[Ill.u.s.tration: SAN FRANCESCO FROM THE TESCIO]

"Sabbatha pango, funera plango, fulgura frango: Excito lentos, domo cruentos, dissipo ventos."

("I ring in Sunday, I lament for the dead, the lightning I break, I hurry the sluggards, I vanquish the wicked, the winds I disperse.")

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 facades.

[Ill.u.s.tration: STAIRCASE LEADING FROM THE UPPER TO THE LOWER PIAZZA OF SAN FRANCESCO]

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, "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 _loggie_ 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 cl.u.s.tered 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 ma.s.sive workmanship as to resemble bronze, were made in 1546 by Niccol 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 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 a.s.sisan artist placed a bas-relief of the saint in the arch above the door, and it is still called "la porta di San Bernardino."

None should leave a.s.sisi, 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.[93]

Then from the cool and s.p.a.cious 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 _Calcio_. 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, 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.

[Ill.u.s.tration: SAN FRANCESCO FROM THE PONTE S. VITTORINO]

Many weary people besides the popes came to rest here in early times, and one mediaeval 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 pa.s.s 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 superst.i.tion 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 princ.i.p.al 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 a.s.sistance of the Pope.

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 c.u.mber 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 h.e.l.l, among the evil counsellors eternally surrounded by flaming tongues of fire.

"Then, yielding to the forced arguments, Of silence as more perilous I deem'd, And answer'd: 'Father! since thou washest me Clear of that guilt wherein I now must fall, Large promise with performance scant, be sure Shall make thee triumph in thy lofty seat.'"[94]

Besides Count Guido and the popes who, finding the large and airy rooms of the convent a convenient summer resort, were constant visitors at a.s.sisi, 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 amba.s.sadors and cavalry, to pray at the tomb of St.

Francis. The a.s.sisans 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 n.o.bles."

[Ill.u.s.tration: A FRIAR OF THE MINOR CONVENTUAL ORDER OF ST. FRANCIS]

It strikes the visitor to a.s.sisi 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 t.i.tle of Friars Minor Conventuals with the permission to choose their own Minister General. Their dress is shown in the ill.u.s.tration. 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, inst.i.tuted 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 a.s.sisi 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 p.r.o.nounced 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.

FOOTNOTES:

[82] The donor of this chapel was Gentile de Monteflori, a franciscan, created cardinal in 1298 by Boniface VIII.

[83] 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 a.s.sisi he had full opportunity to study.

[84] _Central Italian Painters of the Renaissance_, B. Berenson, p.

47.

[85] _Sketches of the History of Christian Art_, by Lord Lindsay, p.

134, vol. i.

[86] _The Central Italian Painters of the Renaissance._ Bernhard Berenson, p. 48.

[87] Built by the Orsini brothers, the founders of the Chapel del Sacramento, in the beginning of the fourteenth century.

[88] 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 fres...o...b.. some scholar of Ottaviano Nelli on the wall near the entrance of the Lower Church.

[89] 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. 20 for the story of how these goods were stolen by the citizens and the penalty this brought upon the town.

[90] _La Benedizione di San Francesco_, Livorno, 1900.

[91] See chapter vi. p. 171 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. 155.

[92] In 1529 the campanile, which rather gives the impression of a watch-tower, was used by Captain Bernardino da Sa.s.soferrato, as a sure place of refuge when the Prince of Orange entered a.s.sisi 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.

[93] Open to visitors at two o'clock.

[94] Cary's translation. Dante, _Inferno_, canto xxvii.

CHAPTER VIII

_Giotto's Legend of St. Francis in the Upper Church_

"What, therefore, Giotto gave to art was, before all things, vitality."--J. A. SYMONDS. _Renaissance in Italy._

Giotto 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 ill.u.s.trate 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 n.o.ble manner of its accomplishment proved him to be, as Mr Roger Fry expresses it, "the supreme epic painter of the world."

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 work was ready for Giotto, even the exact scenes were chosen for him to ill.u.s.trate, 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 _Life of St. Francis_, finished in 1263 and founded, with but few additions, upon _The Three Companions_ and Celano's first and second _Life of St. Francis_. 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'a.s.sisi." 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.[95]

I. _St. Francis honoured by the Simpleton._--(We begin on the right wall by the High Altar, and follow straight on to the opposite side, the legend unfolding as in the pages of a book.)

"A certain man of great simplicity dwelt in those days in a.s.sisi, 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...."[96]

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 a.s.sisans 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 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 n.o.ble 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 G.o.d towards him."

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 a.s.sisan 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 l.u.s.trous and creamy white. Would that all Florence had been built by him.

2. _St. Francis giving his cloak to a poor Knight._

"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 compa.s.sion, he took off his new clothes and gave them to the poor man-at-arms."

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 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.

3. _The Vision of St. Francis._

"On the following night, when he was asleep, the divine mercy showed him a s.p.a.cious 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."

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. 44). 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."[97]

4. _St. Francis praying before the Crucifix in San Damiano._