immediate possession of +the Rocca. His reign was short, but with the quick +eye of a soldier he soon discovered the weakness of the +western slope, and seeing that it might be carried by +<span class="pagenum"><a name="Page_329" id="Page_329">329</a></span> +assault from Porta San Giacomo, he laid the foundations +of a polygonal tower and a long wall connecting +it with the main building. The Comacine builders +established in Assisi were employed and left their sign, +the rose between the compass and the mason's square, +upon its lower walls. But long before the work was half +completed Piccinino sold the city to the Pope, and it +was Æneas Piccolomini, Pius II, who, when he visited +Assisi in 1459, ordered it to be brought to a termination; +within a year the wall was raised to its full +height, the tower received its battlements and the arms +of the Piccolomini were placed above those of Piccinino. +The covered gallery, running along the top of the wall +from the castle, still leads the visitor to the giddy +heights of the tower whence he obtains truly a bird's-eye +view of all the country round, from Spoleto to +Perugia, across range upon range of hills towards +Tuscany, and from Bettona to the wild tract of +mountainous country leading to Nocera, Gualdo and +Gubbio.</p> + +<p>To recount the full history of the castle needs a +book to itself, and would include not only the history +of Assisi but almost of all Umbria.<a name="FNanchor_111" id="FNanchor_111" href="#Footnote_111" class="fnanchor">[111]</a> The possession +of the Rocco Maggiore entailed that of the Rocca +Minore and gave undisputed sway over Assisi, so that +the desperate efforts made to hold it can be understood. +During the intervals when Papal authority was relaxed, +we find the names of many famous people whose armies +fought for this much contested prize. Biordo Michelotti, +Count Guido of Montefeltro, the two Piccininos, +Francesco Sforza and Gian Galeazzo Visconti, were +<span class="pagenum"><a name="Page_330" id="Page_330">330</a></span> +in succession its owners. Cosmo de' Medici obtained +it from Pope Eugenius IV, in payment of a bad debt, +and a Florentine governor ruled over it for a year. It +even, together with the town of Assisi, became the +property of Lucrezia Borgia, who received it from +Alexander VI, as part of her dower on her marriage +with Giovanni Sforza, Lord of Pesaro. Sometimes it +happened that a private citizen of Perugia conceived +the ambitious scheme of making himself master of the +castle, and by fraud the Castellano would be enticed +outside the gates and murdered with his family. But +it always ended by Perugia, fearing the wrath of the +Pope, or not liking one of their own citizens to gain so +much power, sending an army to dislodge the tyrant, +who soon lost his head. Sometimes criminals were +kept imprisoned in the castle; we can still see the +room in the keep where they scratched their names +upon the wall, with many references to their horror of +the place, and a roughly traced heart pierced with an +arrow. Ordinary malefactors were shut up in a dark +cell on the stairs. When their crimes merited death +they were executed on the Piazza della Minerva, or if +time pressed, the Castellano hanged them from the +battlements of the fortress or threw them out of a +window into the ravine below. The governors had a +difficult and not a very peaceful time, for they had not +only to guard against outside foes, but occasionally +against a faction who attempted to get possession of +the castle, and great on those occasions was the fight +outside its walls. It was in vain that they took every +precaution for the general safety, that a night guard +walked up and down the Assisan streets playing his +castanets to warn off all evil-doers, or that men-at-arms +watched incessantly from the castle battlements. In +the sixteenth century the castle became a prey to the +rival families of the Nepis and the Fiumi who divided +<span class="pagenum"><a name="Page_331" id="Page_331">331</a></span> +Assisi between them. First it fell into the hands of +Jacopo Fiumi and the Pope, Alexander VI, furious +when he heard of this citizen's audacious act, wrote +that "by love or by force" he would have his fortress +back again; but Jacopo remained impervious to threats +or promises and held out for another year, until the +Priors fearing the anger of the Pope came to an agreement +with him. Some thirty years later the Nepis +obtained possession of it by treachery and violence, +and it required all the astuteness of Malatesta Baglione, +who was fighting for Clement VII, to dislodge them, +while the Pope branded them and their adherents as +"sons of iniquity" for having dared to wrest from +the Papacy the castle of Assisi.</p> + +<div class="figcenter"><a name="illo350" id="illo350"></a> +<img src="images/illus350.jpg" width="450" height="513" alt="VIEW OF SAN FRANCESCO FROM BENEATH THE CASTLE WALLS" /> +<p class="caption">VIEW OF SAN FRANCESCO FROM BENEATH THE CASTLE WALLS</p> +</div> + +<p>But the days of the great military importance of the +Rocca were fast drawing to a close; Assisi, no longer +oppressed by the nobles, harassed by the armies of +Perugia, or alarmed by the coming of the despots +whose power was on the wane all over Italy, lost her +character of individuality as a fighting and turbulent +city, and sank beneath the wise and beneficent government +of the Papacy. With the arrival of Paul III, +in 1535, the final blow was given to mediæval usages +of war and scheming in Umbria. The great Farnese +Pope was building his fortress at Perugia to finally +crush that hitherto indomitable people, and fearing the +Assisans might yet give trouble in the future to his +legates as they had so often done in the past, he gave +orders that the fortress should be repaired, and a bastion +suitable for the more modern methods of warfare be +built to the right of the castle keep. This is now +the best preserved portion of the building. For some +time a Castellano still remained in command of the +castle but his title was purely a nominal one, and his +chief duty seems to have consisted in guarding prisoners. +Its political need having disappeared the +<span class="pagenum"><a name="Page_332" id="Page_332">332</a></span> +popes thought less of their Assisan fortress, the one +lately erected at Perugia being more efficient as a safeguard +of their interests, and gradually its walls showed +signs of decay, but no papal legates were sent to see to +their repair. So terribly did it suffer during the years +that followed the reign of Paul III, that in 1726 we +read of the governor of the city sending an earnest +<span class="pagenum"><a name="Page_333" id="Page_333">333</a></span> +supplication to the Pope that "this strong and ancient +castle of Assisi, which had always been the chief +fortress of Umbria, should be saved from ruin." The +Pope, he tells us in another letter, had already sent +Count Aureli, the military governor of Umbria, to +inspect it, who declared it was "one of the strongest +and most splendid fortresses of the ecclesiastical states, +and as fine as any he had seen in France or in Flanders, +when as head page he had accompanied Louis XIV." +In the same document there is mention also of beautiful +paintings in the chief rooms, and of a miraculous +Crucifixion in the chapel, but these decorations, needless +to say, have long since disappeared. Entreaties +were vainly sent to Rome; the castle was so utterly +abandoned that its gates stood open for all to roam in +and out as they pleased, pulling down the ancient arms +of the popes, and vying with the storms to complete its +ruin and destruction. Such was its strength that it +endured the ill-treatment of seasons and of men, and +people now alive remember in their youth to have seen +it still roofed in and possessing much of its former +magnificence. A little money might have restored it +to its pristine state, but during those years of struggle +for the Unity of Italy the general fever of excitement +invaded the quiet town, and as if remembering all the +tyrants their castle walls had harboured, and the skirmishes +their ancestors had fought beneath them, the +citizens continued its destruction with renewed vigour. +It was no uncommon thing to see cartloads of stones +being taken down the hill for the construction of some +modern dwelling, or boys amusing themselves by throwing +down portions of the walls, and trying who could +succeed in making great blocks of masonry reach the +bed of the torrent below. Luckily the government +gave it over to the commune of Assisi in 1883 and +they did something towards its repair, though within +<span class="pagenum"><a name="Page_334" id="Page_334">334</a></span> +certain limits, for a large sum would have been necessary +to complete its restoration.</p> + +<p>But it still remains a very wonderful corner of Assisi, +and delightful hours may be passed sitting in the castle +keep and looking out of the large windows upon a +land so strangely peaceful, with little cities gathered on +the hills or lying by some river in the plain. We see the +battered walls around us bearing traces of ancient warfare, +and wonder at the power which made the mediæval +turmoil so suddenly subside. In vain we scan the +valley for the coming of a warlike cardinal with glittering +horsemen in his rear, or look for Gian Paolo +Baglione riding hastily through the town upon his +swift black charger. The communal armies met for +the last time by the Tiber many centuries ago; popes, +emperors, <i>condottieri</i> and saints have passed like +pageants across Umbria, and as if touched by a +magician's wand have as suddenly vanished, leaving +her cities with only the memories of an active and +glorious past. Thus Assisi, with the rest of the +smaller towns, gradually sank as a prosperous and +governing city though decidedly not as a place of pilgrimage +and prayer, into that deep sleep from which +she has never again awakened. +</p> + +<p class="center b125 p6">CHAPTER XI</p> +<p><span class="pagenum"><a name="Page_335" id="Page_335">335</a></span></p> +<p class="center b175"><i>Church of Santa Maria degli Angeli. +The Feast of the Pardon of +St. Francis or "il Perdono +d'Assisi"</i></p> + +<p><span class="dropcap">T</span>he sanctuary of the Portiuncula has, in its present +surroundings, rightly been called a jewel within a +casket—a casket indeed too large for so small a gem. +But the great Church of Santa Maria degli Angeli was +the best the Umbrians could procure for the object +they loved best after their Basilica in the town, and +the famous architects of the day were called in to +build it.<a name="FNanchor_112" id="FNanchor_112" href="#Footnote_112" class="fnanchor">[112]</a> A smaller shelter would have served the +purpose in earlier times but the ever increasing flow +of pilgrims who came in thousands for the "Perdono" +rendered it necessary to think about a church large +enough to contain them; and it was the dominican +Pope Pius V, who enabled the work to be commenced +in 1569, giving large sums to the vast enterprise. +Jacopo Barozio da Vignola gave the ground-plan, +leaving the execution of it, at his death in 1573, to +be carried out by the well-known Perugian architect and +sculptor, Giulio Danti, and his fellow-citizen Galeazzo +Alessi, who designed the fine cupola and arches. +The church was built in the doric style, divided +<span class="pagenum"><a name="Page_336" id="Page_336">336</a></span> +into nave and aisles with numberless side chapels; +and certainly they succeeded in giving it a great +feeling of space and loftiness, which if less charming +than the mysterious gloom of other churches yet seems +to belong better to the open and sunlit Umbrian plain, +where it rises as a beacon to the people for many miles +round. The earthquake in 1832, which laid the +villages near Ponte San Giovanni in almost total ruin, +shook down the nave and choir of the Angeli creating +havoc impossible to describe. By supreme good fortune, +shall we say by a miracle, the cupola of Danti +and Alessi remained intact above the Portiuncula, which +otherwise would have been utterly destroyed. In rebuilding +the church, Poletti, the Roman architect employed, +deviated slightly from Vignola's original plan, +and further he erected a more elaborate and far less +elegant façade than the first one, but baroque as it is +we may be thankful that the niches for statues of the +saints have remained empty. There have been other +earthquakes since that of 1832, and when they occurred +a pyramid of faggots was carefully piled upon the +Portiuncula for protection in case a miracle might not +intervene a second time to save it from destruction.</p> + +<p>The friars took an active part in the work, building +the campanile and carving the handsome pulpit and the +cupboards in the sacristy. The marble altar was given +in 1782 by Mehemet Ali, the ruler of Egypt, and many +noble Italian families contributed towards the erection +of the chapels containing decadent paintings which it +would be useless to describe or to look at. One priceless +treasure ornaments the chapel of San Giuseppe (in +the left transept), a work of Andrea della Robbia in +terra-cotta of blue and white which is like a portion of +the sky seen through the cool branches of a vine on a +glaring summer's day. Andrea is truly the sculptor +of the franciscans, for there are but few of his works +<span class="pagenum"><a name="Page_337" id="Page_337">337</a></span> +where an incident from St. Francis' life is not introduced, +and with what feeling they are realised. On +one side of the beautiful Madonna who bends to receive +her crown from the hands of the Saviour, is represented +with great dignity and simplicity St. Francis receiving +the Stigmata, on the other St. Jerome and his lion. +Beneath is a predella divided into three compartments, +the Annunciation, Christ in the manger, and the Adoration +of the Magi; and Andrea has framed in the whole +with a slightly raised garland of apples, fir-cones and +Japanese medlars, which suits the delicacy of the workmanship +of the small scenes better than a heavier wreath +of fruit and leaves. In the Capella delle Reliquie (in +the right transept) is a Crucifixion painted on panel by +Giunta Pisano (?) with medallion half figures of the Virgin +and St. John; below are kneeling angels by an Umbrian +artist, whose work contrasts most strangely with the +ancient painting belonging to the dark years before Giotto.</p> + +<p>In a preceding chapter we lamented the efforts that +have been made to decorate the Portiuncula, now alas +no longer the shrine among the oak trees; not only in +earlier centuries did Umbrian artists cover its rough +stones in many parts with frescoes, but the German +artist Overbeck has added another superfluous decoration +to the façade, severely, but justly criticised by M. Taine, +and a German lady has painted the Annunciation on +the apse. A very small picture by Sano di Pietro of +the Madonna and Child hangs above, a very charming +example of the master's work. Very little remains of +Pietro Perugino's Crucifixion, and what there is has +been well covered over with modern paint. The choir +of the monks built outside the Portiuncula having been +removed in the eighteenth century half of Perugino's +fresco was destroyed, leaving only the groups of people +at the foot of the Cross, amongst whom we recognise +St. Francis. +<span class="pagenum"><a name="Page_338" id="Page_338">338</a></span></p> + +<p>A naïve legend is recalled to us by the stone slab +let into the wall close to the side entrance, recording +the spot where Pietro Cataneo, the first vicar of the +Order during the life of the saint, is buried. He was +as holy as the rest of those first enthusiasts, and after +death so many miracles were wrought at his tomb that +the peace of the friars was disturbed. The case +becoming serious they had recourse to St. Francis +who, seeing the danger that their lonely abode would +become a place of pilgrimage, addressed an admonition +to Pietro Cataneo, saying that as he had ever been +obedient in life so must he be in death and cease to +perform such marvellous miracles. After this when +peasants came to pray for some favour at his tomb no +answer was vouchsafed, so that gradually their faith in +his intercession ceased and peace again reigned at the +Portiuncula.</p> + +<p>The extent of the present church is so immense that +the site of all the scattered huts of the brethren and the +little orchard so carefully tended by the saint, are contained +within its walls. Over what was the infirmary +where St. Francis died St. Bonaventure built a chapel +which Lo Spagna decorated with portraits (?) of the +first franciscans, now seen very dimly like shadows on +its walls by the flickering light of the tapers. Out of +the half gloom stands strongly outlined in a niche above +the altar, a beautiful terra-cotta statue of St. Francis +by Andrea della Robbia. The hood is thrown back, +the head slightly raised, and in the sad but calm expression +of the exquisitely modelled face Andrea conveys +a truer feeling of the suffering Poverello than +all the so-called portraits. One of these, said to be +painted on the lid of the saint's coffin by Giunta Pisano, +hangs outside the chapel, but it looks more like a bad +copy of Cimabue's St. Francis in the Lower Church, +and we would fain leave with the remembrance unspoilt +<span class="pagenum"><a name="Page_339" id="Page_339">339</a></span> +of Andrea's fine conception. Passing through the +sacristy containing a head of Christ by an unknown +follower of Perugino and a small Guido Reni (?), we +reach the chapel of St. Charles Borromeo where an +ancient and much restored portrait of St. Francis, said +to be painted on part of his bed, hangs above the altar; +it is in every way less interesting than the one in the +sacristy of the Lower Church. From here an open +colonnade leads past a little plot of ground, which in +the days of the Little Brethren was the orchard of the +convent. One day as the saint left his cell he stopped +a moment to speak with the friar who attended to the +land, "begging him not to cultivate only vegetables, +but to leave a little portion for those plants which in +due time would bring forth brother flowers, for the love +<span class="pagenum"><a name="Page_340" id="Page_340">340</a></span> +of Him who is called 'flower of the field and lily of +the valley.'" Accordingly a "fair little garden" was +made, and often while St. Francis caressingly touched +the flowers, his spirit seemed to those who watched +him to be no longer upon earth but to have already +reached its home. On the other side, carefully preserved +within wire netting, is the famous Garden of +Roses, and standing in the midst, like ruins of some +temple, are the four pillars which in olden times +supported a roof above the Portiuncula. In the days +when St. Francis had his hut close by, this cultivated +garden was only a wilderness of brambles in the forest, +and the legend tells how the saint being assailed by +terrible temptation as he knelt at prayer through the +watches of the night, ran out into the snow and rolled +naked among the brambles and thorns to quiet the +fierce battle within his soul. The moonlight suddenly +broke through the clouds shining upon clusters of white +and red roses, their leaves stained with the saint's blood +which had fallen upon the brambles and produced these +thornless flowers, while celestial spirits filled the air with +hymns of praise. Throwing a silken garment over him +and flooding his pathway with heavenly radiance, the +angel led him to the Portiuncula where the Madonna +and Child appeared to him in a vision. The legend +has been often illustrated, Overbeck's fresco on the +façade of the chapel records it yet again where St. +Francis is represented as offering to the Virgin the +roses he had gathered.