Thursday, October 4, 2012 - Litany Lane Blog: Stewardship, Job 19:21-27, Luke 9: 51-56, St Francis of Assisi, Basilica of San Francesco d'Assisi

Thursday, October 4, 2012 - Litany Lane Blog: 
Stewardship, Job 19:21-27, Luke 9: 51-56, St Francis of Assisi, Basilica of San Francesco d'Assisi

Good Day Bloggers! 
Wishing everyone a Blessed Week! 

P.U.S.H. (Pray Until Serenity Happens). It has a remarkable way of producing solace, peace, patience and tranquility and of course resolution...God's always available 24/7.

We are all human. We all experience birth, life and death. We all have flaws but we also all have the gift knowledge and free will as well, make the most of it. Life on earth is a stepping to our eternal home in Heaven. Its your choice whether to rise towards eternal light or lost to eternal darkness. Material items, though needed for sustenance and survival on earth are of earthly value only. The only thing that passes from this earth to Heaven is our Soul, our Spirit...it's God's perpetual gift to us...Embrace it, treasure it, nurture it, protect it...

"Raise not a hand to another unless it is to offer in peace and goodwill." ~ Zarya Parx 2012

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Today's Word:  stewardship  stew·ard·ship  [stoo-erd-ship]

Origin:  before 900; Middle English; Old English stīweard, stigweard,  equivalent to stig-  (sense uncertain; probably “house, hall”; see sty¹ ) + weard ward ²

noun

1. the position and duties of a steward,  a person who acts as the surrogate of another or others, especially by managing property, financial affairs, an estate, etc.

2. the responsible overseeing and protection of something considered worth caring for and preserving: New regulatory changes will result in better stewardship of lands that are crucial for open space and wildlife habitat.

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Today's Old Testament Reading -  Job 19:21-27

²¹ Pity me, pity me, my friends, since I have been struck by the hand of God.
²² Must you persecute me just as God does, and give my body no peace?
²³ Will no one let my words be recorded, inscribed on some monument
²⁴ with iron chisel and engraving tool, cut into the rock for ever?
²⁵ I know that I have a living Defender and that he will rise up last, on the dust of the earth.
²⁶ After my awakening, he will set me close to him, and from my flesh I shall look on God.
²⁷ He whom I shall see will take my part: my eyes will be gazing on no stranger. My heart sinks within me.

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Today's Gospel Reading - Luke 9: 51-56

Gospel Reading - Luke 9,51-56

It happened that as the time drew near for him to be taken up, he resolutely turned his face towards Jerusalem and sent messengers ahead of him. These set out, and they went into a Samaritan village to make preparations for him, but the people would not receive him because he was making for Jerusalem. Seeing this, the disciples James and John said, ‘Lord, do you want us to call down fire from heaven to burn them up?’ But he turned and rebuked them, and they went on to another village.

Reflection

• The Gospel today narrates and tells us how Jesus decides to go to Jerusalem. It also describes the first difficulties which he finds along this road. He presents us the beginning of the long and hard way of the periphery toward the capital city. Jesus leaves Galilee and goes toward Jerusalem. Not all can understand him. Many abandon him, because the demands are enormous. Today, the same thing happens. Along the way of our community there are misunderstandings and abandonment.

• “Jesus decides to go to Jerusalem”. This decision marks the hard and long way of Jesus from Galilee to Jerusalem, from the periphery to the capital city. This journey occupies more than one third part of the Gospel of Luke (Lk 9, 51 to 19, 28). This is a sign that the voyage to Jerusalem was of great importance in the life of Jesus. The long walk is the symbol, at the same time, of the journey that the community is making. They seek to go through a difficult passage from the Jewish world toward the world of the Greek culture. This also symbolized the tension between the New and the Ancient which was closing more and more in itself. It also symbolizes the conversion which each one of us has to carry out, trying to follow Jesus. During the journey, the disciples try to follow Jesus, without returning back; but they do not always succeed. Jesus dedicates much time to instruct those who follow him closely. We have a concrete example of this instruction in today’s Gospel. At the beginning of the journey, Jesus leaves Galilee and takes with him the disciples to the territory of the Samaritans. He tries to form them in order that they may be ready to understand the openness to the New, toward the other, toward what is different.

• Luke 9, 51: Jesus decides to go to Jerusalem. The Greek text says literally: “Now it happened that as the time drew near for him to be taken up, he resolutely turned his face towards Jerusalem”. The expression assumption or being snatched recalls the Prophet Elijah snatched to heaven (2 K 2, 9-11). The expression turned his face recalls the Servant of Yahweh who said: “I have set my face like flint and I know I shall not be put to shame” (Is 50, 7). It also recalls an order which the Prophet Ezekiel received from God: “Turn your face toward Jerusalem!” (Ez 21, 7). In using these expressions Luke suggests that while they were walking toward Jerusalem, the most open opposition of Jesus began against the project of the official ideology of the Temple of Jerusalem. The ideology of the Temple wanted a glorious and nationalistic Messiah. Jesus wants to be a Messiah Servant. During the long journey, this opposition will increase and finally, it will end in the getting hold of Jesus. The snatching of Jesus is his death on the Cross, followed by his Resurrection.

• Luke 9, 52-53: The mission in Samaria failed. During the journey, the horizon of the mission is extended. After the beginning, Jesus goes beyond the frontiers of the territory and of the race. He sends his disciples to go and prepare his arrival in a town of Samaria. But the mission together with the Samaritans fails. Luke says that the Samaritans did not receive Jesus because he was going to Jerusalem. But if the disciples would have said to the Samaritans: “Jesus is going to Jerusalem to criticize the project of the Temple and to demand a greater openness”, Jesus would have been accepted, because the Samaritans were of the same opinion. The failure of the mission is, probably, due to the disciples. They did not understand why Jesus “turned the face toward Jerusalem”. The official propaganda of the glorious and nationalistic Messiah prevented them from perceiving... The disciples did not understand the openness of Jesus and the mission failed!

• Luke 9, 54-55: Jesus does not accept the request of vengeance. James and John do not want to take home the defeat. They do not accept that some one is not in agreement with their ideas. They want to imitate Elijah and use fire to revenge (2 K 1, 10). Jesus rejects the proposal. He does not want the fire. Some Bibles add: “You do not know what spirit is moving you!” This means that the reaction of the disciples was not according to the Spirit of Jesus. When Peter suggests to Jesus not to follow the path of the Messiah Servant, Jesus turns to Peter calling him Satan (Mk 8, 33). Satan is the evil spirit who wants to change the course or route of the mission of Jesus. The Message of Luke for the communities: those who want to hinder the mission among the pagans are moved by the evil spirit!

• In the ten chapters which describe the journey up to Jerusalem (Lk 9, 51 to 19, 28), Luke constantly reminds us that Jesus is on the way toward Jerusalem (Lk 9, 51.53.57; 10, 1.38; 11, 1; 13, 22.33; 14, 25; 17,11; 18, 31; 18, 37; 19, 1.11.28). He rarely says through where Jesus passed. Only at the beginning of the journey (Lk 9, 51), in the middle (Lk 17, 11), and at the end (Lk 18, 35; 19, 1), something is known concerning the place where Jesus was going by. This refers to the communities of Luke and also for all of us. The only thing that is sure is that we have to continue to walk. We cannot stop. But it is not always clear and definite the place where we have to pass by. What is sure, certain, is the objective: Jerusalem.

Personal questions

• Which are the problems which you have to face in your life, because of the decision which you have taken to follow Jesus?
• What can we learn from the pedagogy of Jesus with his disciples who wanted to revenge of the Samaritans?

Reference: Courtesy of Order of Carmelites, www.ocarm.org.

