less aggressive than Francis. His apostolate em- bodied the very noblest spirit of reform; he strove to correct abuses by holding up an ideal. He stretched out his arms in yearning towards those who longed for the "better gifts". The others he left alone.
And thus, without strife or schism, God's Poor Little Man of Assisi became the means of renewing the youth of the Church and of initiating the most potent and popular religious movement since the beginnings of Christianity. No doubt this movement had its social as well as its religious side. That the Third Order of St. Francis went far towards re-Christianizing medieval society is a matter of history. However, Francis's foremost aim was a religious one. To rekindle the love of God in the world and reanimate the life of the spirit in the hearts of men-such was his mission. But because St. Francis sought first the Kingdom of God and His justice, many other things were added unto him. And his own exquisite Franciscan spirit, as it is called, passing out into the wide world, became an abiding source of inspiration. Perhaps it savours of exaggeration to say, as has been said, that "all the threads of civilization in the subsequent centuries seem to hark back to Francis", and that since his day "the character of the whole Roman Church is visibly Umbrian". It would be difficult, none the less, to overestimate the effect produced by Francis upon the mind of his time, or the quickening power he wielded on the generations which have succeeded him. To mention two aspects only of his all-pervading influence, Francis must surely be reckoned among those to whom the world of art and letters is deeply indebted. Prose, as Arnold observes, could not satisfy the saint's ardent soul, so he made poetry. He was, indeed, too little versed in the laws of composition to advance far in that direc- tion. But his was the first cry of a nascent poetry which found its highest expression in the "Divine Comedy"; wherefore Francis has been styled the precursor of Dante. What the saint did was to teach a people "accustomed to the artificial versi- fication of courtly Latin and Provençal poets, the use of their native tongue in simple spontaneous hymns, which became even more popular with the Laudi and Cantici of his poet-follower Jacopone of Todi". In so far, moreover, as Francis's repræsentatio, as Salimbene calls it, of the stable at Bethlehem is the first mystery-play we hear of in Italy, he is said to have borne a part in the revival of the drama. How- ever this may be, if Francis's love of song called forth the beginnings of Italian verse, his life no less brought about the birth of Italian art. His story, says Ruskin, became a passionate tradition painted everywhere with delight. Full of colour, dramatic possibilities, and human interest, the early Franciscan legend af- forded the most popular material for painters since the life of Christ. No sooner, indeed, did Francis's figure make an appearance in art than it became at once a favourite subject, especially with the mystical Umbrian School. So true is this that it has been said we night by following his familiar figure "construct a history of Christian art, from the predecessors of Cimabue down to Guido Reni, Rubens, and Van Dyck".
Murillo, Palazzo Blanco, Genoa
Probably the oldest likeness of Francis that has come down to us is that preserved in the Sacro Speco at Subiaco. It is said that it was painted by a Benedictine monk during the saint's visit there, which may have been in 1218. The absence of the stigmata, halo, and title of saint in this fresco form its chief claim to be considered a contemporary picture; it is not, however, a real portrait in the modern sense of the word, and we are dependent for the traditional presentment of Francis rather on artists' ideals, like the Della Robbia statue at the Porziuncola, which is surely the saint's vera effigies, as no Byzantine so-called portrait can ever be, and the graphic description of Francis given by Celano (Vita Prima, c. lxxxiii). Of less than middle height, we are told, and frail in form, Francis had a long yet cheerful face and soft but strong voice, small brilliant black eyes, dark brown hair, and a sparse beard. His person was in no way imposing, yet there was about the saint a delicacy, grace, and distinction which made him most attractive.
The literary materials for the history of St. Francis are more than usually copious and authentic. There are indeed few if any medieval lives more thoroughly documented. We have in the first place the saint's own writings. These are not voluminous and were never written with a view to setting forth his ideas systematically, yet they bear the stamp of his personality and are marked by the same unvarying features of his preaching. A few leading thoughts taken "from the words of the Lord" seemed to him all sufficing, and these he repeats again and again, adapting them to the needs of the different persons whom he addresses. Short, simple, and informal, Francis's writings breathe the unstudied love of the Gospel and enforce the same practical morality, while they abound in allegories and personification and reveal an intimate interweaving of Biblical phraseology. Not all the saint's writings have come down to us, and not a few of these formerly attributed to him are now with greater likelihood ascribed to others. The extant and authentic opuscula of Francis comprise, besides the rule of the Friars Minor and some fragments of the other Seraphic legislation, several letters, including one addressed "to all the Christians who dwell in the whole world", a series of spiritual counsels addressed to his disciples, the "Laudes Creaturarum" or "Canticle of the Sun' and some lesser praises, an Office of the Passion compiled for his own use, and a few other orisons which show us Franeis even as Celano saw him, "not so much a man's praying as prayer itself". In addition to the saint's writings the sources of the history of Francis include a