</p> + +<div class="figcenter"><a name="illo357" id="illo357"></a> +<img src="images/illus357.jpg" width="450" height="375" alt="THE GARDEN OF THE ROSES AT STA. MARIA DEGLI ANGELI" /> +<p class="caption">THE GARDEN OF THE ROSES AT STA. MARIA DEGLI ANGELI</p> +</div> + +<p>A few steps beyond the Garden of the Roses lies +the Chapel of the Roses built by St. Bonaventure over +the hut of St. Francis, which was afterwards enlarged +by St. Bernardine. The place where he spent his few +moments of repose and so many hours of prayer, can +be seen through the grating on a level with the chapel +floor, and resembles more the lair of a wild animal than +<span class="pagenum"><a name="Page_341" id="Page_341">341</a></span> +an ordinary abode of man; but such places were dear +to him, and he rejoiced in having the open forest outside +his cell into which he wandered at all times of the +day and night, and where the brethren, ever curious to +watch their beloved and holy master, could see him on +moonlight nights holding sweet converse with heavenly +spirits. The choir of the chapel is frescoed by Lo +Spagna who repeated again the figures of the first +franciscans, adding those of St. Bonaventure, St. +Bernardine of Siena, St. Louis of Toulouse, and St. +Anthony of Padua on the left wall, and St. Clare and +St. Elisabeth of Hungary on the right wall. The +fresco on the ceiling is said to be by Pinturricchio. +The paintings in the nave by Tiberio d'Assisi are +faintly coloured and a poor example of Umbrian art; +only the last scene is interesting, where St. Francis +publishes the indulgence in the presence of the seven +bishops, as it gives an accurate representation of the +Portiuncula in the fifteenth century with Niccolò +da Foligno's fresco still upon the façade. It tells the +legend of the "Perdono" which even to the present +day plays so important a part in the religious life of +Assisi, bringing crowds every year to the Portiuncula +for whom the Angeli was finally built. Disentangling +the story from the legend by no means diminishes its +charm, while we get a very striking historical scene +showing us St. Francis in yet another light. Once +when the saint was praying at the Portiuncula, Christ +and his Mother appeared to him to ask what favour he +desired, for it would be granted by reason of his great +faith. The salvation of souls being ever the burden of +his prayers he begged for a plenary indulgence, to be +earned by all who should enter the Portiuncula on a +special day. "What thou askest, O Francis," replied +Christ, "is very great; but thou art worthy of still +greater favours. I grant thy prayer; but go and find +<span class="pagenum"><a name="Page_342" id="Page_342">342</a></span> +my Vicar, the Sovereign Pontiff Honorius III, at +Perugia, and ask him in my name for this indulgence." +Early next morning St. Francis, accompanied by Peter +Cataneo and Angelo da Rieti, started along the road +to Perugia where Innocent III, had but lately died +and the pious Honorius been immediately elected as his +successor. It was in the early summer of 1216 that +the little band of friars were led into the presence of +the Pope in the old Canonica, but not for the first +time did St. Francis find himself in the presence of +Rome's sovereign, gaining his cause now as before +through the great love that made his words and +actions seem inspired. At first the Pope murmured at +the immensity of the favour asked but finally, his +heart being touched by the fervour of the saint, he +said: "For how many years do you desire this indulgence. +Perchance for one or two, or will you that +I grant it to you for seven?" The Pope had still to +learn the depths of love in the saint's heart who stood +before him pleading so earnestly for the souls of men, +not during his life only, but during centuries to come. +"O Messer il Papa," cried St. Francis in accents +almost of despair, "why speakest thou of years and of +time? I ask thee not for years, but I ask thee for souls." +"It is not the custom of the Roman Curia," answered +the Pope, "to grant such an indulgence."</p> + +<p>"Your Holiness," said the saint, "it is not I who ask +for it, but He who has sent me, the Lord Jesus Christ."</p> + +<p>The Pope conquered by these words and driven by a +sudden impulse said, "We accord thee the indulgence." +The Cardinals who had remained silent now began +to murmur and reminded the Pope, like cautious +guardians of the Papal interests, that this plenary indulgence +would greatly interfere with those granted +for pilgrimages to the Holy Land, and for visiting the +tombs of the Blessed Apostles. +<span class="pagenum"><a name="Page_343" id="Page_343">343</a></span></p> + +<p>"We have given and granted it to him," answered +Honorius. "What has been done we cannot undo, but +we will modify it so that the indulgence will be but +for one full day." And motioning the saint to approach +he said: "From henceforth we grant that whoso comes +to and enters this church, being sincerely repentant +and having received absolution, shall be absolved from +all punishment and all faults, and we will that this +indulgence be valid every year in perpetuity, but for +one day only from the first vesper of the one day +until the first vesper of the next." Hardly had the +Pope ceased speaking when St. Francis radiant with +joy turned to depart.</p> + +<p>"<i>O semplicione quo vadis?</i> O simple child without +guile, whither goest thou? Whither goest thou without +the document ratifying so great a favour?" quoth +the Pope.</p> + +<p>"If this indulgence," answered the saint, "is the +work of God, I have no need of any document, let +the chart be the Blessed Virgin Mary, the notary +Christ and my witnesses the angels."</p> + +<p>Round this historical interview the legend makers +wove the pretty story of the roses which flowered +in mid-winter among the snow, relating that after the +concession of the indulgence in the summer of 1216 +occurred this rose miracle, and Christ in a vision +bade the saint go to Rome in order that the day might +be fixed for the gaining of the indulgence, and to +convince Honorius of the truth of his revelation he +was to carry some of the roses with him. But having +already obtained the Pope's sanction at Perugia, it +was unlikely that the saint would wait another year +before proclaiming the glad tidings to all the country-side, +and we may be sure that no sooner had he +returned to the Portiuncula from Perugia than he made +speedy preparations for the arrival of a great concourse +<span class="pagenum"><a name="Page_344" id="Page_344">344</a></span> +of people. On the afternoon of the first of August the +plain about the Portiuncula was filled with pilgrims +from far and near, and many friars hastened from +distant parts to listen to their master's wonderful +message. He mounted the wooden pulpit which had +been erected beneath an oak tree close to the chapel, +followed by the seven Umbrian bishops who were to +ratify his proclamation of the indulgence. St. Francis +discoursed most eloquently to the assembled multitude +and then in the fullness of his joy cried out to them, +"I desire to send you all to Paradise," and announced +the great favour he had obtained for them from the +Holy Pontiff. When the bishops heard him proclaim +the indulgence as "perpetual" they murmured among +themselves, and finally exclaimed that he had misunderstood +the words of the Pope, and that they +intended to do only what was right and ratify the +indulgence for ten years. Full of righteous feeling +the bishop of Assisi stepped forward to correct the +error into which the saint had fallen, but to the astonishment +of his companions he declared the indulgence to +have been granted for all time. Then the others +murmured still more, saying he had done this because +he was an Assisan and wished to bring great honour +to his diocese; so the bishop of Perugia, determining +to set the mistake right, began to speak, but he found +himself forced by a supernatural power to proclaim the +indulgence in the very words of St. Francis. The +same thing happened to the other five bishops, and +St. Francis then saw his dearest wishes realised.</p> + +<p>Daily the fame of the Portiuncula increased, and +the year 1219 witnessed another immense gathering of +people, but this time it was the meeting of the five +thousand franciscan friars who came from distant +parts to attend the Easter Chapter held by St. Francis +in the plain. One of the most vivid and interesting +<span class="pagenum"><a name="Page_345" id="Page_345">345</a></span> +chapters (the xiii) in the <i>Fioretti</i>, pictures for us "the +camp and army of the knights of God," all busily +employed in holy converse about the affairs of the +Order. It relates how "in that camp were shelters, +roofed with lattice and mat, arranged in separate groups +according to the diverse provinces whence came the +friars; therefore was this Chapter called the Chapter +of the Lattices or of the Mats; their bed was the bare +earth, though some had a little straw, their pillows +were stones or billets of wood. For which reason the +devotion of those who heard or saw them was so great, +and so great was the fame of their sanctity, that from +the court of the Pope who was then at Perugia, and +from other towns in the vale of Spoleto, came many +counts, barons and knights, and other men of gentle +birth, and much people, and cardinals and bishops and +abbots with many other clerics, to see so holy and great +a congregation and so humble, the like had never yet +been in the world of so many saintly men assembled +together: and principally they came to see the head +and most holy father of all these holy men...."<a name="FNanchor_113" id="FNanchor_113" href="#Footnote_113" class="fnanchor">[113]</a></p> + +<div class="figcenter"><a name="illo364" id="illo364"></a> +<img src="images/illus364.jpg" width="450" height="539" alt="THE FONTE MARCELLA BY GALEAZZO ALESSI" /> +<p class="caption">THE FONTE MARCELLA BY GALEAZZO ALESSI</p> +</div> + +<p class="center p2"><span class="smcap">The Pardon of St. Francis or "Il Perdono +d'Assisi."</span></p> + +<p>We cannot study the story of any Umbrian town +without experiencing the feeling that it belongs to the +past and was built in an age, which can only dimly be +realised in the pages of old chronicles, by a people +who were ever hurrying to battle, bent on glory and +conquest for their cities. The character of the inhabitants +<span class="pagenum"><a name="Page_346" id="Page_346">346</a></span> +has changed, and though the wonderful little +cities they built upon the hills remain much as in +mediæval times, they have a peaceful and quiet loveliness +of their own which could not have existed in +those days of fevered struggle and unrest. The word +Assisi brings up, even to those who have seen the +town but for a day, a host of sunlit memories; of way-side +<span class="pagenum"><a name="Page_347" id="Page_347">347</a></span> +shrines with fading frescoes, whence Umbrian +Madonnas smile down upon the worshippers; of +ravines and forest trees; of vineyards where the +peasants greeted you; of convent and Basilica glowing +golden and crimson in the sudden changes from +afternoon to sun-down, as they lie bathed in the last +rays of light upon the hill above the darkness of the +valley. All these things and many more pass through +our minds, but the picture would be incomplete if we +fail to recall two days in August when the undying +power of St. Francis once more reaches across the +centuries, arousing the people to a sudden return to +mediæval times of expiation, prayer and strong belief +in the power of a great saint's intercession.</p> + +<div class="figcenter"><a name="illo365" id="illo365"></a> +<img src="images/illus365.jpg" width="450" height="331" alt="AN ASSISAN GARDEN IN +VIA GARIBALDI" /> +<p class="caption">AN ASSISAN GARDEN IN<br /> +VIA GARIBALDI</p> +</div> + +<p>The very mention of a feast savours in Italy of delightful +things, of songs, of crowds of happy-looking +people bent on the pleasures of a holiday as well as on +praying for the good of their souls, and as a feast at +Assisi sounded fairer than any other, we determined to +become for the moment pilgrims and seek with them +<span class="pagenum"><a name="Page_348" id="Page_348">348</a></span> +for the "Pardon of St. Francis." So as the days +drew near to August we stood once more on the +terrace of the Hotel Subasio, and as we felt the cool +air of the early morning coming from the mountains, +long days of interminable heat at Florence were forgotten, +and Assisi, with her gardens full of sweet-scented +summer flowers, her streets resounding only +with the plash of the water of many fountains, seemed +to us indeed to possess more beauty, variety and +brilliancy of colour than we had realised before. Never +had the nights been so still as in that late July, when +the peasants had gathered in their harvest and were +waiting for the time of vintage; only the shrill notes +of the crickets answered each other occasionally along +the valley, and the frogs croaked on the margin of the +rills below the town. But soon this calmness ceased +as the country roused itself for the annual spell of +madness; there were voices in the vineyards during +the night, bonfires in the plains, and a general tremor +of excitement filled men and animals, setting the thin +Assisan cocks crowing at unearthly hours in the morning. +A night of sounds and wakefulness preceded a +day when the people of all the cities and villages near +appeared to have arrived in Assisi, not for the feast—for +it was only the 29th of July—but for the fair. +We followed them to the Piazza della Minerva, no +longer the quiet place of former visits when only a +few citizens sat sipping their cups of coffee, or talked +together as they walked leisurely up and down. +Temples, buildings and frescoes were forgotten as +we watched the peasants gather round the booths to +purchase articles of apparel and household wares, +bargaining in shrill voices to the delight of purchaser, +seller and onlooker. All the people of the country +seemed to be here, and the Umbrian sellers had decked +their stalls with a dazzling mass of coloured stuffs as +<span class="pagenum"><a name="Page_349" id="Page_349">349</a></span> +attractive to us as to the Umbrian women. We bought +large kerchiefs with red roses on a yellow ground to +wear over our heads at the feast, and enormous hats with +flapping brims, which the peasants, always interested in a +neighbour's purchase, helped us to choose, saying, "take +this one for no rain will come through it, and you need +never use an umbrella." So a sun-bonnet was bought +for rain and we went away convinced that no more +delightful shopping could be done than during a fair +day at Assisi, when a passing farmer and his family +were ready to help us to choose the goods and to +bargain, and moreover comforted us in the end by the +assurance that in their opinion the money had been well +spent. Later we strolled up to the Piazza Nuova, +where an immense fair of oxen was being held, transforming +another sleepy corner of the town into a busy, +bustling thoroughfare. They were quiet beasts enough +and we walked in among them stroking their soft noses +as we watched the groups of excited peasants performing +the various rites of selling and buying. When an ox +was sold the broker joined the hands of vendor and +purchaser by dint of much pulling, and then shook them +up and down, shouting all the while, until our joints +ached at the sight of this energetic signing of a treaty. +The bargaining causes enormous amusement, the discussion +on either side bringing a current of eager talk +through the crowd; only the oxen were thoroughly +weary of the whole affair as they gazed pensively at +their owners. They were large milk-white creatures, +the whole place was one white shimmering mass seen +against the old walls of the town and the blocks of +Roman masonry, calling up idle fancies of Clitumnus +down in the valley just in sight, whose fields had given +pasture to the oxen of the gods.</p> + +<p>The whole of that day Assisi was full of Umbrian +men and women greatly concerned in buying and selling; +<span class="pagenum"><a name="Page_350" id="Page_350">350</a></span> +but on the next the streets began to fill with +people from distant parts of Italy, whose only thought +was for St. Francis. At a very early hour of the 30th +we were roused by the sound of many voices in the +distance; going out on the terrace we saw a crowd of +pilgrims coming across the plain, and others moving +with slow steps up the hill. When near the Porta S. +Francesco they knelt outside in the road and sang their +hymn of praise before entering the Seraphic City. From +dawn to evening a steady stream of pilgrims passed into +the town, and the chanting, rising and falling like a +fitful summer breeze, was the only sound to be heard +throughout the day. Such different groups of people +knelt together in the church, with nothing in common +but the love for the franciscan saint whose name was +for ever on their lips. They came from distant corners +of Southern Italy generally in carts drawn by mules +or oxen, for few could afford the luxury of coming by +train. The Neapolitan women and those from the +Abruzzi wore spotlessly white head-kerchiefs which +fell round their shoulders like a nun's coif, a white +blouse and generally a brilliant red or yellow skirt +gathered thickly round the hips; the men were even +more picturesque, with their waistcoats and knickerbockers +of scarlet cloth, their white shirt sleeves showing, +and their stockings bound round with leathern +thongs. Some of the women from the Basilicata wore +wonderful necklaces of old workmanship, and gold +embroidered bands laid across their linen blouses, while +long pins with huge knobs of beaten silver fastened +their headgear of black and white cloth. There were +two women from the mountains of the Basilicata who +wore thick cloth turbans, and blue braid plaited in and +out of their hair at one side, giving them a coquettish +air; they suffered beneath the burden of their thick +stuff dresses made with straight short jackets and +<span class="pagenum"><a name="Page_351" id="Page_351">351</a></span> +skirts and big loose sleeves. Their felt boots +were ill-fitted for Umbrian roads, and altogether +they were attired for a winter climate and not for +a burning August day in mid Italy. "Ah, it is cool +among our mountains," they said with a sigh gazing +wearily down at the plain which sent up hot vapours to +mingle with the dust. Many of them had been three +weeks on their journey and they look upon it as a great +holiday, an event in +their lives which cannot +be often repeated +for they are poor and +depend for their livelihood +upon the produce +of their fields; but even +the poorest brings enough +to have a mass said at +the Portiuncula and to +drop some coppers on +the altar steps. A few +wandered through the +Upper Church looking +at Giotto's frescoes, but +unable to read the story +for themselves turned to +us for an explanation +when we happened to be there. They patted our faces, +saying <i>carina</i> by way of thanks, but realised little or +nothing about the saint they had come so far to honour, +only being certain that his intercession was all powerful. +Several peasants sat in turn upon the beautiful Papal +throne in the choir, both as a cure and as a preventive +against possible ailments, and thinking there was some +legend as to its miraculous qualities we asked them to +tell us about it. They looked up surprised and very +simply said, "It stands in the church of San Francesco," +<span class="pagenum"><a name="Page_352" id="Page_352">352</a></span> +this was enough in their eyes to explain all miracles +and wonders. A favourite occupation was kneeling by +the entrance door of the Lower Church and listening +for mysterious sounds which are said to come from the +small column fixed in the ground. "What are you +doing," we asked, cruelly disturbing the devotion of an +old man in our desire for information. "I am listening +to the voice of St. Francis," he answered, telling us +that we might hear it too, but as he was in no hurry to +cede his place to others we had no chance of verifying +his strange assertion. The priests had a double function +to perform, for while hearing confessions they held a +long rod in their hands with which they tapped the +heads of the peasants passing down the church; it was +a blessing, which by the ignorant might be mistaken +for some mysterious kind of fishing in invisible waters. +At first the northern mind was surprised at the familiar +way the pilgrims used the churches as their home, many +being too poor to afford a lodging in the town. +Especially at the Angeli we saw the strange uses side altars +were put to; a family, having heard several masses and +duly performed all their spiritual duties, would settle +themselves comfortably on the broad steps of an altar, +unfasten their bundles and proceed to breakfast off large +hunches of bread and a mug of water; what remained +of the water was employed in washing their feet. One +man who had tramped for many days along dusty roads +and wished to change his clothes, conceived the novel +idea of retiring into a confessional box for the purpose. +His wife handed him in the clean things and presently +he drew aside the curtain, and emerged in spotless festive +apparel with his travelling suit tied up in a large red +handkerchief.