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Featured Item of the Day from Litany Lane

Our Mother of Perpetual Help Ipad Cases by LitanyLane

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Saint of the Day:  St. Francis of Assisi

Feast Day:  October 4
Patron Saint: Animals, Merchants & Ecology

St Francis of Assisi

Saint Francis of Assisi (born Giovanni Francesco di Bernardone; 1181 – died: October 3, 1226) was an Italian Catholic friar and preacher. He founded the men's Franciscan Order, the women’s Order of St. Clare, and the lay Third Order of Saint Francis. Though he was never ordained into the Catholic priesthood, Francis is one of the most venerated religious figures in history.

Francis was the son of a wealthy cloth merchant in Assisi, and he lived the high-spirited life typical of a wealthy young man, even fighting as a soldier for Assisi. While going off to war in 1204, Francis had a vision that directed him back to Assisi, where he lost his taste for his worldly life. On a pilgrimage to Rome, he begged with the beggars at St. Peter's. The experience moved him to live in poverty. Francis returned home, began preaching on the streets, and soon amassed a following. His order was endorsed by Pope Innocent III in 1210. He then founded the Order of Poor Clares, which was an enclosed order for women, as well as the Third Order of Brothers and Sisters of Penance. In 1219, he went to Egypt in an attempt to convert the Sultan. By this point, the Franciscan Order had grown to such an extent that its primitive organizational structure was no longer sufficient. He returned to Italy to organize the order. Once his organization was endorsed by the Pope, he withdrew increasingly from external affairs. In 1223, Francis arranged for the first Christmas manger scene. In 1224, he received the stigmata, making him the first recorded person to bear the wounds of Christ's Passion. He died in 1226 while preaching Psalm 141.

On July 16, 1228, he was pronounced a saint by Pope Gregory IX. He is known as the patron saint of animals, the environment, and one of the two patrons of Italy (with Catherine of Siena), and it is customary for Catholic and Anglican churches to hold ceremonies blessing animals on his feast day of 4 October. He is also known for his love of the Eucharist, his sorrow during the Stations of the Cross, and for the creation of the Christmas creche or Nativity Scene.

Early life

Francis of Assisi was one of seven children born to Pietro di Bernardone, a rich cloth merchant, and his wife Pica, about whom little is known except that she was originally from France. Pietro was in France on business when Francis was born, and Pica had him baptised as Giovanni di Bernardone. When his father returned to Assisi, he took to calling him Francesco ("the Frenchman"), possibly in honour of his commercial success and enthusiasm for all things French. According to another account, it was due to the boy being able to speak and sing in French fluently and effortlessly because of his French mother teaching him. Either way, the name Francesco soon replaced his baptismal name.

As a youth, Francesco—or Francis in English—became a devotee of troubadours and was fascinated with all things French. Although many hagiographers remark about his bright clothing, rich friends, and love of pleasures, his displays of disillusionment toward the world that surrounded him came fairly early in his life, as is shown in the "story of the beggar." In this account, he was selling cloth and velvet in the marketplace on behalf of his father when a beggar came to him and asked for alms. At the conclusion of his business deal, Francis abandoned his wares and ran after the beggar. When he found him, Francis gave the man everything he had in his pockets. His friends quickly chided and mocked him for his act of charity. When he got home, his father scolded him in rage.

In 1201, he joined a military expedition against Perugia and was taken as a prisoner at Collestrada, spending a year as a captive. It is possible that his spiritual conversion was a gradual process rooted in this experience. Upon his return to Assisi in 1203, Francis returned to his carefree life and in 1204, a serious illness led to a spiritual crisis. In 1205, Francis left for Puglia to enlist in the army of the Count of Brienne. A strange vision made him return to Assisi, deepening his ecclesiastical awakening.

According to the hagiographic legend, thereafter he began to avoid the sports and the feasts of his former companions; in response, they asked him laughingly whether he was thinking of marrying, to which he answered "yes, a fairer bride than any of you have ever seen," meaning his "lady poverty." He spent much time in lonely places, asking God for enlightenment. By degrees he took to nursing lepers, the most repulsive victims in the lazar houses near Assisi. After a pilgrimage to Rome, where he begged at the church doors for the poor, he said he had a mystical vision of Jesus Christ in the Church of San Damiano just outside of Assisi, in which the Icon of Christ Crucified said to him, "Francis, Francis, go and repair My house which, as you can see, is falling into ruins." He took this to mean the ruined church in which he was presently praying, and so he sold some cloth from his father's store to assist the priest there for this purpose.

His father Pietro, highly indignant, attempted to change his mind, first with threats and then with beatings. After legal proceedings before the bishop, Francis renounced his father and his patrimony, laying aside even the garments he had received from him. For the next couple of months he lived as a beggar in the region of Assisi. Returning to the countryside around the town for two years this time, he restored several ruined churches, among them the Porziuncola, a little chapel of St. Mary of the Angels just outside the town, which later became his favorite abode.

Founding of the Franciscan Order

Francis considered his stigmata part of the imitation of Christ.

At the end of this period (on February 24, 1209, according to Jordan of Giano), Francis heard a sermon that changed his life. The sermon was about Matthew 10:9, in which Christ tells his followers they should go forth and proclaim that the Kingdom of Heaven was upon them, that they should take no money with them, nor even a walking stick or shoes for the road. Francis was inspired to devote himself to a life of poverty.

Clad in a rough garment, barefoot, and, after the Gospel precept, without staff or scrip, he began to preach repentance. He was soon joined by his first follower, a prominent fellow townsman, the jurist Bernardo di Quintavalle, who contributed all that he had to the work. Within a year Francis had eleven followers. Francis chose never to be ordained a priest and the community lived as "lesser brothers," fratres minores in Latin. The brothers lived a simple life in the deserted lazar house of Rivo Torto near Assisi; but they spent much of their time wandering through the mountainous districts of Umbria, always cheerful and full of songs, yet making a deep impression upon their hearers by their earnest exhortations.

Francis' preaching to ordinary people was unusual since he had no license to do so. In 1209 he composed a simple rule for his followers ("friars"), (the Regula primitiva or “Primitive Rule”) which came from verses in the Bible. The rule was “To follow the teachings of our Lord Jesus Christ and to walk in his footsteps.” In 1209, Francis led his first eleven followers to Rome to seek permission from Pope Innocent III to found a new religious order. Upon entry to Rome, the brothers encountered Bishop Guido of Assisi, who had in his company Giovanni di San Paolo, the Cardinal Bishop of Sabina. The Cardinal, who was the confessor of Pope Innocent III, was immediately sympathetic to Francis and agreed to represent Francis to the pope. Reluctantly, Pope Innocent agreed to meet with Francis and the brothers the next day. After several days, the pope agreed to admit the group informally, adding that when God increased the group in grace and number, they could return for an official admittance. The group was tonsured.This was important in part because it recognized Church authority and prevented his following from possible accusations of heresy, as had happened to the Waldensians decades earlier. Though Pope Innocent initially had doubts, following a dream in which he saw Francis holding up the Basilica of St. John Lateran (the bishopric seat of the Pope and cathedral of Rome, thus the 'home church' of all Christendom), he decided to endorse Francis' order. This occurred, according to tradition, on April 16, 1210 and constituted the official founding of the Franciscan order. The group, then the "Lesser Brothers" (Friars Minor or Franciscan Order), preached on the streets and had no possessions. They were centered in Porziuncola, and preached first in Umbria, before expanding throughout Italy.

Missions work

Pope Innocent III has a dream of St. Francis of Assisi supporting the tilting church (attributed to Giotto)

From then on, his new order grew quickly with new vocations. When hearing Francis preaching in the church of San Rufino in Assisi in 1209, Clare of Assisi became deeply touched by his message and she realized her calling. Her brother Rufino also joined the new order.

