Before the spiritual court, by nuptial bonds,
And in his father's sight: from day to day,
Then loved her more devoutly."[98]
6. The dream of Innocent III.
"He saw in a dream the Lateran Basilica, now falling into ruin, supported by the shoulders of a poor, despised, and feeble man. 'Truly,' said he, 'this is he who by his works and his teaching shall sustain the Church of Christ.'"
In the representations of this vision painted for Dominican churches, the Lateran is always supported by the two great founders, Francis and Dominic, who, in their different ways, helped Innocent in his difficult task of reforming the Church. Giotto shows his power and the advance art is making under his hand, in the figure of St. Francis, who with body slightly bent back and one hand on his hip, seems to support the great weight, while his feet are so firmly planted that there is no uncomfortable feeling of strain and only a sense of strength and security. Two men are seated by the bedside of the Pope, one is asleep while the other keeps watch, and in his slightly wearied attitude and the reposeful figure of the sleeper, Giotto's keen observation of the ordinary incidents of every day life is very apparent.
7. Innocent III, sanctions the Rule of St. Francis.
"He was filled with a great and special devotion and love for the servant of God. He granted all his petitions, and promised to grant him still greater things. He approved the Rule, gave him a mission to preach penance, and granted to all the lay brothers in the company of the servant of God to wear a tonsure smaller than that worn by priests, and freely to preach the Word of God."
Giotto, in his fresco, has to represent the most important event in the life of the saint—his arrival at the papal court when he comes face to face with one of the greatest of the Roman Pontiffs; and by the simplest possible means the scene is brought before us. Here are no crimson-robed cardinals, no gilded papal throne; the bishops grouped behind Innocent are hardly noticed, or even the brethren who, with hands clasped as though in prayer, press closely to their leader like a flock of sheep round their shepherd. The eye is so fixed upon the two central figures, that all else fades away. Giotto has seized the supreme moment when the Pope, having overcome his fear lest St. Francis should falter in a life of poverty and prove to be only another heretical leader of which Italy had already too many, is, with kingly gesture, giving the Umbrian penitent authority to preach throughout the land. St. Francis, holding out his hand to receive his simple Rule, now bearing the papal seals, looks up with steady gaze; he is the most humble among men kneeling at the feet of Rome's sovereign, but strong in love, in faith and in knowledge of the righteousness of his mission. M. Paul Sabatier has beautifully illustrated the meaning of Giotto when he writes: "On pourrait croire que le peintre avait trempé ses lèvres dans la coupe du Voyant Calabrais [Joachim de Flore] et qu'il a voulu symboliser dans l'attitude de ces deux hommes la rencontre des représentants de deux âges de l'humanité, celui de la Loi et celui de l'Amour."
8. Vision of the Friars at Rivo-Torto.