</p> + +<div class="figright"><a name="illo369" id="illo369"></a> +<img src="images/illus369.jpg" width="225" height="255" alt="WOMEN FROM THE BASILICATA" /> +<p class="caption">WOMEN FROM THE BASILICATA</p> +</div> + +<p>Late in the evening of the 30th we happened to be +at the Angeli when a new batch of pilgrims arrived, +and for a long time we watched them reverently approach +<span class="pagenum"><a name="Page_353" id="Page_353">353</a></span> +the Portiuncula on their knees, singing all the +time the pilgrim's hymn with the ever-recurring refrain, +"Evviva Maria e Chi la creò," which resounded through +the church in long drawn nasal notes ending in a kind +of stifled cry. There was something soothing in the +plaintive, monotonous cadence as it reached us at the +Garden of the Roses, where we had gone to breathe +the cool air which blows across the open colonnade even +on the hottest of summer days. We were listening to +Father Bernardine's peaceful talk about St. Francis +and the cicala which sang to him in the fig tree, and +the lamb which followed the brethren to office, when +suddenly we were startled by shrieks and screams in +the church. "It is nothing, only the Neapolitans," +said Father Bernardine, smiling at our distress. But +unable longer to bear what sounded like the moanings +of the wind which always fills one with uneasy feelings, +half of fear, half of expectation that something unusual +is going to happen, we hurried once again into the +church. There a sight met our eyes which we shall +never forget. Lying full length on the ground, their faces +prone upon the pavement, were women crawling slowly, +so slowly that the torture seemed interminable, from the +entrance of the great church to the Portiuncula, and +as they crawled they licked the floor with their tongues +leaving behind them a mark like the trail of a slug. +As we watched these poor penitents dragging themselves +along, unconscious of aught around them and +only overwhelmed by the consciousness that they must +make atonement for past sins, a terrible sense of compassion, +misery and disgust came over us. Who could +restrain their tears, though they may have been tears +of anger that people should be allowed to practise such +ignoble acts of self-abasement. One girl especially +called forth all our sympathy. She came running in +out of the sunlight, and after standing for a moment +<span class="pagenum"><a name="Page_354" id="Page_354">354</a></span> +at the entrance with her eager face uplifted towards +the holy shrine, her eyes alight with the strange look +of one bent upon some great resolve, she threw herself +down full length upon the ground and commenced the +terrible penance which she had come all the way from +the Abruzzi mountains to perform.<a name="FNanchor_114" id="FNanchor_114" href="#Footnote_114" class="fnanchor">[114]</a> She was very +slight and her black skirt fell round her like a veil, +showing the delicate outline of her figure against the +marble pavement. Resting her naked feet against the +knees of a man kneeling behind her, she pushed +herself forward with the movement of a caterpillar. +Another man tapped his pilgrim's staff sharply on the +floor in front of her face to direct her towards the +chapel, whilst her mother ever now and then bent +down to smooth away the tangle of dark hair which +fell round the girl like a shroud. Though prematurely +aged by toil and suffering, the elder woman had a +beautiful face, reminding one of a Mater Dolorosa +as with bitter tears she assisted at her daughter's +deep humiliation. Just as this sad little group +neared the Portiuncula the girl stopped as though +her strength were exhausted, when the mother, choked +by sobs, lifted the heavy masses of her daughter's +hair and tried to raise her from the ground. The +pilgrims pressed round singing "Evviva Maria e Chi +la creò" until the sound became deafening, while +the men struck the ground almost angrily with their +sticks, and at last the girl still licking the ground crawled +forward once again. When she reached the altar +<span class="pagenum"><a name="Page_355" id="Page_355">355</a></span> +of the Portiuncula she stretched out one hand and +touched the iron gates, and then like a worm rearing +itself in the air and turning from side to side, she +dragged herself on to her knees. As consciousness +returned and the Southern blood coursed again like fire +through her veins, she started to her feet and with wild +cries entreated San Francesco to hear her, beating the +gates with her hands and swaying from side to side. +The cry of a wounded animal might recall to one's +memory the prayer of that young girl, storming heaven +with notes of passionate entreaty wrung from a soul in +great mental agony. Other penitents came up to take +her place almost pushing her out of the chapel. We +last saw her fast asleep on the steps of a side altar +curled up like a tired dog, but on her face was an expression +of great calm as though she had indeed found +the peace sought in so repulsive and terrible a manner. +Silently we left the church and turned towards Assisi, +breathing with joy the pure air and looking long at the +hills lying so calm and clear around us. Next day, the +31st of July, there was an excited feeling in the town, +not among the Umbrians, for they take the annual +feast of the "Perdono" quietly enough, but among the +pilgrims, who having now arrived in hundreds and paid +their first visit to the franciscan churches of the hill +and of the plain, stood about in the lower piazza of San +Francesco waiting with evident impatience for the opening +of the feast of the afternoon. We caught their +feeling of expectation and found it impossible to do +aught else than watch the people from the balcony, and +then we went down and wandered about among them. +There were such tired groups of women under the +<i>loggie</i> of the piazza, leaning back in the shadow of the +arches with their shawls drawn across their faces to +shut out the glare of the August sun. A crowd of +girls rested on the little patch of grass near the church, +<span class="pagenum"><a name="Page_356" id="Page_356">356</a></span> +some eating their bread, others sleepily watching the +constant passage of people in and out of the church; +for long spaces they sat silent, listlessly waiting, then +suddenly one among them would rise and sing a southern +song, sounding so strange in Umbria. Her companions, +<span class="pagenum"><a name="Page_357" id="Page_357">357</a></span> +casting off the desire to sleep, joined in the chorus +until the song was ended and they once more became +silent watchers. The shadows began to deepen round +the church, the feeling of expectation increased, and +the hours of waiting seemed long to the crowd and to +us, when about four o'clock the dense mass of people +in front of the church divided. A procession of priests +in yellow copes filed out of the Basilica, one among +them carrying the autograph benediction of St. Francis +(see p. <a href="#Page_210">210</a>), and went to the little chapel near the +Chiesa Nuova built over the stable where the saint is +said to have been born. Here the holy relic is raised +for the faithful to venerate, and the procession returns +to San Francesco. It is a small but important +ceremony, the prelude to the granting of the indulgence. +We had reached the chapel before the procession, +through side streets, but soon returned to the lower +church for the crowd was intolerable, and we had +been warned that once the blessing had been given a +mad rush might be made to reach San Francesco and +that sometimes people were trampled under foot. Out +of the burning heat we entered the cool dark church +where Umbrian peasants had already taken their places, +as spectators, but not as actors in the feast. Seated +on low benches against the wall they formed wondrous +groups of colour, like clumps of cyclamen and primroses +we have seen flowering in a wood upon an Italian +roadside. The gates across the church had been shut, +and were guarded by gendarmes; we had arrived too +late. But presently Fra Luigi appeared at the gate of +St. Martin's chapel, and hurriedly we followed him +down the dark, narrow passage leading to the sacristy; +we had only just time to run across the church and +take our places outside the chapel of St. Mary +Magdalen, when the great crowd surged into the +church. The excitement became intense, and the +<span class="pagenum"><a name="Page_358" id="Page_358">358</a></span> +pilgrims who had followed in the procession as docile +as lambs now could restrain themselves no longer, and +hustled the priests forward, pressing them against the +iron gates in their efforts to approach the altar. There +was a moment of tension as the whole of the iron screen +bent beneath the weight of the crowd when the gendarmes +half opened the gate to allow the priests to pass through. +With the relic swaying above their heads, they slipped +in from among the pilgrims, who, finding the gates once +more barred against them, began to moan and shout with +deafening fury. The organ pealed forth mad music, +the incense rose in clouds around the altar, and eager +faces peered through the gates, which were battered +with angry fists as the people pushed against each other +so that the whole crowd rocked from side to side. +Through it all stood the quiet figure of the priest, +raising the relic high above the heads of the people +whose voices were for the moment hushed, as the +words of benediction were pronounced. Rapidly +crossing the church, followed by his attendants, he +entered the sacristy and shut the door, while four +gendarmes stationed themselves at the corners of the +altar to prevent people from mounting the steps, and +others went to unbar the gates. There was a great +creaking of bolts and hinges and in a moment the +pilgrims rushed forward, afraid of losing even a single +moment of the precious hours of indulgence, and cries +of "San Francesco" almost drowned the sound of +hurrying footsteps. Families caught each other by +the arms and swept wildly round the altar, often +knocking people down in their wild career, old women +gathered up their skirts and ran, the Abruzzesi in their +scarlet jackets, whom we had seen so calmly walking +down the streets, stepped eagerly forward with outstretched +arms and clasped hands calling loudly on the +saint. Round they went in a perpetual circle, first past +<span class="pagenum"><a name="Page_359" id="Page_359">359</a></span> +the altar, then through the Maddalena chapel out into +the Piazza, and back again without a single pause. +Each time they entered the church they gained a new +plenary indulgence. From the walls the frescoed +saints leant towards us, and never had they seemed so +full of peace and beauty, as on that day of hurry and +strange excitement. We saw them through a mist of +dust, but they were more real to us than the fanatics +streaming past in mad career, and we greeted them as +friends. Then as the sun went down in a crimson sky +behind the Perugian hills, a great stillness fell upon the +people, the gaining of indulgences for that day had +ceased, and quietly those who had no shelters went +into the country lanes to pass the night, or rested +beneath a gateway of the town. Already Assisi was +returning to her long spell of silence, for next morning +at dawn the pilgrims would be on their road +to Sta. Maria degli Angeli for the early morning +mass.</p> + +<div class="figcenter"><a name="illo374" id="illo374"></a> +<img src="images/illus374.jpg" width="450" height="585" alt="SAN FRANCESCO AND THE LOWER PIAZZA" /> +<p class="caption">SAN FRANCESCO AND THE LOWER PIAZZA</p> +</div> + +<p>Rashly we left the quietness of the town to join the +crowd again down in the plain late the next afternoon +when the feast was nearly over. The press of +people was felt more at the Angeli than at San +Francesco, as they gained the indulgence by simply +walking round the church and through the Portiuncula +without going outside. It was useless to struggle, or +to attempt to go the way we wanted, for we were +simply carried off our feet and borne round the church +in breathless haste in the temperature of a Turkish +bath. There were moments of suspense when we +doubted, as the crowd bore us swiftly forward, whether +we should pass the confessional boxes without being +crushed against the sharp corners. The cries of +"Evviva Maria, Evviva San Francesco," became +deafening as we neared the Portiuncula, and the people +surged through the doors, throwing handfuls of coppers +<span class="pagenum"><a name="Page_360" id="Page_360">360</a></span> +and silver coins upon the altar steps, and even at the +picture of the Madonna above the altar in their +extraordinary enthusiasm. How tired they looked, +but in their eyes was a fixed look showing the feelings +which spurred them on to gain as much grace as time +would allow. They never paused, they never rested. +With a last glance back upon the people and the names +of Mary and Frances ringing in our ears we left the +stifling atmosphere for the burning, but pure air outside.</p> + +<p>How peaceful it all seemed in comparison to the +scene we had just witnessed. The Piazza was full of +booths as on a market day, with rows of coloured +handkerchiefs, sea-green dresses such as the peasants +like, and endless toys and religious objects; old women +sat under large green umbrellas selling cakes, and +cooks, in white aprons and caps, stood by their pots +and pans ready to serve you an excellent meal. From +under a tree a man sprang up as we passed with something +of the pilgrim's eagerness about him, saying, +"See, I will sing you a song and dance for you," +shaking his companions from their sleep and snatching +up his accordion, he began a wild, warlike dance upon +the grass, while the others accompanied him with an +endless chant. And so the hours crept on, until once +again as the sun went down the pilgrims streamed +quietly out of the church, but this time they gathered +up their bundles and walked to the ox waggons +which were standing ready in the road, and quite +silently without delay they seated themselves, fifteen +or twenty in a cart, to start upon their long journey +home.</p> + +<p>Never had the town been so deadly still as on the +2nd of August, when the inhabitants had gone down +the hill to the church of the Angeli where they sought +to obtain their indulgences now the pilgrims had +<span class="pagenum"><a name="Page_361" id="Page_361">361</a></span> +departed. Very quietly they knelt on the marble +floor during the High Mass, silently they prayed, and +with slow reverent steps they passed in and out of the +Portiuncula until the Vesper hour, and the beautiful, +calm evening then found them gathered round the +altar of their saint. "Pray, ye poor people, chant and +pray. If all be but a dream to wake from this were +loss for you indeed." +</p> + +<p class="center b125 p6">APPENDIX</p> +<p><span class="pagenum"><a name="Page_363" id="Page_363">363</a></span></p> + +<p>To visitors who stay at Assisi for more than the usual +hurried day, the following notes of walks and excursions +may be of some use. A few of them have +been already indicated by M. Paul Sabatier, in a paper +printed at Assisi, to explain the sixteenth century map of +the town found by him in the Palazzo Pubblico, of which a +copy hangs in a room in the Hotel Subasio.</p> + +<p><i>In the Town.</i>—The public garden on the slope of the hill +above the Via Metastasio is a delightful place. It was the +ilex wood of the Cappucine convent until the present +garden was laid out in 1882 by Sig. Alfonso Brizzi, when +the friars' convent became a home for the aged poor.</p> + +<p><i>From Porta S. Giacomo.</i>—(<i>a</i>) A new idea of Assisi is +obtained by following the mountain track from the Campo +Santo round by the quarries and below the Castle to Porta +Perlici. Looking across the ravine of the Tescio and up +the valley of Gualdo and Nocera is a vision of Umbrian +country in its austerest mood. Even if the whole of this +walk cannot be taken we recommend all to follow the broad +smooth road leading to the Campo Santo for a little, as the +view of San Francesco and the valley beyond is very beautiful. +(<i>b</i>) By taking the Via di Fontanella (see <a href="#Map">map</a>), straight +down the hillside, the picturesque bridge of S. Croce is +reached in about twenty minutes. M. Sabatier recommends +the ascent of Col Caprile just opposite for the fine view of +Assisi, but those who do not care for an hour's climb would +do well, having seen the old bridge and its charming +surroundings, to retrace their steps, and after about two +minutes turn off to the right through the fields along a +narrow footpath leading to a bridge over the Tescio and a +farmhouse. Following the right bank of the torrent we +reach the Ponte S. Vittorino (see <a href="#Map">map</a>), and return to the +town by the old road skirting the walls of the franciscan +convent and emerging opposite the Porta S. Francesco. +Want of space prevents more being said than to urge all +<span class="pagenum"><a name="Page_364" id="Page_364">364</a></span> +visitors to go this walk, which is little known and will be +found one of the loveliest they have ever seen. Every step +brings something new; banks of orchis and cyclamen, +glimpses of crimson and yellow rock in the brushwood by +the hillside, the soft blue distance of the valley beyond, and +above all, innumerable views of San Francesco, seen now +with a bridge in the foreground, now framed in by the +curved and spreading branches of an oak, and at every turn +carrying our thoughts away to valleys of Southern France +and fortress-churches crowning the wooded hills (see +illustrations, pp. <a href="#illo231">215</a>, <a href="#illo235">220</a>). To realise the variety of +scenery to be found in Umbria we must come to Assisi and +hunt out her hidden lanes and byways.