On Palm Sunday, March 28, 1211, Francis received Clare at the Porziuncola and hereby established the Order of Poor Ladies, later called Poor Clares. This was an order for women, and he gave a religious habit, or dress, similar to his own to the noblewoman later known as St. Clare of Assisi, before he then lodged her and a few companions in the church of San Damiano. There they were joined by many other women of Assisi. For those who could not leave their homes, he later formed the Third Order of Brothers and Sisters of Penance. This was a lay fraternity whose members neither withdrew from the world nor took religious vows. Instead, they carried out the principles of Franciscan life. Before long this order grew beyond Italy.

Determined to bring the Gospel to all God’s creatures, Francis sought on several occasions to take his message out of Italy. In the late spring of 1212, he set out for Jerusalem, but he was shipwrecked by a storm on the Dalmatian coast, forcing him to return to Italy. On May 8, 1213, he was given the use of the mountain of La Verna (Alverna) as a gift from the count Orlando di Chiusi who described it as “eminently suitable for whoever wishes to do penance in a place remote from mankind.” The mountain would become one of his favorite retreats for prayer. In the same year, Francis sailed for Morocco, but this time an illness forced him to break off his journey in Spain. Back in Assisi, several noblemen (among them Tommaso da Celano, who would later write the biography of St. Francis) and some well-educated men joined his order. In 1215, Francis went again to Rome for the Fourth Lateran Council. During this time, he probably met Dominic de Guzman (later to be Saint Dominic, the founder of the Friars Preachers, another Catholic religious order). In 1217 he offered to go to France. Cardinal Ugolino of Segni (the future Pope Gregory IX), an early and important supporter of Francis, advised him against this and said that he was still needed in Italy.

St. Francis before the Sultan — the alleged trial by fire (fresco, Giotto attrib.)

In 1219, accompanied by another friar and hoping to convert the Sultan of Egypt or win martyrdom in the attempt, Francis went to Egypt where a Crusader army had been encamped for over a year besieging the walled city of Damietta two miles (3.2 kilometers) upstream from the mouth of one of the main channels of the Nile. The Sultan, al-Kamil, a nephew of Saladin, had succeeded his father as Sultan of Egypt in 1218 and was encamped upstream of Damietta, unable to relieve it. A bloody and futile attack on the city was launched by the Christians on 29 August 1219, following which both sides agreed to a ceasefire which lasted four weeks. It was most probably during this interlude that Francis and his companion crossed the Saracen lines and were brought before the Sultan, remaining in his camp for a few days. The visit is reported in contemporary Crusader sources and in the earliest biographies of Francis, but they give no information about what transpired during the encounter beyond noting that the Sultan received Francis graciously and that Francis preached to the Saracens without effect, returning unharmed to the Crusader camp. No contemporary Arab source mentions the visit. One detail, added by Bonaventure in the official life of Francis (written forty years after the event), concerns an alleged challenge by Francis offering trial-by-fire in order to prove the veracity of the Christian gospel. Although Bonaventure does not suggest as much, subsequent biographies went further, claiming that a fire was kindled which Francis unhesitatingly entered without suffering burns. Such an incident is depicted in the late 13th c. fresco cycle, attributed to Giotto, in the upper basilica at Assisi (see accompanying illustration). According to some late sources, the Sultan gave Francis permission to visit the sacred places in the Holy Land and even to preach there. All that can safely be asserted is that Francis and his companion left the Crusader camp for Acre, from where they embarked for Italy in the latter half of 1220. Drawing on a 1267 sermon by Bonaventure, later sources report that the Sultan secretly converted or accepted a death-bed baptism as a result of the encounter with Francis. The Franciscan Order has been present in the Holy Land almost uninterruptedly since 1217 when brother Elias arrived at Acre. It received concessions from the Mameluke Sultan in 1333 with regard to certain Holy Places in Jerusalem and Bethlehem, and (so far as concerns the Catholic Church) jurisdictional privileges from Pope Clement VI in 1342.

At Greccio near Assisi, around 1220, Francis celebrated Christmas by setting up the first known three-dimensional presepio or crèche (Nativity scene). His nativity imagery reflected the scene in traditional paintings. He used real animals to create a living scene so that the worshipers could contemplate the birth of the child Jesus in a direct way, making use of the senses, especially sight. Thomas of Celano, a biographer of Francis and Saint Bonaventure both, tell how he only used a straw-filled manger (feeding trough) set between a real ox and donkey. According to Thomas, it was beautiful in its simplicity with the manger acting as the altar for the Christmas Mass.

Reorganization of the Franciscan Order and death

Saint Francis of Assisi with the Sultan al-Kamil (15th century)

By this time, the growing congregation of friars was divided into provinces and groups were sent to France, Germany, Hungary, Spain and to the East. When receiving a report of the martyrdom of five brothers in Morocco, Francis returned to Italy via Venice. Cardinal Ugolino di Conti was then nominated by the Pope as the protector of the Order. The friars in Italy at this time were causing problems, and as such, Francis had to return in order to correct these problems. The Franciscan Order had grown at an unprecedented rate, when compared to prior religious orders. Unfortunately, however, its organizational sophistication had not kept up with this growth and had little more to govern it than Francis' example and simple rule. To address this problem, Francis prepared a new and more detailed rule, the "First Rule" or "Rule Without a Bull" (Regula prima Regula non bullata) which again asserted devotion to poverty and the apostolic life. However, it introduced greater institutional structure although this was never officially endorsed by the pope.

On September 29, 1220, Francis handed over the governance of the Order to brother Peter Catani at the Porziuncola. However, Brother Peter died only five months later, on March 10, 1221, and was buried in the Porziuncola. When numerous miracles were attributed to the late Peter Catani, people started to flock to the Porziuncola, disturbing the daily life of the Franciscans. Francis then prayed, asking Peter to stop the miracles and obey in death as he had obeyed during his life. The reports of miracles ceased. Brother Peter was succeeded by Brother Elias as Vicar of Francis. Two years later, Francis modified the "First Rule" (creating the "Second Rule" or "Rule With a Bull"), and Pope Honorius III approved it on November 29, 1223. As the official rule of the order, it called on the friars "to observe the Holy Gospel of our Lord Jesus Christ, living in obedience without anything of our own and in chastity." In addition, it set regulations for discipline, preaching, and entry into the order. Once the rule was endorsed by the Pope, Francis withdrew increasingly from external affairs. During 1221 and 1222 Francis crossed Italy, first as far south as Catania in Sicily and afterwards as far north as Bologna.

St. Francis receives the Stigmata (fresco attributed to Giotto)

While he was praying on the mountain of Verna, during a forty-day fast in preparation for Michaelmas (September 29), Francis is said to have had a vision on or about September 14, 1224, the Feast of the Exaltation of the Cross, as a result of which he received the stigmata. Brother Leo, who had been with Francis at the time, left a clear and simple account of the event, the first definite account of the phenomenon of stigmata. "Suddenly he saw a vision of a seraph, a six-winged angel on a cross. This angel gave him the gift of the five wounds of Christ." Suffering from these stigmata and from an eye disease, Francis received care in several cities (Siena, Cortona, Nocera) to no avail. In the end, he was brought back to a hut next to the Porziuncola. Here, in the place where it all began, feeling the end approaching, he spent the last days of his life dictating his spiritual testament. He died on the evening of October 3, 1226, singing Psalm 141.

