For a moment at the close of the 13th century the town of Assisi was the focus for the two greatest powers in the Latin church. The election of Nicholas IV was the catalyst for the creation of frescoes in the Basilica of San Francesco. In this book the authors investigate the particular moment the frescoes were made casting new light on their patronage and iconography.
This guidebook describes the Way of St Francis a 550km month-long pilgrimage trail from Florence through Assisi to Rome. Split into 28 day stages, the walk begins in Florence and finishes in the Vatican City. Stages range from 8km to 30km with plenty to see, including ancient ruins, picturesque towns, national treasures, and stunning churches. This comprehensive guidebook fits in a jacket pocket or rucksack, and contains information on everything from accommodation and transport in Italy, to securing your credential (pilgrim identity card), budgeting, what to take, and where to do laundry. Stories of Francis of Assisi's life are also included. Although the route includes climbs and descents of up to 1200m, no special equipment is required - although your hiking boots and socks definitely need to get along. Following the steps of heroes, conquerors and saints on this pilgrim trail is manageable all year round, but is best done from April to June and mid-August to October. Route maps are given for every stage, and basic Italian phrases are included in the guidebook.
Popular historian and award-winning author Jon M. Sweeney relates the untold story of St. Francis’s friendship with Elias of Cortona, the man who helped him build the Franciscan movement. Sweeney uses the complexities of their relationship in a gripping narrative of how their efforts changed the world and how Elias’s enthusiasm betrayed the ideals of his friend. Few biographies of St. Francis have examined his complicated relationship with close friend Elias of Cortona. In The Enthusiast, award-winning author and historian Jon M. Sweeney delves into this little-known partnership that defined and then almost destroyed Francis’s ideals. Blending history and biography, Sweeney reveals how Francis and Elias rebuilt churches, aided lepers, and entertained as “God’s troubadours” to the delight of everyday people who had grown tired of a remote and tumultuous Church. At the height of their spiritual renaissance, however, Elias became “the devil” to many of the other friars; they believed him to be a traitor to their ideals. After Francis’s premature death, the movement fractured. Scorned by most of the Franciscan leadership, Elias followed a path that would leave him a lonely, broken man. Sweeney shows how Elias’s undoing was rooted in his attempts to honor his old friend. The Enthusiast was the winner of a 2017 Catholic Press Association Book Award: History (Third Place).
Acclaimed biographer Donald Spoto strips away the legends from the life of Francis of Assisi to reveal the true story of a man who has too often been obscured by pious iconography. Drawing on unprecedented access to unexplored archives, plus Francis's own letters, Spoto places Francis within the context of the multifaceted ecclesiastical, political, and social forces of medieval Italy, casting new light on Francis and showing how his emphasis on charity as the heart of the Gospel's message helped him pioneer a new social movement. This nuanced portrait reveals the multifaceted character of a man who can genuinely be said to have changed the course of history.
A guided tour of the Basilica of San Francesco in Assisi, featuring rarely seen details of magnificent Italian art Founded in 1228, the Basilica of St. Francis in Assisi is the burial place of St. Francis and the mother church of the Franciscan order of monks. It is also a treasure house of art, decorated with monumental frescoes by some of the greatest painters of the thirteenth and fourteenth centuries. The Upper Basilica is perhaps most famed for its sequence of frescoes that celebrate the life and teachings of St. Francis, attributed to Giotto and his workshop, while Cimabue and his followers were responsible for a series of dramatic scenes from the Old and New Testaments. The Lower Basilica, meanwhile, has been expanded through the addition of several magnificent chapels; their titular saints are commemorated with great imagination and immediacy in works by artists including Simone Martini and Pietro Lorenzetti. This book takes its readers on a guided tour of this magnificent complex, aided by a wealth of beautiful photographs. Rarely seen details allow the personal imprints of the artists to shine through, and demonstrate that beyond their diversity of styles, they were all united by a desire to mirror reality while maintaining a sense of the spiritual and the sublime. This unmatched artistic heritage marks a revolutionary era in the flowering of Italian art.
Francis of Assisi is pre-eminently the saint of the Middle Ages. Owing nothing to church or school he was truly theodidact, and if he perhaps did not perceive the revolutionary bearing of his preaching, he at least always refused to be ordained priest. He divined the superiority of the spiritual priesthood. Saint Francis of Assisi (Italian: San Francesco d'Assisi), born Giovanni di Pietro di Bernardone, informally named as Francesco (1181/1182 - 3 October 1226), was an Italian Catholic friar, deacon and preacher. He founded the men's Order of Friars Minor, the women's Order of Saint Clare, the Third Order of Saint Francis and the Custody of the Holy Land. Francis is one of the most venerated religious figures in history. Pope Gregory IX canonized Francis on 16 July 1228. Along with Saint Catherine of Siena, he was designated Patron saint of Italy. He later became associated with patronage of animals and the natural environment, and it became customary for Catholic and Anglican churches to hold ceremonies blessing animals on his feast day of 4 October. He is often remembered as the patron saint of animals. In 1219, he went to Egypt in an attempt to convert the Sultan to put an end to the conflict of the Crusades.[6] 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 community was authorized by the Pope, he withdrew increasingly from external affairs. Francis is also known for his love of the Eucharist.[7] In 1223, Francis arranged for the first Christmas live nativity scene.[8][9][2] According to Christian tradition, in 1224 he received the stigmata during the apparition of Seraphic angels in a religious ecstasy [10] making him the first recorded person in Christian history to bear the wounds of Christ's Passion.[11] He died during the evening hours of 3 October 1226, while listening to a reading he had requested of Psalm 142.
In a work based on a meticulous analysis of sources, many of them previously unexplored, Catherine M. Mooney upends the received account of Clare of Assisi's founding of the Order of San Damiano, or Poor Clares. Mooney offers instead a stark counternarrative: Clare, her sisters of San Damiano, and their allies struggled against a papal program bent on regimenting, enriching, and enclosing religious women in the thirteenth century, a program that proved largely successful. Mooney demonstrates that Clare (1194-1253) established a single community that was soon cajoled, perhaps even coerced, into joining an order previously founded by the papacy. Artfully renaming it after Clare's San Damiano with Clare as its putative mother, Pope Gregory IX enhanced his order's cachet by associating it also with Clare's famous friend, Francis of Assisi. Mooney traces how Clare and her allies in other houses attempted to follow Francis's directives rather than the pope's, divested themselves of property against the pope's orders, and organized in an attempt to change papal rule; and she shows how, after Francis's death, the women's relationships with the Franciscans themselves grew similarly fraught. Clare's pursuit of her vision proved relentless: at the time of her death, she newly identified her community as the Order of Poor Sisters and allied it unambiguously with Francis and his friars. Overturning another myth, Mooney reveals how only in the late nineteenth century did Clare come to be known as the sole author of a rule she had written collaboratively with others. Throughout, the story of Clare and her sisters emerges as a chapter in the long history of women who tried to define their religious identities within a Church more committed to unity and conformity than to diversity and difference.
This volume includes a collection of essays of scholars from several disciplines and focuses on the art produced for the Franciscans in Italy from the 13th to the 15th century. They contain a wide range of subject matter (fresco, panel, stained glass window) and a variety of approaches.