</p> + +<p><i>From Porta Perlici.</i>—(<i>a</i>) Out of this gate, turning to the +left by the city walls, is one of the roads leading to the +Castle; the others are clearly marked on the map. (<i>b</i>) The +carriage road to Gualdo and Nocera goes for some miles +along the valley, but is not completed.</p> + +<p><i>From Porta Cappucini.</i>—(<i>a</i>) The Rocca Minore is reached +by a grass path going up the hill just inside the walls. +A fine view of the eastern slope of Assisi is obtained (see +illustration, p. <a href="#illo026">10</a>). (<i>b</i>) The Carceri is about an hour's +walk from this gate, donkeys are to be had in the town for +the excursion, or a small carriage drawn by a horse and a +pair of oxen can get there, but it is the least pleasant way +of going.</p> + +<p><i>From Porta Nuova.</i>—(<i>a</i>) A pleasant though not the shortest +way back to the town, is the one which skirts round the hill +inside the mediæval walls from this gate to Porta Mojano, +and then outside the walls through the fields past the +Portaccia to the carriage road just below Porta S. Pietro. +(<i>b</i>) The ascent of Monte Subasio occupies about two hours +and a half, though quick walkers will do it in less time. +There are several paths which anyone will indicate to the +traveller. The easiest, though the longest (about four hours), +is the one mentioned by M. Sabatier, the road to Gabbiano +and Satriano, which branches off to the left from the Foligno +road not far from the Porta Nuova. After walking along +the Gabbiano road for an hour, a lane leads up the hill for +another hour to the ruined abbey of San Benedetto (p. <a href="#Page_82">82</a>). +The path skirts the mountain to Sasso Rosso, three quarters +of an hour, the site of the fortress of the family of St. Clare, +and then one hour and a half brings us to the southern slope +of Mount Subasio called the Civitelle, where the craters of +the extinct volcano are to be seen. The highest point +<span class="pagenum"><a name="Page_365" id="Page_365">365</a></span> +(1290 metres), is reached in another half hour. The view +is very fine; Nocera and Gualdo lie to the north, Monte +Amiata to the west, a range of snowy mountains to the +south, Mount Terminillo, the Sabine Appenines and the +mountains of the Abruzzi, and Mount Sibella to the east. +The return to Assisi, without passing the Carceri, takes two +hours. (<i>c</i>) The road to San Damiano is marked on the map; +it is good but very steep, requiring oxen to draw the carriage +up the hill on the return. On foot it is only a quarter of an +hour from the gate. (<i>d</i>) A long day's drive will take the +traveller to Spello, Foligno and Montefalco, but it is a tiring +excursion and only a faint idea can be obtained of these +beautiful Umbrian towns. It is better, if possible, to give a +day to each, and to see Bevagna, with her two exquisite +romanesque buildings, on the way to Montefalco.</p> + +<p><i>From Porta Mojano.</i>—(<i>a</i>) To follow the path taken by St. +Francis, when carried from the bishop's palace to the Portiuncula +(p. <a href="#Page_111">111</a>), just before his death, we must take the +road leading from the gateway to a small chapel, and turn +to the right down a lane marked Valecchio on the map. +St. Francis either passed through Porta Mojano or the +Portaccia (now closed), but from here we follow in his +footsteps straight down the hill to the hamlet of Valecchio, +set so charmingly on a grass plot among the walnut trees, +with part of its watch tower still standing (p. <a href="#Page_104">104</a>). In the +plain we come to cross roads; the one on the left leads to +San Damiano in about forty minutes, that to the right to the +leper hospital (now known as S. Agostino), whence St. +Francis blessed Assisi for the last time (p. <a href="#Page_111">111</a>). (<i>b</i>) From +the gate a few minutes brings us to a path crossing the fields +to the left, to the old church of S. Masseo built in 1081 by +Lupone Count of Assisi to serve as a chapel to the monastery, +now the dwelling place of peasant families. (<i>c</i>) From +Porta Mojano a lane leads straight down to the plain, and +just before reaching the high road where it crosses the +railway at right angles, the chapel of S. Rufino d'Arce—the +real Rivo-Torto—is seen in the fields to the left (see pp. +<a href="#Page_93">93</a>-<a href="#Page_95">95</a>). By the side of the lane close to the railway line +is the chapel of Sta. Maria Maddalena (see pp. <a href="#Page_93">93</a>-<a href="#Page_95">95</a>). +This is about half an hour's walk.</p> + +<p><i>From Porta S. Francesco.</i>—There are several drives. (<i>a</i>) +Perugia. (<i>b</i>) Bastia, the first station on the railway +between Assisi and Perugia, possessing a triptych by Niccolò +da Foligno. A beautiful view of the river Chiaggio is obtained +<span class="pagenum"><a name="Page_366" id="Page_366">366</a></span> +at the bridge of Bastiola. (<i>c</i>) A road from the Angeli +branches off to Torre d'Andrea, where there is a picture by +a scholar of Pinturicchio. But more delightful is the chapel +of S. Simone a little further on, built right in the midst of +the cornfields, whose walls are covered with frescoes of the +fifteenth and sixteenth centuries. (<i>d</i>) A beautiful drive is to +the Rocca di Petrignano, a hill-set village above the Chiaggio. +To fully recount its story, the picturesqueness of its rock-cut +streets and the charm of the chapel upon the heights, +whose walls are covered from floor to roof with votive +Madonnas and saints, would need a chapter to itself. It has +been enthusiastically described by M. Broussolle in his +<i>Pélerinages Ombriens</i>, but it may be well to remark that he +calls the Rocca di Petrignano, for some unknown reason, +the Rocca d'Assisi. (<i>e</i>) It is an hour and a half's walk to +the church of S. Fortunato, across the bridge of S. Vittorino, +recommended by M. Sabatier in his list of excursions. The +way side chapel of S. Bartolo, with its interesting apse is +passed on the way.</p> + +<p>It would be well to get the Italian military map, Fo. 123 +(either at Seeber, Via Tornabuoni, Florence, or at D. Terese, +Perugia), if the pilgrim to Assisi wishes to explore the +country round Assisi. +</p> + +<p class="center b125 p6">INDEX</p> +<p><span class="pagenum"><a name="Page_367" id="Page_367">367</a></span></p> +<p class="center b110 p2">A</p> +<div class="left15"> +<ul class="idx"> + +<li><span class="smcap">Agnes</span>, Blessed, persecution of, <a href="#Page_263">263</a>; + enters convent of San Damiano, <a href="#Page_264">264</a>; + assists at death-bed of St. Clare, <a href="#Page_271">271</a>.</li> + +<li><span class="smcap">Agostino da Siena</span>, tomb by, <a href="#Page_189">189</a>.</li> + +<li><span class="smcap">Albi</span>, Cathedral of, <a href="#Page_129">129</a>.</li> + +<li><span class="smcap">Albornoz</span>, Cardinal, takes Assisi, <a href="#Page_23">23</a>; + rebuilds castle, <a href="#Page_24">24</a>, <a href="#Page_326">326</a>; + builds chapel in San Francesco, <a href="#Page_24">24</a>, <a href="#Page_193">193</a>; + builds portion of colonnade of convent, <a href="#Page_221">221</a>; <a href="#Page_327">327</a>.</li> + +<li><span class="smcap">Alessi</span>, Galeazzo, <i>note</i> <a href="#Page_193">193</a>; + remodels San Rufino, <a href="#Page_296">296</a>; + designs cupola of the Angeli, <a href="#Page_335">335</a>.</li> + +<li><span class="smcap">Alexander IV</span>, Pope, <a href="#Page_207">207</a>; + canonizes St. Clare, <a href="#Page_280">280</a>.</li> + +<li>—— VI, Pope, <a href="#Page_330">330</a>; <a href="#Page_331">331</a>.</li> + +<li><span class="smcap">Alunno</span>, <i>see</i> <a href="#FOLIGNO">Niccolò da Foligno</a>.</li> + +<li><span class="smcap">Angelo</span>, Brother, <a href="#Page_72">72</a>; <a href="#Page_271">271</a>.</li> + +<li><span class="smcap">Angeli</span>, Padre, book by, <i>note</i> <a href="#Page_106">106</a>, <a href="#Page_152">152</a>.</li> + +<li><span class="smcap">Anthony</span>, St., of Padua, at Assisi, <a href="#Page_140">140</a>; <a href="#Page_166">166</a>; <a href="#Page_192">192</a>; <a href="#Page_250">250</a>.</li> + +<li><span class="smcap">Ansano</span>, St., <a href="#Page_304">304</a>; <a href="#Page_320">320</a>.</li> + +<li><span class="smcap">Arezzo</span>, <a href="#Page_20">20</a>; <a href="#Page_239">239</a>.</li> + +<li><span class="smcap">Arles</span>, Apparition of St. Francis at, <a href="#Page_250">250</a>.</li> + +<li><span class="smcap">Arno</span>, <a href="#Page_72">72</a>; <a href="#Page_250">250</a>.</li> + +<li><span class="smcap">Arnold</span>, Matthew, quoted, <a href="#Page_55">55</a>.</li> + +<li><span class="smcap">Assisi</span>, passim.</li> + +<li><span class="smcap">Avignon</span>, Popes at, <a href="#Page_21">21</a>: <i>note</i> <sup>2</sup> <a href="#Page_209">209</a>.</li> + +</ul></div> +<p class="center b110 p2">B</p> +<div class="left15"> +<ul class="idx"> + +<li><span class="smcap">Baglioni</span>, The, besiege and take Assisi, <a href="#Page_33">33</a>, <a href="#Page_34">34</a>, <a href="#Page_210">210</a>; + feud with the Fiumi, <a href="#Page_33">33</a>; + <i>note</i> <sup>2</sup> <a href="#Page_259">259</a>; + downfall of, <a href="#Page_36">36</a>.</li> + +<li>—— Gian Paolo, <a href="#Page_34">34</a>, <a href="#Page_334">334</a>.</li> + +<li>—— Malatesta, <a href="#Page_331">331</a>.</li> + +<li><span class="smcap">Bagnora</span>, St. Bonaventure born at, <i>note</i> <a href="#Page_229">229</a>.</li> + +<li><span class="smcap">Basileo</span>, Bishop, builds first church of San Rufino, <a href="#Page_292">292</a>.</li> + +<li><span class="smcap">Bastia</span>, Benedictine convent at, <a href="#Page_105">105</a>, <a href="#Page_262">262</a>, <a href="#Page_263">263</a>.</li> + +<li><span class="smcap">Benedict</span>, St., repairs the Portiuncula, <a href="#Page_99">99</a>, <a href="#Page_100">100</a>.</li> + +<li><span class="smcap">Benedictines</span>, Abbey of, on Mount Subasio, <a href="#Page_82">82</a>, <a href="#Page_83">83</a>; + gifts of, to St. Francis, <a href="#Page_84">84</a>, <a href="#Page_103">103</a>, <a href="#Page_264">264</a>.</li> + +<li><span class="smcap">Berenson</span>, Bernhard, <a href="#Page_171">171</a>; + quoted, <a href="#Page_198">198</a>, <a href="#Page_199">199</a>, <a href="#Page_207">207</a>, <a href="#Page_208">208</a>; <a href="#Page_251">251</a>; <a href="#Page_257">257</a>.</li> + +<li><span class="smcap">Bernard</span> of Quintavalle, <a href="#Page_48">48</a>; <a href="#Page_94">94</a>; <a href="#Page_114">114</a>; <a href="#Page_182">182</a>; <a href="#Page_273">273</a>; + house of, <a href="#Page_308">308</a>.</li> + +<li><span class="smcap">Bernardine</span>, St., of Siena, <a href="#Page_206">206</a>; <a href="#Page_221">221</a>; <a href="#Page_340">340</a>.</li> + +<li><span class="smcap">Bernardone</span>, Pietro, family of, <i>note</i> <a href="#Page_41">41</a>; + quarrels with St. Francis, <a href="#Page_47">47</a>, <a href="#Page_235">235</a>, <a href="#Page_278">278</a>, <a href="#Page_309">309</a>; + house of, <a href="#Page_307">307</a>; + shop of, <a href="#Page_308">308</a>.</li> + +<li><span class="smcap">Bevagna</span>, Roman battles near., <a href="#Page_5">5</a>; + St. Francis preaches to the birds at, <a href="#Page_62">62</a>, <a href="#Page_244">244</a>.</li> + +<li><span class="smcap">Blasco</span>, Ferdinando, tomb of, <a href="#Page_194">194</a>.</li> + +<li>—— Garzia, tomb of, <a href="#Page_194">194</a>.</li> + +<li><span class="smcap">Bologna</span>, St. Francis preaches at, <a href="#Page_56">56</a>.</li> + +<li><span class="smcap">Bonaventure</span>, St., quoted, <a href="#Page_69">69</a>, <a href="#Page_229">229</a>-<a href="#Page_256">256</a>; <i>note</i> <a href="#Page_181">181</a>; <a href="#Page_206">206</a>; <a href="#Page_210">210</a>; <a href="#Page_273">273</a>; <a href="#Page_274">274</a>; <a href="#Page_338">338</a>.</li> + +<li><span class="smcap">Boniface</span> VIII, Pope, seeks counsel of Guido of Montefeltro, <a href="#Page_223">223</a>.</li> + +<li><span class="smcap">Borgia</span>, Lucrezia, <a href="#Page_330">330</a>.</li> + +<li><span class="smcap">Brienne</span>, Gauthier de, <a href="#Page_45">45</a>; <a href="#Page_232">232</a>.</li> + +<li><span class="smcap">Broglia</span> di <span class="smcap">Trino</span>, <a href="#Page_25">25</a>; <a href="#Page_83">83</a>; <a href="#Page_328">328</a>.</li> + +<li><span class="smcap">Brizi</span>, Alfonso, <i>note</i> <a href="#Page_322">322</a>; <i>note</i> <a href="#Page_329">329</a>.</li> + +<li>——, Giuseppe, <a href="#Page_197">197</a>.</li> + +<li><span class="smcap">Burckhardt</span>, J., <a href="#Page_164">164</a>.</li> + +</ul></div> +<p class="center b110 p2">C</p> +<div class="left15"> +<ul class="idx"> + +<li><span class="smcap">Campello</span>, Fra Filippo, aids in building San Francesco, <a href="#Page_129">129</a>; + builds Santa Chiara, <a href="#Page_281">281</a>.</li> + +<li><span class="smcap">Carceri</span>, Hermitage of the, <a href="#Page_27">27</a>; <a href="#Page_81">81</a>; + given to St. Francis by the Benedictines, <a href="#Page_84">84</a>; + road to, <a href="#Page_84">84</a>, <a href="#Page_85">85</a>; + story of, <a href="#Page_86">86</a>-<a href="#Page_93">93</a>.</li> + +<li><span class="smcap">Carmichael</span>, W. Montgomery, <a href="#Page_211">211</a>.</li> + +<li><span class="smcap"><a name="Castle" id="Castle"></a>Castle</span>, The, of Assisi (<span class="smcap">Rocca</span> d'<span class="smcap">Assisi</span>), building of, <a href="#Page_11">11</a>, <a href="#Page_326">326</a>; + Frederick II, stays at, <a href="#Page_13">13</a>, <a href="#Page_326">326</a>; + destruction of, <a href="#Page_14">14</a>, <a href="#Page_326">326</a>; rebuilt by Albornoz, <a href="#Page_24">24</a>, <a href="#Page_326">326</a>; + story of, <a href="#Page_325">325</a>-<a href="#Page_334">334</a>. +<span class="pagenum"><a name="Page_368" id="Page_368">368</a></span></li> + +<li><span class="smcap">Celano</span>, quoted, <a href="#Page_42">42</a>, <a href="#Page_43">43</a>, <a href="#Page_44">44</a>; <i>note</i> <sup>2</sup> <a href="#Page_69">69</a>; + his description of St. Francis, <a href="#Page_212">212</a>; <a href="#Page_229">229</a>.</li> + +<li>—— Knight of, <a href="#Page_246">246</a>.</li> + +<li><span class="smcap">Charlemagne</span>, Emperor, besieges Assisi, <a href="#Page_11">11</a>; + rebuilds Assisi, <a href="#Page_11">11</a>, <a href="#Page_326">326</a>.</li> + +<li><span class="smcap">Chiaggio</span>, River, <a href="#Page_103">103</a>; <i>note</i> <a href="#Page_259">259</a>; + St. Rufino martyred in the, <a href="#Page_291">291</a>.</li> + +<li><span class="smcap">Cimabue</span>, Giovanni, <a href="#Page_153">153</a>; + legends about, <a href="#Page_154">154</a>; + Madonna by, in San Francesco (Lower Church), <a href="#Page_155">155</a>; + frescoes in San Francesco (Upper Church), <a href="#Page_156">156</a>-<a href="#Page_160">160</a>; + Giotto adopted by, <a href="#Page_169">169</a>; + Giotto completes works of, at Assisi, <a href="#Page_170">170</a>; <a href="#Page_228">228</a>; <a href="#Page_284">284</a>.</li> + +<li><span class="smcap">Church of Santa Chiara</span>, sacked by Niccolò Piccinino, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>; + building of, <a href="#Page_281">281</a>, <a href="#Page_282">282</a>; + frescoes in, <a href="#Page_283">283</a>; + portrait of St. Clare in, <a href="#Page_284">284</a>; + church of San Giorgio in, <a href="#Page_285">285</a>, <a href="#Page_286">286</a>; + tomb of St. Clare found in, <a href="#Page_287">287</a>; + body of St. Clare in, <a href="#Page_288">288</a>.</li> + +<li>—— <span class="smcap"><a name="San_Damiano" id="San_Damiano"></a>San Damiano</span>, Niccolò Piccinino stays at, <a href="#Page_26">26</a>; + body of St. Francis brought to, <a href="#Page_119">119</a>, <a href="#Page_253">253</a>, <a href="#Page_267">267</a>; + St. Clare and her nuns live at, <a href="#Page_264">264</a>, <i>et seq.</i>; + attacked by army of Frederick II, <a href="#Page_267">267</a>, <a href="#Page_268">268</a>; + Innocent IV, at, <a href="#Page_274">274</a>, <a href="#Page_278">278</a>; + relics at, <a href="#Page_274">274</a>, <a href="#Page_275">275</a>; + crucifix of, <a href="#Page_276">276</a>, <a href="#Page_277">277</a>; + choir of St. Clare at, <a href="#Page_277">277</a>; + bought by the Marquess of Ripon, <a href="#Page_278">278</a>; + frescoes in, <a href="#Page_278">278</a>, <a href="#Page_279">279</a>; + funeral service of St. Clare held at, <a href="#Page_279">279</a>, <a href="#Page_280">280</a>; + miraculous crucifix of, <a href="#Page_274">274</a>, <a href="#Page_285">285</a>.</li> + +<li>—— <span class="smcap">San Francesco</span>, building of, <a href="#Page_123">123</a>, <i>et seq.</i>; + architect of, <a href="#Page_124">124</a>, <a href="#Page_125">125</a>; + convent of, <a href="#Page_124">124</a>; <a href="#Page_133">133</a>; <a href="#Page_139">139</a>; <a href="#Page_221">221</a>; <a href="#Page_223">223</a>; <a href="#Page_227">227</a>; + resemblance to cathedral of Albi, <a href="#Page_129">129</a>; + St. Francis buried in, <a href="#Page_133">133</a>, <a href="#Page_135">135</a>; + legend about, <a href="#Page_136">136</a>; <a href="#Page_144">144</a>; <a href="#Page_146">146</a>; + in the first years, <a href="#Page_215">215</a>, <a href="#Page_216">216</a>; + campanile of, <a href="#Page_216">216</a>; <i>note</i> <a href="#Page_219">219</a>; + bells of, <a href="#Page_219">219</a>; + feast of the "Perdono" in, <a href="#Page_351">351</a>, <a href="#Page_352">352</a>, <a href="#Page_357">357</a>-<a href="#Page_359">359</a>.</li> + +<li>—— —— <span class="smcap">Lower Church</span>, The, <a href="#Page_149">149</a>, <a href="#Page_150">150</a>; + pre-Giottesque frescoes in, <a href="#Page_151">151</a>, <a href="#Page_152">152</a>, <a href="#Page_153">153</a>; + Madonna by Cimabue in, <a href="#Page_155">155</a>; + Giotto's frescoes of the early life of Christ in, <a href="#Page_171">171</a>, <i>et seq.</i>; + Giotto's frescoes of the miracles of St. Francis in, <a href="#Page_174">174</a>; + Giotto's allegories in 177, <i>et seq.</i>; + Chapel del Sacramento or of St. Nicholas in, <a href="#Page_185">185</a>, <i>et seq.</i>; + stained glass windows in, <a href="#Page_189">189</a>; <a href="#Page_192">192</a>; <a href="#Page_193">193</a>; <a href="#Page_205">205</a>; <a href="#Page_206">206</a>; <a href="#Page_209">209</a>; + frescoes by Giotto in chapel of St. Maria Maddalena in, <a href="#Page_190">190</a>, <i>et seq.</i>; + chapel of St. Antonio da Padova in, <a href="#Page_192">192</a>; + chapel of San Stefano in, <a href="#Page_192">192</a>; + chapel of St. Catherine or del Crocifisso in, <a href="#Page_193">193</a>; + chapel of St. Antonio in, <a href="#Page_193">193</a>; + cemetery of, <a href="#Page_195">195</a>; + tomb of Ecuba in, <a href="#Page_195">195</a>; + tomb of St. Francis in, <a href="#Page_196">196</a>, <a href="#Page_197">197</a>; + chapel of St. Martin in, <a href="#Page_198">198</a>; + legend of St. Martin, frescoes by Simone Martini in, <a href="#Page_199">199</a>, <i>et seq.