On July 16, 1228, he was pronounced a saint by Pope Gregory IX (the former cardinal Ugolino di Conti, friend of St Francis and Cardinal Protector of the Order). The next day, the Pope laid the foundation stone for the Basilica of Saint Francis in Assisi. He was buried on May 25, 1230, under the Lower Basilica. His burial place remained inaccessible until it was reopened in 1818. Pasquale Belli then constructed for his remains a crypt in neo-classical style in the Lower Basilica. It was refashioned between 1927 and 1930 into its present form by Ugo Tarchi, stripping the wall of its marble decorations. In 1978 the remains of St. Francis were identified by a commission of scholars appointed by Pope Paul VI, and put in a glass urn in the ancient stone tomb. Saint Francis is considered the first Italian poet by literary critics. He believed commoners should be able to pray to God in their own language, and he wrote often in the dialect of Umbria instead of Latin. His writings are considered to have great literary and religious value.

Character and legacy

Habit of Francis of Assisi

It has been argued that no one in history was as dedicated as Francis to imitate the life, and carry out the work, of Christ in Christ’s own way. This is important in understanding Francis' character and his affinity for the Eucharist and respect for the priests who carried out the sacrament. He and his followers celebrated and even venerated poverty. Poverty was so central to his character that in his last written work, the Testament, he said that absolute personal and corporate poverty was the essential lifestyle for the members of his order. He believed that nature itself was the mirror of God. He called all creatures his “brothers” and “sisters,” and even preached to the birds and supposedly persuaded a wolf to stop attacking some locals if they agreed to feed the wolf. In his “Canticle of the Creatures” (“Praises of Creatures” or “Canticle of the Sun”), he mentioned the “Brother Sun” and “Sister Moon,” the wind and water, and “Sister Death.” He referred to his chronic illnesses as his “sisters." His deep sense of brotherhood under God embraced others, and declared that “he considered himself no friend of Christ if he did not cherish those for whom Christ died.” Francis's visit to Egypt and attempted rapprochement with the Muslim world had far-reaching consequences, long past his own death, since after the fall of the Crusader Kingdom it would be the Franciscans, of all Catholics, who would be allowed to stay on in the Holy Land and be recognized as "Custodians of the Holy Land" on behalf of Christianity.

Nature and the environment

A garden statue of Francis of Assisi with birds

Many of the stories that surround the life of St. Francis deal with his love for animals. Perhaps the most famous incident that illustrates the Saint's humility towards nature is recounted in the "Fioretti" ("Little Flowers"), a collection of legends and folklore that sprang up after the Saint's death. It is said that, one day, while Francis was travelling with some companions, they happened upon a place in the road where birds filled the trees on either side. Francis told his companions to "wait for me while I go to preach to my sisters the birds." The birds surrounded him, intrigued by the power of his voice, and not one of them flew away.

Another legend from the Fioretti tells that in the city of Gubbio, where Francis lived for some time, was a wolf "terrifying and ferocious, who devoured men as well as animals." Francis had compassion upon the townsfolk, and so he went up into the hills to find the wolf. Soon, fear of the animal had caused all his companions to flee, though the saint pressed on. When he found the wolf, he made the sign of the cross and commanded the wolf to come to him and hurt no one. Miraculously the wolf closed his jaws and lay down at the feet of St. Francis. "Brother Wolf, you do much harm in these parts and you have done great evil," said Francis. "All these people accuse you and curse you...But brother wolf, I would like to make peace between you and the people." Then Francis led the wolf into the town, and surrounded by startled citizens made a pact between them and the wolf. Because the wolf had “done evil out of hunger, the townsfolk were to feed the wolf regularly. In return, the wolf would no longer prey upon them or their flocks. In this manner Gubbio was freed from the menace of the predator. Francis even made a pact on behalf of the town dogs, that they would not bother the wolf again. Finally, to show the townspeople that they would not be harmed, Francis blessed the wolf.

Francis preached the teaching of the Catholic Church, that the world was created good and beautiful by God but suffers a need for redemption because of the primordial sin of man. He preached to man and beast the universal ability and duty of all creatures to praise God (a common theme in the Psalms) and the duty of men to protect and enjoy nature as both the stewards of God's creation and as creatures ourselves.

On November 29th 1979, Pope John Paul II declared St. Francis to be the Patron of Ecology. Then during the World Environment Day 1982, he said that St. Francis' love and care for creation was a challenge for contemporary Catholics and a reminder "not to behave like dissident predators where nature is concerned, but to assume responsibility for it, taking all care so that everything stays healthy and integrated, so as to offer a welcoming and friendly environment even to those who succeed us." The same Pope wrote on the occasion of the World Day of Peace, January 1st 1990, the the saint of Assisi "offers Christians an example of genuine and deep respect for the integrity of creation..." He went on to make the point that St Francis: "As a friend of the poor who was loved by God's creatures, Saint Francis invited all of creation - animals, plants, natural forces, even Brother Sun and Sister Moon - to give honor and praise to the Lord. The poor man of Assisi gives us striking witness that when we are at peace with God we are better able to devote ourselves to building up that peace with all creation which is inseparable from peace among all peoples."

Pope John Paul II concluded that section of the document with these words, "It is my hope that the inspiration of Saint Francis will help us to keep ever alive a sense of 'fraternity' with all those good and beautiful things which Almighty God has created."

Feast Day

Saint Francis's feast day is observed on October 4. A secondary feast in honor of the stigmata received by St Francis, celebrated on September 17, was inserted in the General Roman Calendar in 1585 (later than the Tridentine Calendar) and suppressed in 1604, but was restored in 1615. In the New Roman Missal of 1969, it was removed, as something of a duplication of the main feast on October 4, from the General Calendar and left to the calendars of certain localities and of the Franciscan Order. Wherever the traditional Roman Missal is used, however, the feast of the Stigmata remains in the General Calendar.

On June 18, 1939, Pope Pius XII named Francis a joint Patron Saint of Italy along with Saint Catherine of Siena with the apostolic letter "Licet Commissa", AAS XXXI (1939), 256-257. Pius XII mentioned the two saints in the laudative discourse he pronounced on May 5, 1949, in the Santa Maria sopra Minerva church.
St. Francis is honored in the Church of England, the Anglican Church of Canada, the Episcopal Church USA, the Old Catholic Churches, the Evangelical Lutheran Church in America, and other churches and religious communities on October 4. The Evangelical Church in Germany, however, commemorates St. Francis' feast day on his death day, October 3.

Media Films

• The Flowers of St. Francis, a 1950 film directed by Roberto Rossellini and co-written by Federico Fellini
• Uccellacci e uccellini (The Hawks and the Sparrows), a 1966 film directed by Pier Paolo Pasolini
• Francis of Assisi, a 1961 film directed by Michael Curtiz, based on the novel The Joyful Beggar by Louis de Wohl
• Francis of Assisi (1966 film), a 1966 film directed by Liliana Cavani
• Brother Sun, Sister Moon, a 1972 film by Franco Zeffirelli
• Francesco, a 1989 film by Liliana Cavani, contemplatively paced, follows Francis of Assisi's evolution from rich man's son to religious humanitarian, and eventually to full-fledged self-tortured saint. Saint Francis is played by Mickey Rourke, and the woman who later became Saint Clare, is played by Helena Bonham Carter
• St. Francis, a 2002 film directed by Michele Soavi, starring Raoul Bova and Amélie Daure
• Clare and Francis, a 2007 film directed by Fabrizio Costa, starring Mary Petruolo and Ettore Bassi
• Pranchiyettan and the Saint, a 2010 satirical Malayalam film

 

