St. Francis' father was a cloth merchant and St. Francis had been brought up and educated as became the son of a man whose commercial journeys often took him to France. It was indeed while his father was absent on one of these business expeditions that Francis was born and on his father's return received from him the name of Francisco—the Frenchman—in joyful commemoration of his birth.
As he grew up he did not differ from the ordinary young man of his time, but seems to have taken the world and its pleasures quite as he found them and after the fashion of those around him. At the age of twenty-five he fell seriously ill and then, for the first time, there came to him the realization of the true significance of life. As Dean Stanley said shortly before his death, "life seemed different when viewed from the horizontal position." Life lived for its own sake was not worth while. To Francis there came the realization that when God Himself became man he lived his life for others. Francis [{260}] set about literally imitating him. Enthusiastic students of his life consider him the great type of genuine Christian, the most real disciple of Christ who ever lived. Some money and goods that came into his hands having been disposed of for the poor, Francis' father made serious objection and Francis was brought before the ecclesiastical authorities. It was at this moment that he stripped himself of everything that he had, the Bishop even having to provide a cloak to cover his nakedness, and became the wonderful apostle to the poor that he remained during all the rest of his life. Curious as it must ever seem, it was not long before he had many who wished to imitate him and who insisted on becoming his disciples and followers. St. Francis had had no idea how infectious his example was to prove. Before his death his disciples could be numbered by the thousands and the great order of the Franciscans, that for centuries was to do so much work, had come into existence not by any conscious planning, but by the mere force of the great Christian principles that were the guiding factors in St. Francis' own life.
Ruskin in his Mornings in Florence in discussing Giotto's famous picture of St. Francis' renunciation of his inheritance, and his incurrence thereby of his father's anger, has a characteristic passage that sounds the very keynote of the Saint's life and goes to the heart of things. In it he explains the meaning of this apparently contradictory incident in St. Francis' life, since Francis' great virtue was obedience, yet here, apparently as a beginning of his more perfect Christian life, is an act of disobedience. After Ruskin's explanation, however, it is all the more difficult to understand the present generation's revival of interest in Francis unless it be attributed to a liking for contrast.
"That is the meaning of St. Francis' renouncing his inheritance; and it is the beginning of Giotto's gospel of Works. Unless this hardest of deeds be done first—this inheritance of mammon and the world cast away,—all other deeds are useless. You cannot serve, cannot obey, God and mammon. No charities, no obedience, no self-denials, are of any use while you are still at heart in conformity with the world. You go to church, because the world goes. You keep Sunday, because your [{261}] neighbor keeps it. But you dress ridiculously because your neighbors ask it; and you dare not do a rough piece of work, because your neighbors despise it. You must renounce your neighbor, in his riches and pride, and remember him in his distress. That is St. Francis' 'disobedience.'"
ST. FRANCIS (CHURCH OF THE FRARI, VENICE, NIC. PISANO)
In spite of Ruskin's charming explanation of St. Francis' place in history, and his elucidation of the hard passages in his life, most people will only find it more difficult, after these explanations, to understand the modern acute reawakening of interest in St. Francis. Our generation in its ardent devotion to the things of this world does not seem a promising field for the evangel, "Give up all thou hast and follow me." The mystery of St. Francis' attraction only deepens the more we know of him. An American Franciscan has tried to solve the problem and his words are worth quoting. Father Paschal Robinson, O. S. M., in his "The True St. Francis" says:—
"What is the cause of the present widespread homage to St. Francis? It is, of course, far too wide a question to allow the present writer to do more than make a few suggestions. First and foremost, we must ever reckon with the perennial charm of the Saint's personality, which seems to wield an ineffable influence over the hearts of men—drawing and holding those of the most different habits of mind, with a sense of personal sympathy. Perhaps no other man, unless it be St. Paul, ever had such wide reaching, all-embracing sympathy: and it may have been wider than St. Paul's, for we find no evidence in the great apostle of a love for nature and of animals. This exquisite Franciscan spirit, as it is called, which is the very perfume of religion—this spirit at once so humble, so tender, so devout, so akin to 'the good odor of Christ'—passed out into the whole world and has become a permanent source of inspiration. A character at once so exhalted and so purified as St. Francis was sure to keep alive an ideal; and so he does. From this one can easily understand St. Francis' dominance among a small but earnest band of enthusiasts now pointing the world back to the reign of the spirit. It was this same gentle idealism of St. Francis which inspired the art of the Umbrian people; it was this which was translated into the paintings of the greatest artists. No school of painting has ever been penetrated with [{262}] such pure idealism as the Umbrian; and this inspiration, at once religious and artistic, came from the tomb of the poverello above which Giotto had painted his mystical frescoes. The earnest quasi-religious study of the medieval beginnings of western art has therefore rightly been set down as another cause for some of the latter-day pilgrimages to Assisi. In like manner, the scientific treatment of the Romance literature leads naturally to St. Francis as to the humble upper waters of a mighty stream; at the beginning of the Thirteenth Century is St. Francis, at the end is Dante. It was Matthew Arnold, we believe, who first held up the poor man of Assisi as a literary type—a type as distinct and formal as the author of the Divine Comedy. 'Prose,' he says, 'could not easily satisfy the saint's ardent soul, and so he made poetry.' 'It was,' writes Ozanam, 'the first cry of a nascent poetry which has grown and made itself heard through the world.'"
Considering how thoroughly impractical Francis seemed to be in his life, it can scarcely help but be a source of ever increasing wonder that he succeeded in influencing, his generation so widely and so thoroughly. It is evident that there were many men of the time tired of the more or less strenuous life, which chained them either to the cares of business or tempted them for the sake of the bubble reputation into a military career. To these St. Francis' method of life came with an especially strong appeal. The example of his neglect of worldly things and of his so thoroughly maintained resolve not to be harassed by the ordinary cares of life, and especially not to take too much thought of the future, penetrated into all classes. While it made the rich realize how much of their lives they were living merely for the sake of others, it helped the poor to be satisfied, since here was a sublime and complete recognition of the fact that an existence without cares was better than one with many cares, such as were sure to come to those who wrought ever and anon increase of the goods of this world. Such ideas may seen to be essentially modern, but anyone who will turn to the chapter on The Three Most Read Books of the Century and read the passages from the "Romance of the Rose" on wealth and poverty, will know better than to think them anything but perennial.