</i>; + frescoes by Simone Martini in, <a href="#Page_212">212</a>, <a href="#Page_215">215</a>; + frescoes above the papal throne in, <a href="#Page_206">206</a>, <a href="#Page_207">207</a>; + frescoes by Pietro Lorenzetti in, <a href="#Page_207">207</a>, <a href="#Page_208">208</a>; + chapel of St. Giovanno Battista in, <a href="#Page_208">208</a>; + sacristies in, <a href="#Page_209">209</a>, <i>et seq.</i>; + portrait of St Francis in, <a href="#Page_211">211</a>; + porch of, <a href="#Page_220">220</a>.</li> + +<li>—— —— <span class="smcap">Upper Church</span>, The, <i>note</i> <a href="#Page_152">152</a>; <a href="#Page_156">156</a>; + frescoes by Cimabue in, <a href="#Page_158">158</a>-<a href="#Page_160">160</a>; + frescoes by contemporaries of Cimabue in, <a href="#Page_160">160</a>, <i>et seq.</i>; + stained glass windows in, <a href="#Page_164">164</a>, <i>et seq.</i>; + papal throne, pulpit and altar in, <a href="#Page_166">166</a>, <a href="#Page_167">167</a>; + door of, <a href="#Page_219">219</a>; + Giotto's frescoes of the legend of St. Francis in, <a href="#Page_229">229</a>-<a href="#Page_250">250</a>; + frescoes by a follower of Giotto in, <a href="#Page_254">254</a>-<a href="#Page_256">256</a>; + intarsia stalls in, <a href="#Page_256">256</a>.</li> + +<li>—— <span class="smcap">San Giorgio</span>, St. Francis canonized in, <a href="#Page_121">121</a>; <a href="#Page_273">273</a>; + body of St. Clare brought to, <a href="#Page_279">279</a>, <a href="#Page_280">280</a>; + church of Santa Chiara built over, <a href="#Page_281">281</a>; + frescoes in, <a href="#Page_285">285</a>.</li> + +<li>—— <span class="smcap">Santa Maria</span> degli <span class="smcap">Angeli</span>, building of, <a href="#Page_335">335</a>; + rebuilt after earthquake, <a href="#Page_336">336</a>; + works of Andrea della Robbia in, <a href="#Page_336">336</a>, <a href="#Page_338">338</a>; + works of Giunta Pisano in, <a href="#Page_337">337</a>, <a href="#Page_338">338</a>; + the Portiuncula in, <a href="#Page_337">337</a> (<i>see</i> <a href="#PORTIUNCULA">Portiuncula</a>); fresco by Perugino in, <a href="#Page_337">337</a>; + garden and chapel of the Roses in, <a href="#Page_339">339</a>, <a href="#Page_340">340</a>; + frescoes by Lo Spagna in, <a href="#Page_338">338</a>, <a href="#Page_341">341</a>; + frescoes by Tiberio d'Assisi at, <a href="#Page_341">341</a>; + feast of the "Perdono" at, <a href="#Page_353">353</a>-<a href="#Page_355">355</a>, <a href="#Page_359">359</a>-<a href="#Page_361">361</a>.</li> + +<li>—— <span class="smcap">Santa Maria Maggiore</span>, franciscan legend connected with, <a href="#Page_235">235</a>, <a href="#Page_308">308</a>, <a href="#Page_309">309</a>, <a href="#Page_310">310</a>.</li> + +<li>—— <span class="smcap">Chiesa Nuova</span>, <a href="#Page_307">307</a>; <a href="#Page_308">308</a>.</li> + +<li>—— <span class="smcap">San Paolo</span>, <a href="#Page_303">303</a>; + fresco by Matteo da Gualdo in, <a href="#Page_304">304</a>. +<span class="pagenum"><a name="Page_369" id="Page_369">369</a></span></li> + +<li><span class="smcap">Church of San Pietro</span>, <a href="#Page_312">312</a>; + triptych by Matteo da Gualdo in, <a href="#Page_313">313</a>; + fresco in, <a href="#Page_313">313</a>.</li> + +<li>—— <span class="smcap">Pellegrini</span>, <i>see</i> <a href="#CONFRATERNITY">Confraternity</a>.</li> + +<li>—— <span class="smcap">San Rufino</span> (Cathedral), Frederick II, baptised in, <a href="#Page_13">13</a>; <a href="#Page_289">289</a>; + church beneath, <a href="#Page_292">292</a>; + building of, <a href="#Page_294">294</a>; + bell-tower of, <a href="#Page_290">290</a>, <a href="#Page_294">294</a>, <a href="#Page_301">301</a>; + doors of, <a href="#Page_294">294</a>, <a href="#Page_295">295</a>; + interior of, <a href="#Page_296">296</a>; + triptych by Niccolò da Foligno in, <a href="#Page_296">296</a>, <a href="#Page_297">297</a>; + connection with St. Francis, <a href="#Page_238">238</a>, <a href="#Page_299">299</a>.</li> + +<li><span class="smcap"><a name="Clare" id="Clare"></a>Clare</span>, St., parentage of, <a href="#Page_258">258</a>; + description of, <a href="#Page_259">259</a>; + founds order of Poor Clares, <a href="#Page_104">104</a>, <a href="#Page_262">262</a>; + delivers her sister Agnes from her persecutors, <a href="#Page_263">263</a>; + goes to live at San Damiano, <a href="#Page_264">264</a>; + friendship with St. Francis, <a href="#Page_62">62</a>, <a href="#Page_77">77</a>, <a href="#Page_265">265</a>; + last farewell to St. Francis, <a href="#Page_119">119</a>, <a href="#Page_267">267</a>; + saves her convent and Assisi from the Saracens, <a href="#Page_267">267</a>, <a href="#Page_268">268</a>; + her struggle with the Papacy, <a href="#Page_270">270</a>, <a href="#Page_271">271</a>; + death of, <a href="#Page_272">272</a>; + miracle of the bread by, <a href="#Page_274">274</a>, <a href="#Page_275">275</a>; + canonization and funeral of, <a href="#Page_280">280</a>; + church of, <a href="#Page_281">281</a>; + early picture of, <a href="#Page_284">284</a>; + body of, <a href="#Page_288">288</a>.</li> + +<li><span class="smcap">Clement VII</span>, Pope, <a href="#Page_331">331</a>.</li> + +<li><span class="smcap">Clitumnus</span>, river, <a href="#Page_5">5</a>; + Propertius lived near, <a href="#Page_8">8</a>; <a href="#Page_350">350</a>.</li> + +<li><span class="smcap">Comacine</span> builders, Guild of, <a href="#Page_321">321</a>; + house of, in Assisi, <a href="#Page_322">322</a>.</li> + +<li><span class="smcap"><a name="CONFRATERNITY" id="CONFRATERNITY"></a>Confraternity</span> of <span class="smcap">San Crispino</span>, <a href="#Page_316">316</a>.</li> + +<li>—— <span class="smcap">San Francescuccio</span>, <a href="#Page_315">315</a>; + frescoes at, <a href="#Page_316">316</a>.</li> + +<li>—— <span class="smcap">San Lorenzo</span>, fresco at, <a href="#Page_323">323</a>.</li> + +<li>—— <span class="smcap">dei Pellegrini</span>, <a href="#Page_316">316</a>; + frescoes by Matteo da Gualdo in, <a href="#Page_317">317</a>, <a href="#Page_318">318</a>; + frescoes by Mezzastris in, <a href="#Page_318">318</a>-<a href="#Page_320">320</a>; + fresco by Fiorenzo di Lorenzo in, <a href="#Page_320">320</a>.</li> + +<li>—— <span class="smcap">San Rufinuccio</span>, frescoes in, <a href="#Page_185">185</a>, <a href="#Page_323">323</a>.</li> + +<li><span class="smcap">Conrad</span> of <span class="smcap">Suabia</span>, <a href="#Page_13">13</a>; <a href="#Page_326">326</a>.</li> + +<li><span class="smcap">Convent</span> of <span class="smcap">Santa Chiara</span>, <a href="#Page_281">281</a>; <a href="#Page_282">282</a>.</li> + +<li>—— of <span class="smcap">San Francesco</span>, <a href="#Page_124">124</a>; <a href="#Page_133">133</a>; <a href="#Page_139">139</a>; <a href="#Page_221">221</a>; + Guido of Montefeltro lives in, <a href="#Page_223">223</a>; <a href="#Page_227">227</a>.</li> + +<li><span class="smcap">Corroyer</span>, E., quoted, <a href="#Page_129">129</a>.</li> + +<li><span class="smcap">Cortona</span>, <a href="#Page_117">117</a>; <a href="#Page_144">144</a>.</li> + +<li><span class="smcap">Corythus</span>, King of Cortona, <a href="#Page_2">2</a>.</li> + +<li><span class="smcap">Costano</span>, <a href="#Page_291">291</a>; <a href="#Page_297">297</a>.</li> + +<li><span class="smcap">Christine</span>, Queen of Sweden, <a href="#Page_222">222</a>.</li> + +<li><span class="smcap">Crowe & Cavalcaselle</span>, Messrs, quoted, <a href="#Page_162">162</a>, <a href="#Page_174">174</a>, <a href="#Page_176">176</a>, <a href="#Page_187">187</a>; <a href="#Page_171">171</a>; <a href="#Page_251">251</a>.</li> + +</ul></div> +<p class="center b110 p2">D</p> +<div class="left15"> +<ul class="idx"> + +<li><span class="smcap">Damiano</span>, San, <i>see</i> <a href="#San_Damiano">Church</a>.</li> + +<li><span class="smcap">Dante</span>, quoted, <a href="#Page_14">14</a>, <a href="#Page_71">71</a>, <a href="#Page_168">168</a>, <a href="#Page_182">182</a>, <a href="#Page_184">184</a>, <a href="#Page_186">186</a>, <a href="#Page_224">224</a>, <a href="#Page_236">236</a>, <a href="#Page_250">250</a>; + portrait of, by Giotto, <a href="#Page_176">176</a>, <a href="#Page_182">182</a>.</li> + +<li><span class="smcap">Danti, Giulio</span>, <i>note</i> <a href="#Page_193">193</a>; + designs cupola of the Angeli, <a href="#Page_335">335</a>.</li> + +<li><span class="smcap">Dardanus</span>, <a href="#Page_2">2</a>; <a href="#Page_3">3</a>; <a href="#Page_4">4</a>.</li> + +<li><span class="smcap"><a name="Domenico" id="Domenico"></a>Domenico</span> da <span class="smcap">San Severino</span>, designs stalls for San Francesco, <a href="#Page_256">256</a>.</li> + +<li><span class="smcap">Dominic</span>, St., <a href="#Page_17">17</a>; <i>note</i> <a href="#Page_229">229</a>; <i>note</i> <a href="#Page_345">345</a>.</li> + +<li><span class="smcap">Doni Adone</span>, <a href="#Page_192">192</a>; <a href="#Page_307">307</a>.</li> + +</ul></div> +<p class="center b110 p2">E</p> +<div class="left15"> +<ul class="idx"> + +<li><span class="smcap">Ecuba</span>, Queen of Cyprus, tomb of, <a href="#Page_195">195</a>.</li> + +<li><span class="smcap">Egidio</span>, Brother, <a href="#Page_48">48</a>; <a href="#Page_50">50</a>; <a href="#Page_94">94</a>; <a href="#Page_111">111</a>; + quoted, <a href="#Page_117">117</a>; <i>note</i> <a href="#Page_118">118</a>; <a href="#Page_132">132</a>.</li> + +<li><span class="smcap">Elias</span>, Brother, <a href="#Page_51">51</a>; + influence of, on the franciscan order, <a href="#Page_122">122</a>, <a href="#Page_130">130</a>, <a href="#Page_132">132</a>; + superintends building of San Francesco, <a href="#Page_124">124</a>, <i>et seq.</i>; + character of, <a href="#Page_137">137</a>; + hides body of St. Francis, <a href="#Page_135">135</a>; <i>note</i> <a href="#Page_196">196</a>; + account of, <a href="#Page_137">137</a>-<a href="#Page_146">146</a>; <i>note</i> <a href="#Page_152">152</a>; <a href="#Page_306">306</a>.</li> + +<li><span class="smcap">Elisei</span>, Canon, <a href="#Page_292">292</a>.</li> + +<li><span class="smcap">Etruscans</span>, The, found Perugia, <a href="#Page_4">4</a>; <a href="#Page_5">5</a>.</li> + +<li><span class="smcap">Eusebio</span> di <span class="smcap">San Giorgio</span>, fresco by, <a href="#Page_278">278</a>.</li> + +</ul></div> +<p class="center b110 p2">F</p> +<div class="left15"> +<ul class="idx"> + +<li><span class="smcap">Fiorenzo</span> di <span class="smcap">Lorenzo</span>, <a href="#Page_165">165</a>; + frescoes by, in Assisi, <a href="#Page_306">306</a>, <a href="#Page_307">307</a>, <a href="#Page_320">320</a>.</li> + +<li><span class="smcap">Fioretti</span>, The, quoted, <a href="#Page_49">49</a>, <a href="#Page_50">50</a>, <a href="#Page_59">59</a>, <a href="#Page_68">68</a>, <a href="#Page_88">88</a>, <a href="#Page_111">111</a>, <a href="#Page_137">137</a>, <a href="#Page_138">138</a>, <a href="#Page_266">266</a>, <a href="#Page_345">345</a>; + charm of, <a href="#Page_66">66</a>.</li> + +<li><span class="smcap">Fiumi</span>, Jacopo, murders the Nepis, <a href="#Page_32">32</a>; <a href="#Page_33">33</a>; + robs sacristy of San Francesco, <a href="#Page_210">210</a>; + despot of Assisi, <a href="#Page_331">331</a>.</li> + +<li><span class="smcap">Fiumi</span>, The, their rivalry with the Nepis, <a href="#Page_31">31</a>, <a href="#Page_32">32</a>; + mother of St. Clare belongs to family of, <a href="#Page_259">259</a>.</li> + +<li><span class="smcap">Flagellants</span>, The, <i>note</i> <a href="#Page_60">60</a>; <a href="#Page_178">178</a>; <a href="#Page_314">314</a>.</li> + +<li><span class="smcap">Fortebraccio</span>, Braccio, <a href="#Page_25">25</a>.</li> + +<li><span class="smcap">Francis</span>, St., birth of, <a href="#Page_15">15</a>; + teaching of, <a href="#Page_16">16</a>, <a href="#Page_18">18</a>; + childhood of, <a href="#Page_41">41</a>; + description of, by Celano, <a href="#Page_42">42</a>, <a href="#Page_212">212</a>; + imprisoned at Perugia, <a href="#Page_43">43</a>; + conversion of, <a href="#Page_44">44</a>; + dream of, at Spoleto, <a href="#Page_45">45</a>, <a href="#Page_232">232</a>; + his symbol of the Lady Poverty, <a href="#Page_46">46</a>, <a href="#Page_53">53</a>; +<span class="pagenum"><a name="Page_370" id="Page_370">370</a></span> + succours the lepers, <a href="#Page_46">46</a>, <a href="#Page_95">95</a>; + first foundation of the Order, <a href="#Page_48">48</a>, <a href="#Page_49">49</a>; + interview of, with Innocent III, <a href="#Page_52">52</a>, <a href="#Page_53">53</a>; + rule sanctioned by Innocent III, <a href="#Page_54">54</a>, <a href="#Page_237">237</a>; + eloquent preaching of, <a href="#Page_55">55</a>, <a href="#Page_56">56</a>, <a href="#Page_57">57</a>, <a href="#Page_59">59</a>; + gives St. Clare the veil, <a href="#Page_56">56</a>, <a href="#Page_105">105</a>, <a href="#Page_262">262</a>; + founds Third Order, <a href="#Page_60">60</a>; + preaches before the Sultan of Egypt, <a href="#Page_61">61</a>, <a href="#Page_240">240</a>; + sermon of, to the birds at Bevagna, <a href="#Page_62">62</a>, <a href="#Page_244">244</a>; + love of nature, <a href="#Page_63">63</a>, <a href="#Page_64">64</a>, <a href="#Page_65">65</a>; + converts the wolf of Gubbio, <a href="#Page_65">65</a>; + friendship with Gregory IX (Bishop Ugolino), <a href="#Page_69">69</a>; + preaches before Honorius III, <a href="#Page_71">71</a>, <a href="#Page_249">249</a>; + stays at La Vernia, <a href="#Page_71">71</a>, <a href="#Page_72">72</a>; + receives the Stigmata at La Vernia, <a href="#Page_73">73</a>, <a href="#Page_74">74</a>; + farewell to La Vernia, <a href="#Page_75">75</a>; + blindness of, <a href="#Page_76">76</a>, <a href="#Page_116">116</a>; + composes the Canticle to the Sun, <a href="#Page_78">78</a>; + elects the Carceri as his hermitage, <a href="#Page_81">81</a>-<a href="#Page_83">83</a>; + cell of, at the Carceri, <a href="#Page_86">86</a>; + challenges the nightingale to sing the praises of God at the Carceri, <a href="#Page_87">87</a>; + dries up the torrent, <a href="#Page_88">88</a>; + causes a miraculous fountain to appear at the Carceri, <a href="#Page_91">91</a>; + prophecy of, to Otto IV, <a href="#Page_96">96</a>; + goes to the Portiuncula with his brethren, <a href="#Page_97">97</a>; + visits the Portiuncula as a child, <a href="#Page_102">102</a>; + obtains the Portiuncula as a gift, <a href="#Page_103">103</a>, <a href="#Page_104">104</a>; + hut of, <i>note</i> <a href="#Page_106">106</a>, <a href="#Page_340">340</a>; + blesses Assisi, <a href="#Page_113">113</a>; + dictates his will, <a href="#Page_114">114</a>; + death of, <a href="#Page_115">115</a>, <a href="#Page_116">116</a>; + funeral of, <a href="#Page_119">119</a>, <a href="#Page_120">120</a>; + canonisation of, <a href="#Page_121">121</a>, <a href="#Page_153">153</a>; + church built in honour of, <a href="#Page_123">123</a>, <i>et seq.</i>; + secret burial of, <a href="#Page_134">134</a>-<a href="#Page_136">136</a>; influence of, on Elias, <a href="#Page_138">138</a>, <a href="#Page_139">139</a>; + miracles of, <a href="#Page_176">176</a>, <a href="#Page_239">239</a>, <a href="#Page_243">243</a>, <a href="#Page_254">254</a>, <a href="#Page_255">255</a>, <a href="#Page_256">256</a>; + fresco of marriage with the Lady Poverty, <a href="#Page_181">181</a>; + tomb of, <a href="#Page_196">196</a>, <a href="#Page_197">197</a>; + autograph of, <a href="#Page_210">210</a>, <a href="#Page_211">211</a>; + portrait of, by Giunta Pisano, <a href="#Page_211">211</a>; + legends of, illustrated by Giotto and a follower, <a href="#Page_229">229</a>-<a href="#Page_256">256</a>; + obtains San Damiano as a gift, <a href="#Page_264">264</a>; + friendship of, with St Clare, <a href="#Page_265">265</a>, <a href="#Page_266">266</a>; + statue of, by Andrea della Robbia, <a href="#Page_338">338</a>; + garden of, <a href="#Page_339">339</a>, <a href="#Page_340">340</a>; + roses flower in the snow for, <a href="#Page_340">340</a>; + obtains the indulgence of the Portiuncula, <a href="#Page_342">342</a>, <a href="#Page_343">343</a>; + proclaims the indulgence, <a href="#Page_344">344</a>.</li> + +<li><span class="smcap">Frederick I.</span>, Emperor, at Assisi, <a href="#Page_13">13</a>.</li> + +<li>—— II, Emperor, at Assisi, <a href="#Page_13">13</a>; <a href="#Page_61">61</a>; + befriends Elias, <a href="#Page_142">142</a>; <a href="#Page_143">143</a>; <a href="#Page_144">144</a>; <a href="#Page_217">217</a>; + army of, besieges Assisi, <a href="#Page_267">267</a>-<a href="#Page_269">269</a>; <a href="#Page_326">326</a>.</li> + +<li><span class="smcap">Fry</span>, Roger, quoted, <a href="#Page_156">156</a>, <a href="#Page_228">228</a>, <a href="#Page_243">243</a>.</li> + +<li><span class="smcap">Foligno</span>, <a href="#Page_222">222</a>; <a href="#Page_278">278</a>.</li> + +<li>—— Niccolò da, <i>see</i> <a href="#FOLIGNO">Niccolò</a>.</li> + +</ul></div> +<p class="center b110 p2">G</p> +<div class="left15"> +<ul class="idx"> + +<li><span class="smcap">Gentile</span> de <span class="smcap">Monteflori</span>, Cardinal, founds chapel in San Francesco, <a href="#Page_192">192</a>, <i>note</i> <a href="#Page_198">198</a>; <a href="#Page_205">205</a>.</li> + +<li><span class="smcap">Giacoma</span> da <span class="smcap">Settesoli</span>, friendship of, with St. Francis, <a href="#Page_114">114</a>; + tomb of, <a href="#Page_207">207</a>.</li> + +<li><span class="smcap">Giottino</span>, <i>note</i> <a href="#Page_186">186</a>; <a href="#Page_283">283</a>.</li> + +<li><span class="smcap">Giotto</span>, birth of, <a href="#Page_107">108</a>; + adopted by Cimabue, <a href="#Page_169">169</a>; + character of, <a href="#Page_170">170</a>, <a href="#Page_178">178</a>; + first early frescoes of, at Assisi, <a href="#Page_171">171</a>-<a href="#Page_177">177</a>; + poem of, on poverty, <a href="#Page_178">178</a>; + Allegories by, <a href="#Page_181">181</a>-<a href="#Page_184">184</a>; + frescoes by, in chapel of Sta. Maria Maddalena, <a href="#Page_188">188</a>; + genius of, <a href="#Page_228">228</a>; + illustrates legend of St. Francis, <a href="#Page_229">229</a>-<a href="#Page_250">250</a>; + characteristics of, <a href="#Page_229">229</a>, <a href="#Page_232">232</a>, <a href="#Page_255">255</a>; + architecture of, <a href="#Page_231">231</a>; + contemporary opinion on, <a href="#Page_244">244</a>; + follower of, at Assisi, <a href="#Page_185">185</a>, <a href="#Page_251">251</a>.</li> + +<li><span class="smcap">Giovanni</span> da <span class="smcap">Gubbio</span>, builds San Rufino, <a href="#Page_294">294</a>; <a href="#Page_309">309</a>.</li> + +<li><span class="smcap">Giunta Pisano</span>, crucifix by, <i>note</i> <a href="#Page_152">152</a>; + portraits by, of St. Francis, <a href="#Page_211">211</a>, <a href="#Page_284">284</a>; <a href="#Page_337">337</a>; <a href="#Page_338">338</a>.</li> + +<li><span class="smcap">Goethe</span>, Wolfgang von, description of the Temple of Minerva, <a href="#Page_302">302</a>, <a href="#Page_303">303</a>.</li> + +<li><span class="smcap">Gozzoli</span>, Benozzo, <a href="#Page_245">245</a>.</li> + +<li><span class="smcap"><a name="Gregory" id="Gregory"></a>Gregory IX.</span>, Pope, friendship with St. Francis, <a href="#Page_69">69</a>; + dream of, <a href="#Page_121">121</a>, <a href="#Page_254">254</a>; + canonises St. Francis, <a href="#Page_121">121</a>, <a href="#Page_253">253</a>; + founds San Francesco, <a href="#Page_123">123</a>, <i>note</i> <a href="#Page_152">152</a>; + portrait of, <a href="#Page_159">159</a>; <a href="#Page_219">219</a>; + wishes to give St. Clare the Benedictine rule, <a href="#Page_270">270</a>.