Classical music

• Franz Liszt:
  • Cantico del sol di Francesco d'Assisi, S.4 (sacred choral work, 1862, 1880–81; versions of the Prelude for piano, S. 498c, 499, 499a; version of the Prelude for organ, S. 665, 760; version of the Hosannah for organ and bass trombone, S.677)
  • St. François d'Assise: La Prédication aux oiseaux, No. 1 of Deux Légendes, S.175 (piano, 1862–63)
• Mario Castelnuovo-Tedesco:
  • Fioretti (voice and orchestra, 1920)
• Gian Francesco Malipiero:
  • San Francesco d'Assisi (soloists, chorus and orchestra, 1920–1921)
• Amy Beach:
  • Canticle of the Sun (soloists, chorus and orchestra, 1928)
• Leo Sowerby:
  • Canticle of the Sun (cantata for mixed voices with accompaniment for piano or orchestra, 1944)
• Seth Bingham
  • The Canticle of the Sun (cantata for chorus of mixed voices with soli ad lib. and accompaniment for organ or orchestra, 1949)
• Juiusz Łuciuk
  • Święty Franciszek z Asyżu (oratorio for soprano, tenor, baritone, mixed chorus and orchestra, 1976)
• Olivier Messiaen:
  • opera Saint François d'Assise (1975–83)
• William Walton:
  • Cantico del sol (chorus, 1973–74)
• Sofia Gubaidulina:
  • Sonnengesang (solo cello, chamber choir and percussion, 1997)

• Balada de Francisco [Ballad of Francis] voices accompanied by guitar - Juventude Franciscana and O.F.S - "Semeadores da Paz - JUFRA (1999) 

 

Books

• Francis of Assisi: A New Biography, by Augustine Thompson, O.P., Cornell University Press, 2012, ISBN 978-080145-070-9
• Francis of Assisi in the Sources and Writings, by Robert Rusconi and translated by Nancy Celaschi, Franciscan Institute Publications, 2008. ISBN 978-1-57659-152-9
• The Stigmata of Francis of Assisi, Franciscan Institute Publications, 2006. ISBN 978-1-57659-140-6
• Francis of Assisi - The Message in His Writings, by Thaddee Matura, Franciscan Institute Publications, 1997. ISBN 978-1-57659-127-7
• Saint Francis of Assisi, by John R. H. Moorman, Franciscan Institute Publications, 1987. ISBN 978-0-8199-0904-6
• First Encounter with Francis of Assisi, by Damien Vorreux and translated by Paul LaChance, Franciscan Institute Publications, 1979. ISBN 978-0-8199-0698-4
• St. Francis of Assisi, by Raoul Manselli, Franciscan Institute Publications, 1985. ISBN 978-0-8199-0880-3
• Saint Francis of Assisi, by Thomas of Celano and translated by Placid Hermann, Franciscan Institute Publications, 1988. ISBN 978-0-8199-0554-3
• Francis the Incomparable Saint, by Joseph Lortz, Franciscan Institute Publications, 1986, ISBN 978-1-57659-067-6
• Respectfully Yours: Signed and Sealed, Francis of Assisi, by Edith van den Goorbergh and Theodore Zweerman, Franciscan Institute Publications, 2001. ISBN 978-1-57659-178-9
• The Admonitions of St Francis: Sources and Meanings, by Robert J. Karris, Franciscan Institute Publications, 1999. ISBN 978-1-57659-166-6
• We Saw Brother Francis, by Francis de Beer, Franciscan Institute Publications, 1983. ISBN 978-0-8199-0803-2
• Sant Francesco (Saint Francis, 1895), a book of forty-three Saint Francis poems by Catalan poet-priest Jacint Verdaguer, three of which are included in English translation in Selected Poems of Jacint Verdaguer: A Bilingual Edition, edited and translated by Ronald Puppo, with an introduction by Ramon Pinyol i Torrents (University of Chicago, 2007). The three poems are "The Turtledoves", "Preaching to Birds" and "The Pilgrim".
• Saint Francis of Assisi (1923), a book by G. K. Chesterton
• "Blessed Are The Meek(1944 ). a book by Zofia Kossak
• "Saint Francis of Assisi" a Doubleday Image Book translated by T. O'Conor Sloane, Ph.D., LL.D. in 1955 from the Danish original researched and written by Johannes Jorgensen and published in 1912 by Longmans, Green and Company, Inc.
• Saint Francis (1962), a book by Nikos Kazantzakis
• Scripta Leonis, Rufini Et Angeli Sociorum S. Francisci: The Writings of Leo, Rufino and Angelo Companions of St. Francis (1970), edited by Rosalind B. Brooke, in Latin and English, containing testimony recorded by intimate, long-time companions of St. Francis
• Saint Francis and His Four Ladies (1970), a book by Joan Mowat Erikson
• The Life and Words of St. Francis of Assisi (1973), by Ira Peck
• The Life of Saint Francis of Assisi (1996), a book by Patricia Stewart
• Reluctant Saint: The Life of Francis of Assisi (2002), a book by Donald Spoto
• Flowers for St Francis (2005), a book by Raj Arumugam
• Chasing Francis, 2006, a book by Ian Cron
• John Tolan, St. Francis and the Sultan: The Curious History of a Christian-Muslim Encounter. Oxford: Oxford University Press, 2009.
• "Vita di un uomo: Francesco d'Assisi" (1995) a book by Chiara Frugoni, preface by Jacques Le Goff, Torino: Einaudi.

 

Other

• In Rubén Darío's poem Los Motivos Del Lobo (The Reasons Of The Wolf) St. Francis tames a terrible wolf only to discover that the human heart harbors darker desires than those of the beast.
• In Fyodor Dostoyevsky's The Brothers Karamazov, Ivan Karamazov invokes the name of 'Pater Seraphicus,' an epithet applied to St. Francis, to describe Alyshosha's spiritual guide Zosima. The reference is found in Goethe's "Faust," Part 2, Act 5, lines 11918–25.
• St. Francis Preaches to the Birds (2005), chamber concerto for violin by composer Lewis Nielson
• Rich Mullins co-wrote Canticle of the Plains, a musical, with Mitch McVicker. Released in 1997, it was based on the life of St Francis of Assisi, but told as a western story.
• Bernard Malamud's novel The Assistant (1957) features a protagonist, Frank Alpine, who exemplifies the life of St. Francis in mid-twentieth-century Brooklyn, New York City.

References

• Bonaventure; Cardinal Manning (1867). The Life of St. Francis of Assisi (from the Legenda Sancti Francisci) (1988 ed.). Rockford, Illinois: TAN Books & Publishers. ISBN 978-0-89555-343-0
• Chesterton, Gilbert Keith (1924). St. Francis of Assisi (14 ed.). Garden City, New York: Image Books.
• Englebert, Omer (1951). The Lives of the Saints. New York: Barnes & Noble.
• Karrer, Otto, ed., St. Francis, The Little Flowers, Legends, and Lauds, trans. N. Wydenbruck, (London: Sheed and Ward, 1979)
• Robinson, Paschal (1913). "St. Francis of Assisi". Catholic Encyclopedia. New York: Robert Appleton Company.

 

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Today Snippet: Papal Basilica of St. Francis of Assisi

Basilica of San Francesco d'Assisi, Assisi Italy

The Papal Basilica of St. Francis of Assisi (Italian: Basilica Papale di San Francesco, Latin: Basilica Sancti Francisci Assisiensis) is the mother church of the Roman Catholic Order of Friars Minor—commonly known as the Franciscan Order—in Assisi, Italy, the city where St. Francis was born and died. The basilica is one of the most important places of Christian pilgrimage in Italy. With its accompanying friary, the basilica is a distinctive landmark to those approaching Assisi. It has been a UNESCO World Heritage Site since 2000.

The basilica, which was begun in 1228, is built into the side of a hill and comprises two churches known as the Upper Church and the Lower Church, and a crypt where the remains of the saint are interred. The interior of the Upper Church is an important early example of the Gothic style in Italy. The Upper and Lower Churches are decorated with frescoes by numerous late medieval painters from the Roman and Tuscan schools, and include works by Cimabue, Giotto, Simone Martini, Pietro Lorenzetti and possibly Pietro Cavallini. The range and quality of the works gives the basilica a unique importance in demonstrating the development of Italian art of this period.

he Franciscan friary (Sacro Convento) and the Lower and Upper Basilicas (Italian: Basilica inferiore e superiore) of Francis of Assisi were begun in honor of this local saint, immediately after his canonization in 1228. Simone di Pucciarello donated the land for the church, a hill at the west side of Assisi, known as "Hill of Hell" (Italian: Colle d'Inferno) where previously criminals were put to death. Today, this hill is called "Hill of Paradise".

On 16 July 1228, Francis was canonized by Pope Gregory IX in Assisi, and he laid the foundation stone of the new church the following day, although construction may already have been begun. The construction having been begun at his order, the Pope declared the church to be the property of the papacy. The church was designed and supervised by Brother Elias of Cortona, one of the first followers of St. Francis and the former Vicar General of the Order under St. Francis. The Lower Basilica was finished in 1230. On Pentecost 25 May 1230, the uncorrupted body of St. Francis was brought in a solemn procession to the Lower Basilica from its temporary burial place in the church of St. George, now the Basilica of Saint Clare of Assisi. The burial place was concealed for fear that St Francis' remains might be stolen and dispersed. The construction of the Upper Basilica was begun after 1239 and was completed in 1253. Both churches were consecrated by Pope Innocent IV in 1253.

Pope Nicholas IV, a former Minister-General of the Order of Franciscans, raised the church to the status of Papal Church in 1288. The Piazza del Loge, the square leading to the church, is surrounded by colonnades constructed in 1474. They housed the numerous pilgrims flocking to this church. In 1818, the remains of St Francis were rediscovered beneath the floor of the Lower Basilica. In the reign of Pope Pius IX the crypt was built so that the faithful might visit the burial place of the saint.

On 27 October 1986 and January 2002, Pope John Paul II gathered in Assisi with more than 120 representatives of different religions and Christian denominations for a World Day of Prayer for Peace.

Earthquake of 1997

On the morning of September 26, 1997, two earthquakes hit that region of Italy in rapid succession, registering 5.5 and 6.1 respectively on the Richter Scale. There was widespread devastation and many ancient buildings were destroyed or damaged. While a group of specialists and friars were inspecting the damage to the Basilica of St. Francis, an aftershock shook the building, causing the collapse of the vault. Two Franciscan friars who were among the group and two of the specialists were killed. Much of the cycle of frescoes of the life of St. Francis by Giotto in the Upper Church of the Basilica were destroyed in the collapse. The church was closed for two years for restoration.

Architecture

The basilica was designed by a follower of St. Francis, Brother Elia Bombadone. The construction may have commenced before the official laying of the foundation stone. (see above History). The Basilica was designed on two levels, each of which is consecrated as a church. They are known as the "Basilica superiore" (The Upper Basilica), generally called "The Upper Church" and the "Basilica inferiore" (The Lower Basilica), generally called "The Lower Church". The Lower Church was structurally a large crypt supporting the upper one. In the 19th century a lower crypt was constructed beneath the basilica. Architecturally, the exterior of the basilica appears united with the Friary of St. Francis, since the lofty arcades of the latter support and buttress the church in its apparently precarious position on the hillside.

The architecture is a synthesis of the Romanesque and Gothic styles, and established many of the typical characteristics of Italian Gothic architecture. As originally built, both upper and lower churches had a simple cruciform plan with an aisless nave of four square bays, a square crossing, a transept that projected by half a bay one each side, and an apse, the lower being semicircular and the upper polygonal. To the left of the church stands a free-standing bell tower of Romanesque design.

The Lower Church was built entirely in the Romanesque style, having a low semi-circular ribbed cross-vaults over the nave and barrel vaults over the transept arms. However, the space has been greatly extended with a number of lateral and transept chapels added between 1350 and 1400. The main entrance to the nave is through an ornate Gothic doorway built between 1280 and 1300, and later enclosed with a simple Renaissance style porch of 1487 by Francesco da Pietrasanta. Set in the tympanum of the Gothic doorway is an ornate rose window which has been called "the eye of the most beautiful church in the world"

The Upper Church has a façade of white-washed brick divided into two horizontal zones of about equal height, and with a simple gable of height equal to the lower zones. There is a single large doorway in the Gothic style, divided by a column and with a rose window set in the tympanun above the two cusped arches. Above the door, in the second zone is a large and ornate rose window in which most of the decorative details are Romanesque in style. Surrounding it are carved the symbols of the Four Evangelists, combining with the window to create a square composition. Above it in the gable is an ocular window. To the left of the façade and visible from both the forecourts of the Upper Church and the Lower Church is the Benediction Loggia in the Baroque style which was built in 1754, when the church was raised to the status of basilica.

Internally, the Upper Church maintains Brother Elias' original simple aisleless cruciform plan. Like the Lower Church, there is a nave of four bays with ribbed cross-vaulting. Unlike that of the Lower Church, it is only the diagonal ribs which are of semi-circular form. The transverse ribs are pointed in the Gothic manner, and thus rise to the full height of the wider diagonal ribs. Each group of ribs springs from a group of clustered columns. Externally the columns and vault are supported by stout buttresses of semi-circular plan. Unlike the Lower Church, the transepts also have ribbed vaulting.

There are tall Gothic windows with Geometric tracery in each bay of the nave and in the polygonal apse of the chancel. The windows of the apse are believed to have been created by German craftsmen active around Assisi at the end of the 13th century. The windows on the left hand side of the nave were made by a French workshop (1270), while those on the right hand side are attributed to the workshop of Maestro di San Francesco. These stained glass windows are among the best examples of 13th c. Italian glasswork.

As is characteristic of Italian church architecture, the main decorative feature, and the main medium used for conveying the Church's message is fresco, rather than stained glass. The earliest frescoes are some of those in the Lower Church. The work proceeded with a number of different projects and appears to have involved numerous artists, some of whom are as renowned as Cimabue and Giotto, but many of whom are no longer known by name.

Upper Basilica

Nave of the upper basilica.

This bright and spacious basilica consists of a single four-bay nave with cross-vaulted ceiling bordered with patterns of crosses and leaves, a transept and a polygonal apse. The four ribbed vaults are decorated alternately with golden stars on a blue background and paintings. The second vault is decorated with roundels with busts of Christ facing St. Francis and the Virgin facing St. John the Baptist. The entrance vault gives us the Four Latin Doctors of the Church: St Gregory facing St. Jerome and St. Ambrose facing St. Augustine. These are ascribed to the Isaac Master. The choir has 102 wooden stalls with carvings and marquetry by Domenico Indovini (1501). In their centre, on a raised platform, stands the papal cathedra.

Crucifixion by Cimabue

The west end of the transept and the apse have been decorated with many frescoes by Cimabue and his workshop (starting in c. 1280). The magnificent Crucifixion, with St. Francis on his knees at the foot of the Cross, stresses again the veneration of the Passion of Christ by St. Francis. Sadly, the frescoes of Cimabue soon suffered from damp and decay. Due to the use of lead oxide in his colours and to the fact that the colours were applied when the plaster was no longer fresh, they have deteriorated and have been reduced to photographic negatives.

Prior to him there had been some decorations in the upper right hand section of the transept by an (anonymous) Northern Master, probably an English artist (1267–1270). He realized the two lunettes and the roundels on the west wall with paintings of the Angel and the Apostles. Another (anonymous) master, the Roman Master, painted the Isaiah and the David and the remainder of the wall under the eastern lunette.