</li> + +<li><span class="smcap">Gualdo</span>, <a href="#Page_12">12</a>; <a href="#Page_118">118</a>; <a href="#Page_329">329</a>.</li> + +<li>—— Matteo da, <i>see</i> <a href="#Matteo">Matteo</a>.</li> + +<li><span class="smcap">Gualtieri</span>, Duke of Athens, portrait of, <a href="#Page_208">208</a>.</li> + +<li><span class="smcap">Guelfucci</span>, Bianca, <a href="#Page_261">261</a>; + aids St. Clare in her flight, <a href="#Page_262">262</a>; + enters convent of San Damiano, <a href="#Page_264">264</a>.</li> + +<li><span class="smcap">Gubbio</span>, wolf of, <a href="#Page_65">65</a>, <a href="#Page_221">221</a>; <a href="#Page_291">291</a>; <a href="#Page_329">329</a>.</li> + +<li><span class="smcap">Guidantonio</span> da <span class="smcap">Montefeltro</span>, owns Assisi, <a href="#Page_25">25</a>, <a href="#Page_317">317</a>.</li> + +<li><span class="smcap"><a name="Guido" id="Guido"></a>Guido</span> da <span class="smcap">Montefeltro</span>, a monk in San Francesco, <a href="#Page_223">223</a>; + treacherous counsel of, to Boniface VIII, <a href="#Page_224">224</a>.</li> + +<li><span class="smcap">Greccio</span>, feast of, <a href="#Page_242">242</a>. +<span class="pagenum"><a name="Page_371" id="Page_371"></a></span></li> + +</ul></div> +<p class="center b110 p2">H</p> +<div class="left15"> +<ul class="idx"> +<li><span class="smcap">Honorius III.</span>, Pope, St. Francis preaches before, <a href="#Page_70">70</a>, <a href="#Page_249">249</a>; + rule of St. Francis sanctioned by, <a href="#Page_114">114</a>, <a href="#Page_210">210</a>; + grants St. Francis the indulgence of the Portiuncula, <a href="#Page_342">342</a>.</li> +</ul></div> + +<p class="center b110 p2">I</p> +<div class="left15"> +<ul class="idx"> + +<li><span class="smcap">Ibald</span>, Rev. Father Bernardine, <i>note</i> <sup>2</sup> <a href="#Page_103">103</a>.</li> + +<li><span class="smcap">Illuminatus</span>, Brother, <a href="#Page_141">141</a>; <a href="#Page_240">240</a>.</li> + +<li><span class="smcap">Ingegno, L'</span>, <a href="#Page_306">306</a>; fresco by, <a href="#Page_307">307</a>.</li> + +<li><span class="smcap">Innocent III.</span>, Pope, <a href="#Page_13">13</a>; power of, <a href="#Page_14">14</a>; + court of, <a href="#Page_15">15</a>; <a href="#Page_45">45</a>; + meeting of, with St. Francis, <a href="#Page_52">52</a>, <a href="#Page_53">53</a>; + dream of, <a href="#Page_53">53</a>, <a href="#Page_236">236</a>; + confirms rule of St. Francis, <a href="#Page_54">54</a>, <a href="#Page_70">70</a>; <a href="#Page_237">237</a>; <a href="#Page_342">342</a>.</li> + +<li>—— IV., Pope, sanctions rule of St. Clare, <a href="#Page_271">271</a>; + at funeral of St. Clare, <a href="#Page_279">279</a>, <a href="#Page_280">280</a>.</li> +</ul> +</div> +<p class="center b110 p2">J</p> +<div class="left15"> +<ul class="idx"> + +<li><span class="smcap">Jacopo Tedesco</span>, architect of San Francesco, <a href="#Page_124">124</a>; <a href="#Page_125">125</a>; <a href="#Page_129">129</a>; <a href="#Page_156">156</a>; <a href="#Page_216">216</a>.</li> + +<li><span class="smcap">Jasius</span>, <a href="#Page_2">2</a>; <a href="#Page_3">3</a>.</li> + +<li><span class="smcap">Juniper</span>, Brother, <a href="#Page_111">111</a>; <a href="#Page_112">112</a>; <a href="#Page_271">271</a>.</li> +</ul> +</div> +<p class="center b110 p2">L</p> +<div class="left15"> +<ul class="idx"> + +<li><span class="smcap">Leo X.</span>, Pope, mitigates franciscan rule, <a href="#Page_224">224</a>.</li> + +<li>—— XIII., Pope, <a href="#Page_287">287</a>.</li> + +<li>—— Brother, <a href="#Page_51">51</a>; <a href="#Page_72">72</a>; + quoted, <a href="#Page_103">103</a>, <a href="#Page_104">104</a>, <a href="#Page_114">114</a>, <a href="#Page_131">131</a>, <a href="#Page_310">310</a>; + quarrel with Elias, <a href="#Page_132">132</a>; + receives autograph benediction from St. Francis, <a href="#Page_210">210</a>.</li> + +<li><span class="smcap">Liberius</span>, Pope, <a href="#Page_98">98</a>.</li> + +<li><span class="smcap">Lorenzetti</span>, Pietro, frescoes by, in San Francesco, <a href="#Page_207">207</a>, <a href="#Page_208">208</a>.</li> + +<li><span class="smcap">Louis</span>, St., of France, <i>note</i> <a href="#Page_51">51</a>; <a href="#Page_210">210</a>.</li> +</ul> +</div> +<p class="center b110 p2">M</p> +<div class="left15"> +<ul class="idx"> + +<li><span class="smcap">Margaritone</span>, <a href="#Page_158">158</a>; <a href="#Page_284">284</a>.</li> + +<li><span class="smcap">Martin</span>, St., chapel and legend of, in San Francesco, <a href="#Page_198">198</a>, <i>et seq.</i></li> + +<li><span class="smcap">Martini</span>, Simone, <a href="#Page_198">198</a>; + friendship with Petrarch, <a href="#Page_199">199</a>; + characteristics of, <a href="#Page_199">199</a>; + legend by, of St. Martin, <a href="#Page_200">200</a>, <i>et seq.</i>; + other frescoes by, <a href="#Page_212">212</a>, <a href="#Page_215">215</a>.</li> + +<li><span class="smcap">Mary Magdalen</span>, St., legend and chapel of, <a href="#Page_190">190</a>, <a href="#Page_191">191</a>.</li> + +<li><span class="smcap">Marzario</span>, Professor, <i>note</i> <a href="#Page_125">125</a>.</li> + +<li><span class="smcap">Masseo</span>, Brother, <a href="#Page_59">59</a>; <a href="#Page_72">72</a>; + letter of, <a href="#Page_74">74</a>; <a href="#Page_111">111</a>.</li> + +<li><span class="smcap">Matarazzo</span>, <i>note</i> <a href="#Page_31">31</a>; + quoted, <a href="#Page_33">33</a>, <a href="#Page_35">35</a>; <i>note</i> <a href="#Page_259">259</a>.</li> + +<li><span class="smcap"><a name="Matteo" id="Matteo"></a>Matteo</span> da <span class="smcap">Gualdo</span>, frescoes by, in Assisi, <a href="#Page_304">304</a>, <a href="#Page_306">306</a>, <a href="#Page_311">311</a>, <a href="#Page_313">313</a>, <a href="#Page_317">317</a>, <a href="#Page_318">318</a>.</li> + +<li><span class="smcap">Metastasio</span>, house of, at Assisi, <a href="#Page_322">322</a>.</li> + +<li><span class="smcap">Michelotti</span>, Biordo, <a href="#Page_25">25</a>; <a href="#Page_329">329</a>.</li> + +<li><span class="smcap">Milton</span>, John, <a href="#Page_14">14</a>; <a href="#Page_241">241</a>.</li> + +<li><span class="smcap">Minerva</span>, The Temple of, its legend, <a href="#Page_3">3</a>; <a href="#Page_301">301</a>; + description of, by Goethe, <a href="#Page_302">302</a>, <a href="#Page_303">303</a>.</li> + +<li><span class="smcap">Montefeltro</span>, <i>see</i> <a href="#Guido">Guido</a>.</li> + +<li><span class="smcap">Montefalco</span>, <a href="#Page_221">221</a>; <a href="#Page_245">245</a>.</li> + +<li><span class="smcap">Monte Frumentario</span>, <a href="#Page_321">321</a>.</li> +</ul> +</div> +<p class="center b110 p2">N</p> +<div class="left15"> +<ul class="idx"> + +<li><span class="smcap">Narni</span>, <a href="#Page_13">13</a>; <a href="#Page_221">221</a>.</li> + +<li><span class="smcap">Nepis</span>, the family of, rivalry with the Fiumi, <a href="#Page_31">31</a>, <a href="#Page_32">32</a>, <a href="#Page_330">330</a>, <a href="#Page_331">331</a>.</li> + +<li><span class="smcap"><a name="FOLIGNO" id="FOLIGNO"></a>Niccolò</span> da <span class="smcap">Foligno</span>, triptych by, in San Rufino, <a href="#Page_296">296</a>, <a href="#Page_297">297</a>; <a href="#Page_341">341</a>.</li> + +<li>—— da <span class="smcap">Gubbio</span>, carves doors for San Francesco, <a href="#Page_220">220</a>.</li> + +<li><span class="smcap">Nicholas</span>, St., chapel and legend of, <a href="#Page_185">185</a>, <i>et seq.</i></li> + +<li><span class="smcap">Nocera</span>, <a href="#Page_12">12</a>; <a href="#Page_118">118</a>; <a href="#Page_329">329</a>.</li> +</ul> +</div> +<p class="center b110 p2">O</p> +<div class="left15"> +<ul class="idx"> + +<li><span class="smcap">Orsini</span>, Giovanni Gaetano, portrait of, <a href="#Page_185">185</a>; + tomb of, <a href="#Page_189">189</a>.</li> + +<li>—— Napoleone, <a href="#Page_185">185</a>.</li> + +<li>—— The family of, <i>note</i> <sup>2</sup> <a href="#Page_208">208</a>.</li> + +<li><span class="smcap">Ortolana</span>, Madonna, <a href="#Page_259">259</a>; <a href="#Page_264">264</a>.</li> + +<li><span class="smcap">Otto IV.</span>, Emperor, at Rivo-Torto, <a href="#Page_96">96</a>.</li> + +<li><span class="smcap">Oxford</span>, <a href="#Page_110">110</a>.</li> +</ul> +</div> +<p class="center b110 p2">P</p> +<div class="left15"> +<ul class="idx"> + +<li><span class="smcap">Pacifico</span>, Brother, vision of, <a href="#Page_239">239</a>.</li> + +<li><span class="smcap">Palazzo Pubblico</span>, <a href="#Page_32">32</a>; <a href="#Page_305">305</a>; + frescoes in, <a href="#Page_306">306</a>.</li> + +<li>—— <span class="smcap">Sbaraglini</span>, <a href="#Page_308">308</a>.</li> + +<li>—— <span class="smcap">Scifi</span>, <a href="#Page_258">258</a>; <a href="#Page_260">260</a>; <a href="#Page_262">262</a>; <a href="#Page_281">281</a>.</li> + +<li><span class="smcap">Parenti</span>, Giovanni, <a href="#Page_132">132</a>; <a href="#Page_133">133</a>; <a href="#Page_139">139</a>; <a href="#Page_140">140</a>.</li> + +<li><span class="smcap">Paul</span> III, Pope, <a href="#Page_36">36</a>; <a href="#Page_331">331</a>; <a href="#Page_332">332</a>.</li> + +<li><span class="smcap">Perugia</span>, <a href="#Page_4">4</a>; <a href="#Page_9">9</a>; + wars with Assisi, <a href="#Page_5">5</a>, <a href="#Page_19">19</a>, <a href="#Page_20">20</a>, <a href="#Page_21">21</a>, <a href="#Page_43">43</a>; + governs Assisi, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>; <a href="#Page_29">29</a>; <a href="#Page_36">36</a>; + tries to steal body of St. Francis, <a href="#Page_21">21</a>; <i>note</i> <a href="#Page_196">196</a>; + St. Francis mocked in, <a href="#Page_57">57</a>; <a href="#Page_221">221</a>; <a href="#Page_342">342</a>.</li> + +<li><span class="smcap">Perugino</span>, Pietro, fresco by, <a href="#Page_337">337</a>.</li> + +<li><span class="smcap">Piazza</span>, di Sta. Maria Maggiore, encounter of St. Francis with his father in, <a href="#Page_235">235</a>, <a href="#Page_309">309</a>; <a href="#Page_310">310</a>.</li> + +<li>—— di San Francesco, <a href="#Page_220">220</a>.</li> + +<li>—— della Minerva, <a href="#Page_13">13</a>; <a href="#Page_31">31</a>; <a href="#Page_302">302</a>; <a href="#Page_330">330</a>; <a href="#Page_348">348</a>.</li> + +<li>—— Nuova, <a href="#Page_300">300</a>; <a href="#Page_349">349</a>.</li> + +<li>—— di San Rufino, <a href="#Page_289">289</a>.</li> + +<li><span class="smcap">Pica</span>, Madonna, <a href="#Page_41">41</a>; <a href="#Page_102">102</a>; <a href="#Page_119">119</a>; <a href="#Page_307">307</a>.</li> + +<li><span class="smcap">Piccinino</span>, Niccolò, besieges Assisi, <a href="#Page_25">25</a>, <a href="#Page_26">26</a>; <a href="#Page_27">27</a>; <a href="#Page_30">30</a>; <a href="#Page_126">126</a>.</li> + +<li>—— Jacopo, <a href="#Page_329">329</a>.</li> + +<li><span class="smcap">Pietro</span> <i>Cataneo</i>, Brother, <a href="#Page_48">48</a>; <a href="#Page_138">138</a>; <a href="#Page_342">342</a>.</li> + +<li><span class="smcap">Pintelli</span>, Baccio, <a href="#Page_220">220</a>.</li> + +<li><span class="smcap">Pinturicchio</span>, <a href="#Page_337">337</a>.</li> + +<li><span class="smcap">Pius II</span>, Pope, <a href="#Page_329">329</a>.</li> + +<li>—— V, Pope, <a href="#Page_335">335</a>.</li> + +<li><span class="smcap"><a name="PORTIUNCULA" id="PORTIUNCULA"></a>Portiuncula</span>, The, early connection with St. Francis, <a href="#Page_47">47</a>, <a href="#Page_102">102</a>; + repaired by St. Benedict, <a href="#Page_99">99</a>; + given to St. Francis, <a href="#Page_103">103</a>; + cradle of franciscan order, <a href="#Page_104">104</a>; + St. Clare comes to, <a href="#Page_104">104</a>, <a href="#Page_273">273</a>; + St. Francis dies at, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>, <a href="#Page_337">337</a>; <a href="#Page_338">338</a>; + indulgence of, <a href="#Page_344">344</a>; + chapter of the lattices at, <a href="#Page_345">345</a>; <a href="#Page_353">353</a>; <a href="#Page_355">355</a>; <a href="#Page_359">359</a>.</li> + +<li><span class="smcap">Puzzarelli</span>, Simone, <a href="#Page_123">123</a>.</li> + +<li><span class="smcap">Pontano</span>, Teobaldo, <a href="#Page_191">191</a>.</li> + +<li><span class="smcap">Propertius</span>, born at Assisi, <a href="#Page_6">6</a>; + describes Assisi, <a href="#Page_7">7</a>, <a href="#Page_8">8</a>.</li> +</ul> +</div> +<p class="center b110 p2">R</p> +<div class="left15"> +<ul class="idx"> + +<li><span class="smcap">Renan</span>, E., quoted, <a href="#Page_149">149</a>.</li> + +<li><span class="smcap">Reni</span>, Guido, <a href="#Page_339">339</a>.</li> + +<li><span class="smcap">Rivo-Torto</span>, <a href="#Page_93">93</a>; + leper hospitals at, <a href="#Page_95">95</a>; + description of, <a href="#Page_96">96</a> + vision of friars at, <a href="#Page_238">238</a>, <a href="#Page_299">299</a>.</li> + +<li><span class="smcap">Robbia</span>, Andrea della, his work in the Angeli, <a href="#Page_336">336</a>-<a href="#Page_338">338</a>.</li> + +<li><span class="smcap">Rocca</span> d'<span class="smcap">Assisi</span>, <i>see</i> <a href="#Castle">Castle</a>.</li> + +<li><span class="smcap">Rufino d'Arce</span>, San, <a href="#Page_94">94</a>; + St. Francis ministers to lepers at, <a href="#Page_95">95</a>.</li> + +<li><span class="smcap">Rufino</span>, Brother, <a href="#Page_68">68</a>; <i>note</i> <a href="#Page_260">260</a>.</li> + +<li>—— St., legend of, <a href="#Page_291">291</a>, <a href="#Page_292">292</a>, <a href="#Page_293">293</a>, <a href="#Page_297">297</a>; <a href="#Page_299">299</a>.</li> + +<li><span class="smcap">Rumohr</span>, von, B., <a href="#Page_251">251</a>.</li> + +<li><span class="smcap">Ruskin</span>, John, quoted, <a href="#Page_155">155</a>, <a href="#Page_170">170</a>, <a href="#Page_232">232</a>; <a href="#Page_236">236</a>.</li> +</ul> +</div> +<p class="center b110 p2">S</p> +<div class="left15"> +<ul class="idx"> + +<li><span class="smcap">Sabatier</span>, Paul, quoted, <i>note</i> <a href="#Page_44">44</a>, <a href="#Page_63">63</a>, <a href="#Page_238">238</a>, <a href="#Page_258">258</a>, <a href="#Page_266">266</a>, <a href="#Page_271">271</a>, <a href="#Page_274">274</a>; <i>note</i> <a href="#Page_138">138</a>.</li> + +<li><span class="smcap">Sansone</span>, Francesco, <a href="#Page_219">219</a>; <a href="#Page_256">256</a>.</li> + +<li><span class="smcap">Scifi</span>, Chiara, <i>see</i> <a href="#Clare">St. Clare.</a></li> + +<li>—— Count Favorino, <a href="#Page_258">258</a>; <a href="#Page_259">259</a>; <a href="#Page_261">261</a>; <a href="#Page_263">263</a>; <a href="#Page_264">264</a>.</li> + +<li><span class="smcap">Scott</span>, Leader, <i>note</i> <a href="#Page_125">125</a>.</li> + +<li><span class="smcap">Severino</span>, <i>see</i> <a href="#Domenico">Domenico</a>.</li> + +<li><span class="smcap">Sforza</span>, Alessandro, <a href="#Page_27">27</a>; <a href="#Page_28">28</a>.</li> + +<li>—— Francesco, Duke of Milan, <a href="#Page_25">25</a>; <a href="#Page_26">26</a>; <a href="#Page_328">328</a>.</li> + +<li><span class="smcap">Sixtus IV</span>, Pope, <a href="#Page_219">219</a>; + statue of, <a href="#Page_221">221</a>; <a href="#Page_257">257</a>.</li> + +<li><span class="smcap">Spagna</span>, Lo, <a href="#Page_207">207</a>; <a href="#Page_338">338</a>; <a href="#Page_341">341</a>.</li> + +<li><span class="smcap">Spoleto</span>, <a href="#Page_44">44</a>; <a href="#Page_45">45</a>.</li> + +<li><span class="smcap">Stanislaus</span>, St., <a href="#Page_207">207</a>.</li> + +<li><span class="smcap">Subasio</span>, Mount, <a href="#Page_84">84</a>; <a href="#Page_258">258</a>; + ways to, <a href="#Page_363">363</a>.</li> + +<li><span class="smcap">Sylvester</span>, Brother, <a href="#Page_239">239</a>.</li> +</ul> +</div> +<p class="center b110 p2">T</p> +<div class="left15"> +<ul class="idx"> + +<li><span class="smcap">Taine</span>, H., quoted, <a href="#Page_1">1</a>, <a href="#Page_198">198</a>.</li> + +<li><span class="smcap">Tescio</span> River, <a href="#Page_85">85</a>; note <a href="#Page_86">86</a>; <a href="#Page_124">124</a>; <a href="#Page_214">214</a>.</li> + +<li><span class="smcap">Thode</span>, Henry, note <a href="#Page_125">125</a>; <a href="#Page_158">158</a>; <a href="#Page_164">164</a>; <a href="#Page_165">165</a>; <i>note</i> <a href="#Page_171">171</a>; <a href="#Page_206">206</a>.</li> + +<li><span class="smcap">Three Companions</span>, legend of, <a href="#Page_96">96</a>; <a href="#Page_229">229</a>; <a href="#Page_242">242</a>.</li> + +<li><span class="smcap">Tiberio</span> d'<span class="smcap">Assisi</span>, frescoes at Assisi, <a href="#Page_279">279</a>, <a href="#Page_306">306</a>, <a href="#Page_341">341</a>.</li> + +<li><span class="smcap">Totila</span>, <a href="#Page_9">9</a>; <a href="#Page_325">325</a>.</li> + +<li><span class="smcap">Trevelyan</span>, R. C., <a href="#Page_7">7</a>; <a href="#Page_8">8</a>.</li> +</ul> +</div> +<p class="center b110 p2">U</p> +<div class="left15"> +<ul class="idx"> + +<li><span class="smcap">Ugolino</span>, Bishop of Ostia, <i>see</i> <a href="#Gregory">Gregory IX</a>.</li> +</ul> +</div> +<p class="center b110 p2">V</p> +<div class="left15"> +<ul class="idx"> + +<li><span class="smcap">Vasari</span>, Giorgio, quoted, <a href="#Page_124">124</a>, <a href="#Page_153">153</a>, <a href="#Page_164">164</a>, <a href="#Page_170">170</a>, <a href="#Page_195">195</a>, <a href="#Page_244">244</a>; <a href="#Page_155">155</a>, <a href="#Page_156">156</a>, <a href="#Page_306">306</a>.</li> + +<li><span class="smcap">Vernia</span>, <span class="smcap">La</span>, <a href="#Page_71">71</a>; <i>note</i> <a href="#Page_75">75</a>; + St. Francis receives the Stigmata at, <a href="#Page_72">72</a>; <a href="#Page_210">210</a>; <a href="#Page_211">211</a>; <a href="#Page_243">243</a>; <a href="#Page_250">250</a>.</li> + +<li><span class="smcap">Vespignano</span>, Giotto, born at, <a href="#Page_168">168</a>; <a href="#Page_169">169</a>.</li> + +<li><span class="smcap">Vitry</span>, Jacques de, <a href="#Page_15">15</a>; quoted, <a href="#Page_17">17</a>, <a href="#Page_240">240</a>.</li> +</ul> +</div> + +<hr /> + +<p class="p2 center">TURNBULL AND SPEARS, PRINTERS. EDINBURGH</p> + +<p><span class="pagenum"><a name="Page_372" id="Page_372"></a></span></p> + +<div class="figcenter p6"><a name="Map" id="Map"></a> +<img src="images/illus391.jpg" width="650" height="315" alt="Map" /> +<p class="caption">PLAN OF ASSISI</p> +<a href="images/illus391_big.jpg">View larger image</a> +</div> + +<div class="footnotes p6"> + +<h3>FOOTNOTES:</h3> + +<p class="footnote"><a name="Footnote_1" id="Footnote_1" href="#FNanchor_1"><span class="label">[1]</span></a> The legend may have arisen from the fact that Minerva +had a temple near Miletos under the title of Assesia and the +legend-weavers have caught at the similarity of sound to that +of their own Umbrian town.</p> + +<p class="footnote"><a name="Footnote_2" id="Footnote_2" href="#FNanchor_2"><span class="label">[2]</span></a> <i>Carmina</i>, i. 22, translated by R. C. Trevelyan.</p> + +<p class="footnote"><a name="Footnote_3" id="Footnote_3" href="#FNanchor_3"><span class="label">[3]</span></a> <i>Carmina</i>, IV. i. 121; translated by R. C. Trevelyan. In +another place Propertius gives bolder utterance to his pride: +"Whosoever beholds the town climbing the valley side, let him +measure the fame of their walls by my genius" (<i>Carmina</i>, iv. 5).