Isaac rejects Esau

The upper part on both sides of the nave, badly damaged by the earthquake of 1997, was decorated in two rows with in total 32 scenes from the Old Testament (starting with Creation of the World and ending with Joseph forgives his brothers) and the New Testament (from the Annunciation to The Women at the Tomb), while the upper register of the entrance wall is covered with two frescoes Pentecost and Ascension of Jesus. Since it took about six months to paint one bay of the nave, different Roman and Tuscan masters, followers of Cimabue, have performed this series of scenes such as Giacomo, Jacopo Torriti and Pietro Cavallini.

The two frescoes of the life of Isaac (Isaac blesses Jacob and Esau in front of Isaac) in the middle register of the third bay, are traditionally ascribed to the young Giotto (1290–1295) (previously wrongly ascribed to Cimabue by Vasari). But even this has been controversial. Many critics esteem these the work of the anonymous Isaac Master and his workshop. Deducing from stylistic details, attesting to his Roman background, some think that the Isaac Master may have been Pietro Cavallini or a follower. Pietro Cavallini had painted around 1290 a similar fresco Isaac blessing Jacob in the convent of the church Santa Cecilia in Trastevere in Rome. The position of the resting Isaac looks like the same position of the Virgin in Cavallini's mosaic Birth of the Virgin in the apse of the church Santa Maria in Trastevere in Rome. The Isaac Master is considered one of the first practitioners of the true fresco (buon fresco) technique.

St Francis preaches in the presence of pope Honorius III

But the most important decorations are the series of 28 frescoes ascribed to the young Giotto along the lower part of the nave. Each bay contains three frescoes above the dado on each side of the nave, two frescoes in the east galleries beside the entrance, and two more on the entrance wall. Giotto used the Legenda Maior, the biography of St. Francis by St. Bonaventure (1266) to reconstruct the major events in the life of St. Francis. The prototype for this cycle may have been the (now lost) St Francis cycle by Pietro Cavallini in the church San Francesco a Ripa in Rome. The paintings are so vivid, as if Giotto had been a witness to these events. According to Vasari, they were executed in the period between 1296 and 1304.

However the authorship of Giotto is disputed, due to the ambiguous attributions given in early descriptions of this work. Many Italian critics continue to support the authorship of Giotto and his workshop. But because of small differences in style with the frescoes of Isaac, it is thought that several or even all of these frescoes were painted by at least three separate painters, using the original concept of Giotto : the Master of Legend of St. Francis (the principal painter and probable supervisor of the cycle), the Master of the Obsequies of St. Francis and the Cecilia Master.

The first span of the ceiling is decorated with frescoes of the "Four Doctors of the Church“ ( Jerome, Augustine, Gregory and Ambrose), attributed either to a young Giotto or to one of his followers. The third span presents four heart-shaped medallions of the Christ, Mary, John the Baptist and Francis, painted by Jacopo Torriti. The cuspidate façade of the upper basilica has a portal in Gothic style with twin doors and a beautiful rose window.

Lower Basilica

Side entrance to the lower basilica.

Brother Elias had designed the lower basilica as an enormous crypt with ribbed vaults. He had acquired his experience by building huge sepulchres out of hard rock in Syria.

The doors are surmounted by a large rose window, flanked by two smaller ones, called "the eye of the most beautiful church in the world" The decorations on the left wooden door were executed by Ugolinuccio da Gubbio (circa 1550) and those on the right door by an anonymous Umbrian artist (1573). They portray stories from the lives of St. Francis, St. Clare, St. Louis and St. Anthony. On the left wall of the porch stands the bust of Pope Benedict XIV who granted this church the title of Patriarchal Basilica and Cappella Papale. Pope Benedict XVI’s theological act in 2006 of renouncing the title of "Patriarch of the West" has had the consequence of the basilica changing its name to that of the Papal Basilica of St. Francis.

Entering the lower basilica, one sees at the other side of the vestibule the chapel of St. Catherine of Alexandria, erected about 1270. It was enlarged by Gattapone da Gubbio and decorated at the expense of Cardinal Egidio Albornoz, papal legate in charge of the Papal States (from 1350 to 1367). He was initially buried here but his body was later transferred to Toledo, Spain. The frescoes with the eight episodes from the life of St. Catherine were painted in 1368-1369 by ‘Andreas pictor de Bononia’. This painter, called Andrea, is most probably Andrea de’ Bartoli (c. 1349 - 1369), the court artist of Albornoz (and not Andrea da Bologna, as usually, but wrongly, attributed). The saints in this chapel were painted by Pace di Bartolo d'Assisi (1344–1368). The stained glass windows are the work of Giovanni di Bonino of Assisi (mid 14th century).

On the left side of the entrance is the small Chapel of St. Sebastian with a canvas by Giorgetti and episodes of the life of the saint on the walls painted c. 1646 by G. Martelli (Irene taking care of St. Sebastian; St. Sebastian before Domitian). The left wall of this chapel is decorated by some paintings by Ottaviano Nelli (15th century) and a painting of St. Christopher (Umbrian School, 14 th century).

On the right side of the entrance there are two monuments by anonymous artists: in the first span, the mausoleum of Giovanni de' Cerchi, surmounted by an early 14th century porphyry vase (a gift of a queen of Cyprus) and the mausoleum of John of Brienne, king of Jerusalem and emperor-regent of Constantinople. Above this last burial monument stands a statue of the Blessed Virgin and on its left the figure of a crowned woman seated on a lion, made by Cosmatesco (1290).

The badly deteriorating frescoes on the walls and the vaults of the third section of this entrance are the work of Cesare Sermei and G. Martelli (1645). The chapel on the right side of the third section is dedicated to St. Anthony the Abbot. The niches in the wall contain the burial monuments of the Governor of Spoleto (by then part of the Papal States) Blasco Fernandez and his son Garcia, both assassinated in 1367 (anonymous local artist, 14th century).

The lower basilica consists of a central nave with several side chapels with semi-circular arches. The nave is decorated with the oldest frescoes in the church by an unknown artist, called Maestro di San Francesco. They feature five scenes from the Passion of Christ on the right side, while on the left side equally five scenes from the Life of St. Francis. By this juxtaposition, the Franciscans wanted to contribute to the idea of their founder as a second Christ.

They are connected by a low blue-painted ceiling decorated with golden stars. Most images on the lower walls have decayed to leave almost no trace, except on the right wall fragments of Virgin and Child with an Angel by Cimabue.

These frescoes, executed in tempera on dry plaster, were completed about 1260-1263. They are considered by many as the best examples of Tuscan wall paintings prior to Cimabue. As the popularity of this church increased, side chapels for noble families were added between 1270 and 1350, destroying the frescoes on the opened walls.

The first chapel on the left is the San Martino Chapel, dedicated to Saint Martin of Tours. It was built by the Franciscan Cardinal Gentile Partino da Montefiore and was decorated between 1317 and 1319 with ten frescoes depicting the saint's life by Simone Martini. This dedication most likely referred to the Cardinal's position as Cardinal-Priest of the Basilica of St. Martin "ai Monti" in Rome, and was intended to be his burial place. It was probably incomplete at the time of Montefiore's death (October 1312), thus he was interred in the neighboring Chapel of St. Louis Martini also painted a triptych depicting the Madonna and Child with Two Hungarian Royal Saints with a row of five attendant saints in the St. Elizabeth Chapel (southern arm of the transept). These are among the greatest Martini's works and the finest examples of 14th century painting. Over time, however, his use of lead paint has led to the darkening of several sections of these works.

St. Martin leaves the life of chivalry and renounces the army (fresco by Simone Martini) in the San Martino Chapel.

The other chapel on the left is dedicated to St. Peter of Alcantara.

The chapels on the right are dedicated to Saints:

• Louis of Toulouse and Stephen I of Hungary, with frescoes by Dono Doni (1575) and stained glass, attributed to Simone Martini.
• Anthony of Padua, with frescoes by Cesare Sermei (1610,)
• Mary Magdalene. This chapel, built by Teobaldo Pontano ( the Bishop of Assisi from 1296 to 1329), contains some of the best works of the workshop of Giotto and maybe by the Master himself (about 1320). (It was wrongly attributed by Vasari to Puccio Capanna.) On the lateral walls are scenes from the Life of Mary Magdalene (above the portrait of Teobaldo Pontano), while in the vault there are roundels with busts of Christ, the Virgin, Mary Magdalene and Lazarus.

The nave ends in a richly decorated semicircular apse, preceded with a transept with barrel vaulting. The frescoes in the right transept depict the childhood of Christ, partly by Giotto and his workshop and the Nativity by the anonymous Maestro di San Nicola. The lowest level shows three frescoes representing St. Francis posthumously intervening in favour of two children. These frescoes by Giotto were revolutionary in their time, showing real people with emotions, set in a realistic landscape.

Maestà with St. Francis, by Cimabue.

On the transept wall Cimabue painted an image of Our Lady enthroned and Saint Francis (1280). This is probably the nearest likeness existing, showing the actual appearance of St. Francis. This static painting in Gothic style is in stark contrast with the lively frescoes of Giotto.

This Chapel of Saint Nicholas of Bari, at the northern end of the transept, was commissioned by the papal legate Cardinal Napoleone Orsini and it contains the tomb of the cardinal’s brother, Giovanni Orsini, who died between 1292 and 1294 . The funerary monument is set in a niche above the altar, with the recumbent effigy of a young man placed inside a mortuary chamber and flanked by two angels. The reliefs were carved by an Umbrian sculptor, probably of local origin. Between the tomb and the stained glass window appears a frescoed triptych attributed to Giotto's school, representing the Madonna and Child with Saint Francis and Nicholas . The cycle decorating the walls of the chapel, completed by 1307, comprises twelve scenes painted on the ceiling and on the walls illustrating the life and miracles of St Nicholas A scene of the chapel’s dedication is painted above the arch of the entrance on the southern wall: the Redeemer receives the homage of Giovanni Orsini, presented by St. Nicholas, and of Napoleone Orsini, presented by Saint Francis. The stained glass windows show Cardinal Napoleone presented to Christ in the summit and his brother presented to Saint Nicholas in the zone below. At the southern end of the transept cardinal Orsini commissioned another chapel, dedicated to St John the Baptist, which was probably originally built for the tomb of Napoleone Orsini himself, but the cardinal was never buried there and the tomb remained empty . The parallel architectural arrangement of both Orsini chapels suggests that they were conceived together. However, the decorations of the chapel dedicated to Saint John the Baptist were never finished . Pietro Lorenzetti ( or his workshop) executed a frescoed triptych with a Madonna and Child with Saints John the Baptist and Francis.

14th century Madonna dei Tramonti by Pietro Lorenzetti on canvas.

The left transept was decorated by the Sienese painter Pietro Lorenzetti and his workshop between 1315 and 1330 (attributed by Vasari Pietro Lorenzetti and also (wrongly) to Giotto and Puccio Capanna) . This cycle of tempera frescoes are his masterworks. They depict six scenes from the Passion of Christ. The fresco of Deposition of the Cross is especially emotional. There were about 330 work-stages needed to complete this cycle. Beneath the monumental "Crucifixion" scene, Pietro Lorenzetti has executed a fresco of Madonna and Child, accompanied by Saints John the Evangelist and Saint Francis (the so-called Madonna dei Tramonti). The fresco is accompanied by a frescoed niche containing the liturgical implements and a fictive bench. The juxtaposition of the Childhood and the Passion frescoes emphasizes the parallel between the passion of Christ and the compassion of St. Francis.

Papal altar with frescoes

The papal altar in the apse was made out of one block of stone from Como in 1230. Around the altar are a series of ornamented Gothic arches, supported by columns in different styles. The fine Gothic walnut choir stalls were completed in 1471 by Apollonio Petrocchi da Ripatransone, with the help of Tommaso di Antonio Fiorentino and Andrea da Montefalco.

Once featuring frescoes depicting an allegory of the Crucifixion by Stefano Fiorentino (destroyed in 1622), the walls of the apse are now covered with a "Last Judgment" by Cesare Sermei di Orvieto (1609–1668).

The paintings in the lunettes of the vaults (1315–20) depict the Triumph of St Francis and three allegories of Obedience, Poverty and Chastity by the so-called Maestro delle Vele (Master of the Assisi vaults), a pupil of Giotto (about 1330). The stained glass windows in this lower basilica are attributed to Giovanni di Bonino and his workshop.

Crypt

Tomb of St. Francis in the crypt

Halfway down the nave one can descend into the crypt via a double stairway. This burial place of St. Francis was found in 1818. His remains had been hidden by Brother Elias to prevent the spread of his relics in medieval Europe. By order of Pope Pius IX a crypt was built under the lower basilica. It was designed by Pasquale Belli with precious marble in neo-classical style. But it was redesigned in bare stone in neo-Romanesque style by Ugo Tarchi between 1925 and 1932.

The ancient stone coffin with iron ties is enshrined in an open space above the altar. In 1934 his most faithful brothers were entombed in the corners of the wall around the altar: brother Rufino, brother Angelo, brother Masseo and brother Leone.

At the entrance of the crypt, an urn with the remains of Jacopa dei Settesoli was added to the crypt. This woman of Roman nobility was the most faithful friend and benefactress of St. Francis. She was at his side in the Porziuncola at the hour of his death.

Friary of St. Francis

Courtyard of the friary

Next to the basilica stands the friary Sacro Convento with its imposing walls with 53 Romanesque arches and powerful buttresses supporting the whole complex. It towers over the valley below, giving the impression of a fortress. It was built with pink and white stone from Mount Subasio. It was already inhabited by the friars in 1230. But construction took a long time, with as result different styles intermingling : Romanesque with Gothic style. A major part was built under the reign of Pope Sixtus IV, a Franciscan, between 1474 and 1476.

The friary now houses a vast library (with medieval codices and incunables), a museum with works of art donated by pilgrims through the centuries and also the 57 works of art (mainly of Florentine and Sienese schools) of the Perkins collection. The belfry, in Romanesque style, was finished in 1239.

References

• Bellucci, Gualtiero (2001). Assisi, Heart of the World. Assisi: Edizioni Porziuncola. ISBN 88-7135-131-2.
• Bonsanti, Giorgio (1998). The Basilica of St. Francis of Assisi. New York: H.N. Abrams. ISBN 0-8109-2767-5.
• Belting, Hans (1977). Die Oberkirche Von San Francesco in Assisi: ihre Dekoration als Aufgabe u.d. Genese einen neuen Wandmalerei. Berlin: Mann. ISBN 3-7861-1135-9.
• Borsook, Eve (1980). The Mural Painters of Tuscany: From Cimabue to Andrea del Sarto. Oxford: Clarendon Press. ISBN 0-19-817301-6.
• Lunghi, Elvio (1996). The Basilica of St Francis at Assisi. The frescoes by Giotto his precursors and followers. London: Thames & Hudson. ISBN 0-500-27834-2.
• Turner, J. (ed.) (1996). Grove Dictionary of Art. MacMillan Publishers Limited. ISBN 1-884446-00-0.
• Vasari, Giorgio (1998). Vite. Oxford University Press. ISBN 0-19-283410-X.
• Smart, Alastair (1971). The Assisi Problem and the Art of Giotto: a study of the Legend of St. Francis in the Upper Church of San Francesco, Assisi. Oxford: Clarendon Press. ISBN 0-19-817166-8.

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