</p> + +<p class="footnote"><a name="Footnote_4" id="Footnote_4" href="#FNanchor_4"><span class="label">[4]</span></a> See Cristofani, <i>Storia d'Assisi</i>, p. 42 for text of the MS.</p> + +<p class="footnote"><a name="Footnote_5" id="Footnote_5" href="#FNanchor_5"><span class="label">[5]</span></a> Dante, <i>Inferno</i>, xix. p. 115. Translated by John Milton.</p> + +<p class="footnote"><a name="Footnote_6" id="Footnote_6" href="#FNanchor_6"><span class="label">[6]</span></a> See <i>Les Nouveaux Mémoires de l'Academie de Bruxelles</i> (t. +xxiii. pp. 29, 33); also <i>Un nouveau Chapitre de la Vie de S. +François d'Assise</i>, par Paul Sabatier.</p> + +<p class="footnote"><a name="Footnote_7" id="Footnote_7" href="#FNanchor_7"><span class="label">[7]</span></a> Perugia was, on the whole, faithful to the Guelph cause. +She was patronised by the Popes on account of her strong +position overlooking the Tiber, and when inclined she freely +acknowledged them as her masters but at the same time she +was careful to guard her independence.</p> + +<p class="footnote"><a name="Footnote_8" id="Footnote_8" href="#FNanchor_8"><span class="label">[8]</span></a> <i>Cronaca Graziani</i>, p. 522.</p> + +<p class="footnote"><a name="Footnote_9" id="Footnote_9" href="#FNanchor_9"><span class="label">[9]</span></a> <i>Cronaca Graziani</i>, pp. 512 and 513.</p> + +<p class="footnote"><a name="Footnote_10" id="Footnote_10" href="#FNanchor_10"><span class="label">[10]</span></a> <i>Cronaca Graziani</i>, p. 513.</p> + +<p class="footnote"><a name="Footnote_11" id="Footnote_11" href="#FNanchor_11"><span class="label">[11]</span></a> <i>Cronaca Graziani</i>, p. 514, note 1.</p> + +<p class="footnote"><a name="Footnote_12" id="Footnote_12" href="#FNanchor_12"><span class="label">[12]</span></a> For a full account of the Baglioni see the sixteenth-century +chronicle of Matarazzo (<i>Archivio Storico Italiano</i>, vol. +xvi. part ii.), who has immortalised their crimes in classic +language; and also <i>The Story of Perugia</i> (Mediæval Towns +Series, J. M. Dent & Co.).</p> + +<p class="footnote"><a name="Footnote_13" id="Footnote_13" href="#FNanchor_13"><span class="label">[13]</span></a> <i>Cronaca Matarazzo</i>, p. 75.</p> + +<p class="footnote"><a name="Footnote_14" id="Footnote_14" href="#FNanchor_14"><span class="label">[14]</span></a> <i>Cronaca Matarazzo</i>, p. 75.</p> + +<p class="footnote"><a name="Footnote_15" id="Footnote_15" href="#FNanchor_15"><span class="label">[15]</span></a> <i>Ibid.</i></p> + +<p class="footnote"><a name="Footnote_16" id="Footnote_16" href="#FNanchor_16"><span class="label">[16]</span></a> Fratini, <i>Storia della Basilica di San Francesco</i>, p. 287.</p> + +<p class="footnote"><a name="Footnote_17" id="Footnote_17" href="#FNanchor_17"><span class="label">[17]</span></a> <i>Cronaca di Matarazzo</i>, p. 75.</p> + +<p class="footnote"><a name="Footnote_18" id="Footnote_18" href="#FNanchor_18"><span class="label">[18]</span></a> For a true picture of the condition of Italian towns, +torn by strife, decimated by famine, and suffering from leprosy +brought by the crusaders, see Brewer's admirable preface in +vol. iv. of the <i>Monumenta Franciscana</i>.</p> + +<p class="footnote"><a name="Footnote_19" id="Footnote_19" href="#FNanchor_19"><span class="label">[19]</span></a> The first tournament took place at Bologna in 1147.</p> + +<p class="footnote"><a name="Footnote_20" id="Footnote_20" href="#FNanchor_20"><span class="label">[20]</span></a> Folgore di San Gimignano, translated by D. G. Rossetti.</p> + +<p class="footnote"><a name="Footnote_21" id="Footnote_21" href="#FNanchor_21"><span class="label">[21]</span></a> These were the first troubadours to visit the Italian courts, +driven from Provence by the crusades against the Albigenses.</p> + +<p class="footnote"><a name="Footnote_22" id="Footnote_22" href="#FNanchor_22"><span class="label">[22]</span></a> A certain Bernardo Moriconi, leaving his brother to carry +on the business at Lucca, then famous for its manufacture of +silk stuffs, came and settled at Assisi where he got the nickname +Bernardone—the big Bernard. Whether in allusion to +his person or to his prosperity, we cannot say, but the family +name was lost sight of and his son was known as Pietro +Bernardone.</p> + +<p class="footnote"><a name="Footnote_23" id="Footnote_23" href="#FNanchor_23"><span class="label">[23]</span></a> Celano. <i>Vita</i> I. cap. 1.</p> + +<p class="footnote"><a name="Footnote_24" id="Footnote_24" href="#FNanchor_24"><span class="label">[24]</span></a> Ruskin. <i>The two paths</i>: Lecture III.</p> + +<p class="footnote"><a name="Footnote_25" id="Footnote_25" href="#FNanchor_25"><span class="label">[25]</span></a> Celano. <i>Vita</i> I. cap. 2.</p> + +<p class="footnote"><a name="Footnote_26" id="Footnote_26" href="#FNanchor_26"><span class="label">[26]</span></a> "Le vide lamentable de sa vie lui était tout à coup apparu; +il était effrayé de cette solitude d'une grande âme, dans laquelle +il n'y a point d'autel." Paul Sabatier. <i>Vie de S. François +d'Assise</i>, p. 17.</p> + +<p class="footnote"><a name="Footnote_27" id="Footnote_27" href="#FNanchor_27"><span class="label">[27]</span></a> From a 15th century translation of the will of St. Francis. +See <i>Monumenta Franciscana</i>. Chronicles edited by J. S. Brewer +vol. iv. p. 562.</p> + +<p class="footnote"><a name="Footnote_28" id="Footnote_28" href="#FNanchor_28"><span class="label">[28]</span></a> Life of Beato Egidio in the <i>Little Flowers of St. Francis</i>.</p> + +<p class="footnote"><a name="Footnote_29" id="Footnote_29" href="#FNanchor_29"><span class="label">[29]</span></a> Life of Beato Egidio in the <i>Little Flowers of St. Francis</i>.</p> + +<p class="footnote"><a name="Footnote_30" id="Footnote_30" href="#FNanchor_30"><span class="label">[30]</span></a> One of the most beautiful stories in the <i>Fioretti</i> (chapter +xxxiv.) recounts how St. Louis, King of France, visited Beato +Egidio at Perugia. The king and the poor friar kneeling +together in the courtyard of the convent, embracing each other +like familiar friends, is a picture such as only Umbrian literature +could have left us. There was absolute silence between the +two, yet we are told St. Louis returned to his kingdom and +Egidio to his cell with "marvellous content and consolation" +in their souls.</p> + +<p class="footnote"><a name="Footnote_31" id="Footnote_31" href="#FNanchor_31"><span class="label">[31]</span></a> See <i>Suprà</i>, p. 47.</p> + +<p class="footnote"><a name="Footnote_32" id="Footnote_32" href="#FNanchor_32"><span class="label">[32]</span></a> Quoted by Sigonius in his work on the Bishops of Bologna. +<i>Opera omnia</i>, v. iii., translated by Canon Knox Little. <i>Life +of St. Francis of Assisi</i>, p. 179.</p> + +<p class="footnote"><a name="Footnote_33" id="Footnote_33" href="#FNanchor_33"><span class="label">[33]</span></a> <i>Speculum Perfectionis</i>, cap. cv., edited by Paul Sabatier.</p> + +<p class="footnote"><a name="Footnote_34" id="Footnote_34" href="#FNanchor_34"><span class="label">[34]</span></a> <i>Fioretti</i>, cap. xiii.</p> + +<p class="footnote"><a name="Footnote_35" id="Footnote_35" href="#FNanchor_35"><span class="label">[35]</span></a> To franciscan influence must surely be traced the rise of +the Flagellants at Perugia in 1265.</p> + +<p class="footnote"><a name="Footnote_36" id="Footnote_36" href="#FNanchor_36"><span class="label">[36]</span></a> See <i>Histoire de Sainte Elizabeth</i>, Comte de Montalembert, +pp. 71, 72.</p> + +<p class="footnote"><a name="Footnote_37" id="Footnote_37" href="#FNanchor_37"><span class="label">[37]</span></a> It is related that when in 1216 some Franciscans went on +a mission to Germany the only word they knew was "Ja," +which they used upon every occasion. In one town they were +asked if they were heretics preaching a rival faith to catholicism, +and as they continued to say "Ja, Ja," the citizens threw them +into prison, and after beating them cruelly drove them ignominiously +from the country. The account they gave of their +experience to the other friars at Assisi created such a panic +that they were often heard in their prayers to implore God +to deliver them from the barbarity of the Teutons.</p> + +<p class="footnote"><a name="Footnote_38" id="Footnote_38" href="#FNanchor_38"><span class="label">[38]</span></a> Celano. <i>Vita</i> I. cap. xxi.</p> + +<p class="footnote"><a name="Footnote_39" id="Footnote_39" href="#FNanchor_39"><span class="label">[39]</span></a> Paul Sabatier. <i>Vie de S. Francis d'Assise</i>, p. 205.</p> + +<p class="footnote"><a name="Footnote_40" id="Footnote_40" href="#FNanchor_40"><span class="label">[40]</span></a> <i>Vita di S. Francesco</i>, p. 76. Edizione Amoni (1888. Roma).</p> + +<p class="footnote"><a name="Footnote_41" id="Footnote_41" href="#FNanchor_41"><span class="label">[41]</span></a> Celano, a learned nobleman from Celano in the Abruzzi, +joined the Order in 1215, and gives by far the most charming +and vivid account of St Francis, for besides knowing him well +he had the gift of writing in no ordinary degree.</p> + +<p class="footnote"><a name="Footnote_42" id="Footnote_42" href="#FNanchor_42"><span class="label">[42]</span></a> <i>Vita</i> I. cap. xxvii.</p> + +<p class="footnote"><a name="Footnote_43" id="Footnote_43" href="#FNanchor_43"><span class="label">[43]</span></a> <i>Vita di S. Francesco</i>, da S. Bonaventura, p. 148, Edizione +Amoni.</p> + +<p class="footnote"><a name="Footnote_44" id="Footnote_44" href="#FNanchor_44"><span class="label">[44]</span></a> This was a small chapel built for St. Francis by Count +Orlando, and must not be confounded with the church of the +same name near Assisi.</p> + +<p class="footnote"><a name="Footnote_45" id="Footnote_45" href="#FNanchor_45"><span class="label">[45]</span></a> The earnest wishes of the saint are to this day carried +out by faithful friars who, even through the terrible winter +months, live at La Vernia, suffering privation and cold with +cheerfulness. At midnight a bell calls them to sing matins +in the chapel of the Stigmata connected with the convent by +an open colonnade, down which the procession files, following +a crucifix and lanterns. When the service has ceased, the +monks flit like ghosts behind the altar while the lights are +extinguished and in the gloom comes the sound of clashing +chains. For an hour they chastise themselves: then the torches are relit, the chanting is resumed, and calmly they +pass down the corridor towards their cells. Moonlight may +stream into the colonnade across the dark forms, or gusts of +wind drive the snow in heaps before them, but the chanting is +to be heard, and the monotonous cries of <i>ora pro nobis</i> break the +awful solitude of night throughout the year upon the mountain +of La Vernia.</p> + +<p class="footnote"><a name="Footnote_46" id="Footnote_46" href="#FNanchor_46"><span class="label">[46]</span></a> Here reference is made to the Portiuncula, near Assisi.</p> + +<p class="footnote"><a name="Footnote_47" id="Footnote_47" href="#FNanchor_47"><span class="label">[47]</span></a> The Sasso Spicco, which still can be seen at La Vernia, is +a block of rock rising high above the mountain ridge, and +seems to hang suspended in the air. It forms a roof over +dark and cavernous places where St. Francis loved to pray, +often spending his nights there with stones for his bed.</p> + +<p class="footnote"><a name="Footnote_48" id="Footnote_48" href="#FNanchor_48"><span class="label">[48]</span></a> The <i>Fioretti</i> relates that once while St. Francis was +praying on the edge of a precipice, not far from the spot +where he had received the Stigmata, suddenly the devil +appeared in terrible form amidst the loud roar of a furious +tempest. St. Francis, unable to flee or to endure the ferocious +aspect of the devil, turned his face and whole body to the +rock to which he clung; and the rock, as though it had been +soft wax, received the impress of the saint and sheltered him. +Thus by the aid of God he escaped.</p> + +<p class="footnote"><a name="Footnote_49" id="Footnote_49" href="#FNanchor_49"><span class="label">[49]</span></a> <i>Speculum Perfectionis</i>, cap. c., edited by Paul Sabatier.</p> + +<p class="footnote"><a name="Footnote_50" id="Footnote_50" href="#FNanchor_50"><span class="label">[50]</span></a> St. Francis composed this verse later on the occasion of a +quarrel which arose between the Bishop of Assisi and the +Podestà. The last couplet was added at the Portiuncula while +he was on his death-bed.</p> + +<p class="footnote"><a name="Footnote_51" id="Footnote_51" href="#FNanchor_51"><span class="label">[51]</span></a> It has sometimes happened that visitors, who have not +read their Murray with sufficient care, thinking "Le Carceri" +are prisons where convicts are kept, leave Assisi without +visiting this charming spot. "Carceri" certainly now means +"prisons," but the original meaning of the word in old Italian +is a place surrounded by a fence and often remote from human +habitation.</p> + +<p class="footnote"><a name="Footnote_52" id="Footnote_52" href="#FNanchor_52"><span class="label">[52]</span></a> It is perhaps an insult to the Tescio to leave the traveller +in Umbria under the impression that this mountain torrent is +always dry. Certainly that is its usual condition, but we have +seen it during the storms that break upon the land in August +and September overflow its banks and inundate the country on +either side; but with this wealth of water its beauty goes.</p> + +<p class="footnote"><a name="Footnote_53" id="Footnote_53" href="#FNanchor_53"><span class="label">[53]</span></a> The large modern church of Rivo-Torto, on the road from +Sta. Maria degli Angeli to Spello, built to enclose the huts that +St. Francis and his companions are supposed to have lived in +while tending the lepers, has been proved without doubt by +M. Paul Sabatier to have no connection whatever with the +Saint. In these few pages we have followed the information +given in a pamphlet which is to be found in the Italian translation +of his <i>Vie de S. François d'Assise</i>. It is impossible here to +enter into all the arguments relating to this disputed point, +but I think the authority of the best, and by far the most +vivid of the biographers of St. Francis can be trusted without +further comment, and that we may safely believe the hut of St. +Francis, known as Rivo-Torto, lay close to the present chapels +of San Rufino d'Arce and Sta. Maria Maddalena. See <a href="#Page_363">Appendix</a> +for information as to their exact position in the plain and the +nearest road to them. <i>Disertazione sul primo luogo abitato dai +Frati Minori su Rivo-Torto e nell'Ospedale dei Lebbrosi di Assisi.</i> +di Paul Sabatier (Roma, Ermanno Loescher and Co., 1896).</p> + +<p class="footnote"><a name="Footnote_54" id="Footnote_54" href="#FNanchor_54"><span class="label">[54]</span></a> See <i>The Transactions of the Royal Irish Academy</i>, vol. xxvii. +Nov. 1882.</p> + +<p class="footnote"><a name="Footnote_55" id="Footnote_55" href="#FNanchor_55"><span class="label">[55]</span></a> <i>Speculum Perfectionis</i>, cap. lv., edited by Paul Sabatier.</p> + +<p class="footnote"><a name="Footnote_56" id="Footnote_56" href="#FNanchor_56"><span class="label">[56]</span></a> This custom ceased in the fifteenth century; but in the +year 1899, through the piety of the Rev. Father Bernardine +Ibald, it was revived. Once again the franciscans take a +small basket of fish to the abbot and his monks who now +live at S. Pietro in Assisi, where the benedictines went when +their mountain retreat was destroyed by order of the Assisan +despot, Broglia di Trino.</p> + +<p class="footnote"><a name="Footnote_57" id="Footnote_57" href="#FNanchor_57"><span class="label">[57]</span></a> This illustration is from a print to be seen in the somewhat +rare edition of the <i>Collis Paradisi Amœnitas, seu Sacri +Conventus Assisiensis Historiæ</i>, published in 1704 at Montefalco +by Padre Angeli, and it may even have been taken from an +earlier drawing. In it there is the true feeling of a franciscan +convent, such as the saint hoped would continue for all time, +and though there are some points which are incorrect (the +Church of Sta. Chiara, though curiously enough not the convent, +is represented, which was built several years later than San +Francesco), we get a clear idea of both Assisi and its immediate +neighbourhood. All the ancient gates of the town +can be made out, the Roman road from Porta Mojano to San +Rufino d'Arce, a faint indication of the path to the Carceri, +and also the old road from Assisi to the plain out of the gate of +S. Giacomo, passing not very far from the Ponte S. Vittorino. +The wall round the Portiuncula and the huts did not exist in +the time of St. Francis, which, together with the wooden gate, +may have been added by Brother Elias. The largest hut a +little to the right of the chapel was the infirmary where St. +Francis died (now called the Chapel of St. Francis), and the +one behind it was his cell (now known as the Chapel of +the Roses, see <a href="#Page_335">chapter xi.</a> for its story), whence he could +easily pass out through the woods to San Rufino d'Arce +hard by.</p> + +<p class="footnote"><a name="Footnote_58" id="Footnote_58" href="#FNanchor_58"><span class="label">[58]</span></a> For fuller account see <i>The Mirror of Perfection</i>, translated +by Sebastian Evans, caps. 107, 108, 112, and <i>The Little Flowers +of St. Francis</i>, translated by J. W. Arnold (Temple Classics), +chap. vi.</p> + +<p class="footnote"><a name="Footnote_59" id="Footnote_59" href="#FNanchor_59"><span class="label">[59]</span></a> In the same way when Beato Egidio, ill and nigh his end, +wished to return to the Portiuncula to die in the place he loved +so well, the Perugians refused their consent and even placed +soldiers round the monastery of Monte Ripido to prevent his +escape.</p> + +<p class="footnote"><a name="Footnote_60" id="Footnote_60" href="#FNanchor_60"><span class="label">[60]</span></a> In the illustrations on p. <a href="#illo054">38</a> and p. <a href="#illo123">107</a> is shown the +gallows erected where now stands the franciscan basilica, +but it is unlikely that the property of a private individual +should have been used for such a purpose, and Collis Inferni +may simply have meant the spur of hill beneath the upper +portion of Assisi upon which the castle stood.</p> + +<p class="footnote"><a name="Footnote_61" id="Footnote_61" href="#FNanchor_61"><span class="label">[61]</span></a> See Vasari, <i>Life of Arnolfo di Lapo</i>.</p> + +<p class="footnote"><a name="Footnote_62" id="Footnote_62" href="#FNanchor_62"><span class="label">[62]</span></a> It would be a thankless task to follow the bewildering +maze of contradictory evidence which has enveloped the +question as to who built San Francesco. Those who are +eager to do so, however, can consult Henry Thode's exhaustive +work, <i>Franz von Assisi</i> (beginning p. 187), which +deals most thoroughly with the subject. Leader Scott also, +in her learned book upon <i>The Cathedral Builders</i>, gives some +ingenious theories with regard to "Jacopo" and his supposed +relationship with Arnolfo, p. 315-316.</p> + +<p class="footnote">Another book is <i>I Maestri Comacini</i>, by Professore Marzario, +whose statements about "Jacopo's" nationality are +interesting and probable. But, following Vasari a little too +blindly, he gives us the startling fact that "Jacopo" died in +1310, this, even supposing him to have been only twenty-five +when he was at Assisi as chief architect, would make him +one hundred and fifteen years of age at the time of his death.</p> + +<p class="footnote"><a name="Footnote_63" id="Footnote_63" href="#FNanchor_63"><span class="label">[63]</span></a> <i>L'Architecture Gothique</i> par M. Edouard Corroyer. See pp. +96 and 105.</p> + +<p class="footnote"><a name="Footnote_64" id="Footnote_64" href="#FNanchor_64"><span class="label">[64]</span></a> <i>Speculum Perfectionis.</i> Edited by Paul Sabatier, cap. x.</p> + +<p class="footnote"><a name="Footnote_65" id="Footnote_65" href="#FNanchor_65"><span class="label">[65]</span></a> For the Latin text see p. c. of M. Paul Sabatier's introduction +to his edition of the <i>Speculum Perfectionis</i>.</p> + +<p class="footnote"><a name="Footnote_66" id="Footnote_66" href="#FNanchor_66"><span class="label">[66]</span></a> Giovanni Parenti, who does not stand out very clearly in +the history of the Order, was a Florentine magistrate of Città +di Castello, one of the first towns to feel the influence of St. +Francis. There he heard of the new movement which so +rapidly was spreading throughout Western Europe, and, together +with many of the citizens, became converted through +the teaching of the Umbrian saint.</p> + +<p class="footnote"><a name="Footnote_67" id="Footnote_67" href="#FNanchor_67"><span class="label">[67]</span></a> It is impossible in this small book to give any idea of the +various influences at work upon the young franciscan order +during the life of the saint. I can only refer my readers to the +charming pages of M. Paul Sabatier, who gives us a vivid +picture of these early days in <i>La Vie de Saint François</i>, and in +his introduction to the <i>Speculum Perfectionis</i>.</p> + +<p class="footnote"><a name="Footnote_68" id="Footnote_68" href="#FNanchor_68"><span class="label">[68]</span></a> It is difficult to say how free a hand the artists were +allowed when called in to execute work for any church, +but probably, in the case of San Francesco, they were obliged +to illustrate precisely the scenes and events chosen by the +friars, who in the case of the saint's legend would be very +severe judges, requiring quite the best that the artist could +produce.</p> + +<p class="footnote"><a name="Footnote_69" id="Footnote_69" href="#FNanchor_69"><span class="label">[69]</span></a> Later documents of the convent speak of a crucifix painted +in 1236 by Giunta Pisano with a portrait of Brother Elias +"taken from life" and the following inscription:</p> + +<p class="footnote"><span class="i4">Frater Elias fieri fecit</span><br /> +<span class="i4">Jesu Christe pie</span><br /> +<span class="i4">Misere pecantis Helie</span><br /> +<span class="i4">Giunta</span> Pisanus me pinxit. <span class="smcap">a.d.m. mccxxxvi.</span></p> + +<p class="footnote">It hung from a beam in the Upper Church until 1624 +when it suddenly disappeared, and it seems to have inspired +Padre Angeli (author of the "Collis Paradisi") with the +theory that Giunta Pisano was the first to paint in San +Francesco, ascribing to him, as some have continued to do, +the frescoes in the choir and transept of the Upper Church. +Messrs Crowe and Cavacaselle say, on what authority it is +impossible to discover, that the middle aisle of the Lower +Church "seems to have been painted between 1225 and +1250," ignoring the fact that Pope Gregory only laid the +foundation stone of the Basilica in 1228. Without trying +to find such early dates for the history of art at Assisi, it +appears to us quite wonderful enough that some fifty or +sixty years after the ceremony of the consecration in 1253, +Cimabue and his contemporaries—Giotto and his Tuscan +followers—had completed their work in both churches.</p> + +<p class="footnote"><a name="Footnote_70" id="Footnote_70" href="#FNanchor_70"><span class="label">[70]</span></a> <i>Right</i> transept is always synonymous with <i>South</i> transept, +but in this case, as San Francesco is built with the altar facing +to the west because it was necessary to have the entrance away +from the precipitous side of the hill, the <i>Right</i> transept looks +to the <i>North</i>, the <i>Left</i> to the <i>South</i>, and we have thought it +easier to keep to the actual position of the church in describing +the different frescoes. Herr Thode in his book has done +this, but it may be well to observe that Messrs Crowe and +Cavacaselle refer to the transepts and chapels as if they faced +the parts of the compass in the usual way.</p> + +<p class="footnote"><a name="Footnote_71" id="Footnote_71" href="#FNanchor_71"><span class="label">[71]</span></a> To facilitate seeing the paintings of the ceiling, both here +and in the Lower Church, it would be well to use a hand-glass, +a simple and most effectual addition to the comfort of +the traveller.</p> + +<p class="footnote"><a name="Footnote_72" id="Footnote_72" href="#FNanchor_72"><span class="label">[72]</span></a> Mr Ruskin says that the gable of the bishop's throne is +"of the exact period when the mosaic workers of the thirteenth +century at Rome adopted rudely the masonry of the north. +Briefly this is a Greek temple pediment, in which, doubtful of +their power to carve figures beautiful enough, they cut a +trefoiled hold for ornament, and bordered the edge with a +harlequinade of mosaic. They then call to their aid the Greek +sea waves, and let the surf of the Ægean climb along the +slopes, and toss itself at the top into a fleur-de-lys."</p> + +<p class="footnote"><a name="Footnote_73" id="Footnote_73" href="#FNanchor_73"><span class="label">[73]</span></a> There are only the most meagre scraps of information to +rely upon as to the dates of Giotto's works at San Francesco, +and it is needless here to enter into the endless discussion. +One thing is obvious; the Assisan frescoes must have been +executed before those at Padua which have always been +assigned to 1306. In these pages we have sometimes followed +the view held by Messrs. Crowe and Cavalcaselle, sometimes +that of Herr Thode, who appears to have studied the question +with open eyes, but our final authority is M. Bernhard Berenson, +who in a visit paid lately to Assisi was kind enough to +point out many things which we should otherwise have passed +by, and in the sequence of the frescoes by Giotto at San +Francesco we have entirely followed his opinion.</p> + +<p class="footnote"><a name="Footnote_74" id="Footnote_74" href="#FNanchor_74"><span class="label">[74]</span></a> For Simone Martini's Madonna and Saints between the +two chapels of this transept, see p. <a href="#Page_212">212</a>. The portraits (?) of +some of the first companions of St. Francis, painted beneath +Cimabue's fresco, belong to the Florentine school. It would +be vain to try and name them.</p> + +<p class="footnote"><a name="Footnote_75" id="Footnote_75" href="#FNanchor_75"><span class="label">[75]</span></a> See Vasari, ed. Milanesi, vol. i. p. 426. (Sansoni +Firenze.)</p> + +<p class="footnote"><a name="Footnote_76" id="Footnote_76" href="#FNanchor_76"><span class="label">[76]</span></a> It is often supposed that Giotto took the theme of this +fresco from the well-known lines of Dante referring to the +mystical marriage of St. Francis to Poverty. But Dante +wrote the xi. canto of the <i>Paradiso</i> long after Giotto had +left Assisi; both painter and poet really only followed the +legend recounted by St. Bonaventure of how St. Francis +met three women who saluted him on the plain of +S. Quirico near Siena. These were Poverty, Charity and +Obedience.</p> + +<p class="footnote"><a name="Footnote_77" id="Footnote_77" href="#FNanchor_77"><span class="label">[77]</span></a> <i>Paradiso</i>, xi., Cary's translation.</p> + +<p class="footnote"><a name="Footnote_78" id="Footnote_78" href="#FNanchor_78"><span class="label">[78]</span></a> This fact alone would disprove the idea that Giottino, +who was born in 1324, could have been the author of these +frescoes. Everything that cannot be attributed to other +painters is put down as his work, so that we have many +pictures and frescoes of totally different styles assigned to +Giottino.</p> + +<p class="footnote"><a name="Footnote_79" id="Footnote_79" href="#FNanchor_79"><span class="label">[79]</span></a> Some say this fresco represents the three youths begging +St. Nicholas to pardon the consul who had condemned them +to death, in which case it would come after the scene of the +execution on the opposite wall.</p> + +<p class="footnote"><a name="Footnote_80" id="Footnote_80" href="#FNanchor_80"><span class="label">[80]</span></a> The tabernacle on the altar is the work of Giulio Danti, +after a design by Galeazzo Alessi, both Perugians, in 1570.</p> + +<p class="footnote"><a name="Footnote_81" id="Footnote_81" href="#FNanchor_81"><span class="label">[81]</span></a> How right Elias was to hide the body of St. Francis in so +secure a place is shown by the various endeavours made by the +Perugians to secure the holy relics for their town. In the +fifteenth century they attempted, while at war with Assisi, +to carry off the body by force, and failing, had recourse to +diplomacy. They represented to Eugenius IV, that it would +be far safer at Perugia, and begged him to entrust them with +it. He denied his "dear sons'" request on the plea that the +Assisans would be brought to the verge of despair and their +city to ruin.</p> + +<p class="footnote"><a name="Footnote_82" id="Footnote_82" href="#FNanchor_82"><span class="label">[82]</span></a> The donor of this chapel was Gentile de Monteflori, a +franciscan, created cardinal in 1298 by Boniface VIII.</p> + +<p class="footnote"><a name="Footnote_83" id="Footnote_83" href="#FNanchor_83"><span class="label">[83]</span></a> Simone was born at Siena in 1283, and died at Avignon in +1344. He belonged to the school of Duccio, though influenced +to some degree by his contemporary Giotto, whose work at +Assisi he had full opportunity to study.</p> + +<p class="footnote"><a name="Footnote_84" id="Footnote_84" href="#FNanchor_84"><span class="label">[84]</span></a> <i>Central Italian Painters of the Renaissance</i>, B. Berenson, p. 47.</p> + +<p class="footnote"><a name="Footnote_85" id="Footnote_85" href="#FNanchor_85"><span class="label">[85]</span></a> <i>Sketches of the History of Christian Art</i>, by Lord Lindsay, +p. 134, vol. i.</p> + +<p class="footnote"><a name="Footnote_86" id="Footnote_86" href="#FNanchor_86"><span class="label">[86]</span></a> <i>The Central Italian Painters of the Renaissance.</i> Bernhard +Berenson, p. 48.</p> + +<p class="footnote"><a name="Footnote_87" id="Footnote_87" href="#FNanchor_87"><span class="label">[87]</span></a> Built by the Orsini brothers, the founders of the Chapel +del Sacramento, in the beginning of the fourteenth century.</p> + +<p class="footnote"><a name="Footnote_88" id="Footnote_88" href="#FNanchor_88"><span class="label">[88]</span></a> It is curious that the early Umbrian painters had so little +share in the decoration of the franciscan Basilica, the only +other picture of the school is the one in the Chapel of St. +Anthony the Abbot, and a fresco by some scholar of Ottaviano +Nelli on the wall near the entrance of the Lower Church.</p> + +<p class="footnote"><a name="Footnote_89" id="Footnote_89" href="#FNanchor_89"><span class="label">[89]</span></a> Not only had the friars to guard their own things, but also +the vast treasures of the Popes who, especially during their sojourn +at Avignon, found San Francesco a convenient store-house. +See on p. <a href="#Page_20">20</a> for the story of how these goods were +stolen by the citizens and the penalty this brought upon the +town.</p> + +<p class="footnote"><a name="Footnote_90" id="Footnote_90" href="#FNanchor_90"><span class="label">[90]</span></a> <i>La Benedizione di San Francesco</i>, Livorno, 1900.</p> + +<p class="footnote"><a name="Footnote_91" id="Footnote_91" href="#FNanchor_91"><span class="label">[91]</span></a> See chapter vi. p. <a href="#Page_171">171</a> for description of the frescoes here, +and of those above the altar. For Cimabue's Madonna on the +right wall of the Transept see chapter v. p. <a href="#Page_155">155</a>.</p> + +<p class="footnote"><a name="Footnote_92" id="Footnote_92" href="#FNanchor_92"><span class="label">[92]</span></a> In 1529 the campanile, which rather gives the impression +of a watch-tower, was used by Captain Bernardino da +Sassoferrato, as a sure place of refuge when the Prince of +Orange entered Assisi with his victorious army. From its +heights he kept his enemy at bay for three days, and finally +escaped to Spello leaving the city a prey to another despot.</p> + +<p class="footnote"><a name="Footnote_93" id="Footnote_93" href="#FNanchor_93"><span class="label">[93]</span></a> Open to visitors at two o'clock.</p> + +<p class="footnote"><a name="Footnote_94" id="Footnote_94" href="#FNanchor_94"><span class="label">[94]</span></a> Cary's translation. Dante, <i>Inferno</i>, canto xxvii.</p> + +<p class="footnote"><a name="Footnote_95" id="Footnote_95" href="#FNanchor_95"><span class="label">[95]</span></a> St. Bonaventure was born in 1221 at Bagnora in Umbria, +and became General of the franciscan order. Dante, in +canto xii. of the <i>Paradiso</i>, leaves him to sing the praises +of St. Dominic, just as the dominican divine St. Thomas +Aquinas had related the story of St. Francis in the preceding +canto.</p> + +<p class="footnote"><a name="Footnote_96" id="Footnote_96" href="#FNanchor_96"><span class="label">[96]</span></a> We have used Miss Lockhart's translation of St. Bonaventure's +<i>Legenda Santa Francisci</i>.</p> + +<p class="footnote"><a name="Footnote_97" id="Footnote_97" href="#FNanchor_97"><span class="label">[97]</span></a> J. Ruskin, <i>Mornings in Florence</i>, iii. Before the Soldan.</p> + +<p class="footnote"><a name="Footnote_98" id="Footnote_98" href="#FNanchor_98"><span class="label">[98]</span></a> xi. <i>Paradiso</i>, Cary's translation.</p> + +<p class="footnote"><a name="Footnote_99" id="Footnote_99" href="#FNanchor_99"><span class="label">[99]</span></a> Dante, <i>Paradiso</i>, xi., Cary's translation.</p> + +<p class="footnote"><a name="Footnote_100" id="Footnote_100" href="#FNanchor_100"><span class="label">[100]</span></a> A comparison may be made between the long and slender +body of the saint here with that in the death of St. Francis +in Sta. Croce, where the body is firmly drawn and of more +massive proportions.</p> + +<p class="footnote"><a name="Footnote_101" id="Footnote_101" href="#FNanchor_101"><span class="label">[101]</span></a> As the hated enemies of the Baglioni the Fiumi are often +mentioned in the chronicles of Matarazzo, and they played +an important part in the history of their native city. They +were Counts of Sterpeto, and the village of that name on the +hill to the west of Assisi above the banks of the Chiaggio +still belongs to the family.</p> + +<p class="footnote"><a name="Footnote_102" id="Footnote_102" href="#FNanchor_102"><span class="label">[102]</span></a> One of the first of the franciscans was Rufino, a nephew +of Count Favorino's, whose holiness was such that in speaking +of him to the other brethren St. Francis would call him +St. Rufino.</p> + +<p class="footnote"><a name="Footnote_103" id="Footnote_103" href="#FNanchor_103"><span class="label">[103]</span></a> Bernhard Berenson, "Central Italian painters of the +Renaissance," p. 86.</p> + +<p class="footnote"><a name="Footnote_104" id="Footnote_104" href="#FNanchor_104"><span class="label">[104]</span></a> Goethe's Werke, <i>Italiänische Reise</i>, I., vol. 27, pp. 184, <i>et +seq.</i>, J. G. Cotta, 1829.</p> + +<p class="footnote"><a name="Footnote_105" id="Footnote_105" href="#FNanchor_105"><span class="label">[105]</span></a> The key is obtained from the Canonico Modestini's +house, No. 27a Via S. Paolo.</p> + +<p class="footnote"><a name="Footnote_106" id="Footnote_106" href="#FNanchor_106"><span class="label">[106]</span></a> The legend that St. Francis was born in a stable only +dates from the fifteenth century and arose out of the desire +of the franciscans to make his life resemble that of Christ. +The site of this stable, which is now a chapel, is of no +interest whatever.</p> + +<p class="footnote"><a name="Footnote_107" id="Footnote_107" href="#FNanchor_107"><span class="label">[107]</span></a> See <i>Story of Perugia</i> (mediæval series), p. 211, for the legend +of their origin in that town.</p> + +<p class="footnote"><a name="Footnote_108" id="Footnote_108" href="#FNanchor_108"><span class="label">[108]</span></a> The chapel is also called the <i>Chiesa di S. Caterina</i> because +the members of that confraternity have charge of +it. It is often open, but should it be closed, there is +always some one about ready to obtain the key from the +house in the same street Via Superba, now Via Principe +di Napoli, No. 12, opposite Palazzo Bernabei.</p> + +<p class="footnote"><a name="Footnote_109" id="Footnote_109" href="#FNanchor_109"><span class="label">[109]</span></a> See Signor Alfonso Brizi's <i>Loggia dei Maestri Comacini in +Assisi</i>, No. 1, April 185, of the <i>Atti dell' Accademia Properziana +del Subasio in Assisi</i>.</p> + +<p class="footnote"><a name="Footnote_110" id="Footnote_110" href="#FNanchor_110"><span class="label">[110]</span></a> Both the key of <i>San Rufinuccio</i> and <i>San Lorenzo</i> can be +obtained through the sacristan of the Cathedral.</p> + +<p class="footnote"><a name="Footnote_111" id="Footnote_111" href="#FNanchor_111"><span class="label">[111]</span></a> This work has been admirably done by Signor Alfonso +Brizi. In his <i>Rocca d'Assisi</i>, published in 1898, he has +given a very interesting account of its many rulers and +vicissitudes, and a full description of the building, together +with all the documents relating to it.</p> + +<p class="footnote"><a name="Footnote_112" id="Footnote_112" href="#FNanchor_112"><span class="label">[112]</span></a> St. Francis called the Portiuncula Santa Maria degli +Angeli, but now the name is more connected with the large +church. See p. <a href="#Page_97">97</a>.</p> + +<p class="footnote"><a name="Footnote_113" id="Footnote_113" href="#FNanchor_113"><span class="label">[113]</span></a> St. Dominic was present at this famous gathering, and +the <i>Fioretti</i> gives a curious account of the way in which he +watched the doings of a brother saint, at first a little inclined +to criticise his methods, so different to his own, but finally +being won over by the franciscan doctrine of absolute +poverty.</p> + +<p class="footnote"><a name="Footnote_114" id="Footnote_114" href="#FNanchor_114"><span class="label">[114]</span></a> Those who know the teaching of St. Francis (see +<i>Fioretti</i>, chap. xiii.) will feel how the saint would have +fought against this device for the expiation of sins, invented +by the priests of Southern Italy. No Umbrian has ever +sunk to such depths of self-abasement, and during all the +first days of the "Perdono" festival they keep aloof, waiting +till the pilgrims' departure before obtaining their +indulgences.</p> +</div> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of The Story of Assisi, by Lina Duff Gordon + +*** END OF THIS PROJECT GUTENBERG EBOOK THE STORY OF ASSISI *** + +***** This file should be named 38559-h.htm or 38559-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/8/5/5/38559/ + +Produced by Melissa McDaniel and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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