If Celano was put in trust with the official biography, it is because, being equally in sympathy with Gregory IX. and Brother Elias, his absence had kept him out of the conflicts which had marked the last years of Francis's life. Of an irenic temper, he belonged to the category of those souls who easily persuade themselves that obedience is the first of virtues, that every superior is a saint; and if unluckily he is not, that we should none the less act as though he were.
We have some knowledge of his life. A native of Celano in the Abruzzi, he discreetly observes that his family was noble, even adding, with a touch of artless simplicity, that the master had a peculiar regard for noble and educated Brothers. He entered the Order about 1215,[9] on the return of Francis from Spain.
At the chapter of 1221 Cæsar of Speyer, charged with the mission to Germany, took him among those who were to accompany him.[10] In 1223 he was named custode of Mayence, Worms, Cologne, and Speyer. In April of the same year, when Cæsar returned to Italy, devoured with the longing to see St. Francis again, he commissioned Celano to execute his functions until the arrival of the new provincial.[11]
We have no information as to where he was after the chapter-general held at Speyer September 8, 1223. He must have been in Assisi in 1228, for his account of the canonization is that of an eye-witness. He was there again in 1230, and doubtless clothed with an important office, since he could commit to Brother Giordano the relics of St. Francis.[12]
Written in a pleasing style, very often poetic, his work breathes an affecting admiration for his hero; his testimony at once makes itself felt as sincere and true: when he is partial it is without intention and even without his knowledge. The weak point in this biography is the picture which it outlines of the relations between Brother Elias and the founder of the Order: from the chapters devoted to the last two years we receive a very clear impression that Elias was named by Francis to succeed him.[13]
Now if we reflect that at the time when Celano wrote, Giovanni Parenti was minister-general, we at once perceive the bearing of these indications.[14] Every opportunity is seized to give a preponderating importance to Elias.[15] It is a true manifesto in his favor.
Have we reason to blame Celano? I think not. We must simply remember that his work might with justice be called the legend of Gregory IX. Elias was the pope's man, and the biography is worked up from the information he gave. He could not avoid dwelling with peculiar satisfaction upon his intimacy with Francis.
On the other hand, we cannot expect to find here such details as might have sustained the pretension of the adversaries of Elias, those unruly Zealots who were already proudly adorning themselves with the title of Companions of the Saint and endeavoring to constitute a sort of spiritual aristocracy in the Order. Among them were four who during the last two years had not, so to say, quitted Francis. We can imagine how difficult it was not to speak of them. Celano carefully omits to mention their names under pretext of sparing their modesty;[16] but by the praises lavished upon Gregory IX., Brother Elias,[17] St. Clara,[18] and even upon very secondary persons, he shows that his discretion is far from being always so alert.
All this is very serious, but we must not exaggerate it. There is an evident partiality, but it would be unjust to go farther and believe, as men did later, that the last part of Francis's life was an active struggle against the very person of Elias. A struggle there surely was, but it was against tendencies whose spring Francis did not perceive. He carried with him to his tomb his delusion as to his co-laborer.
For that matter this defect is after all secondary so far as the physiognomy of Francis himself is concerned. In Celano's Life, as in the Three Companions or the Fioretti, he appears with a smile for all joys, and floods of tears for all woes; we feel everywhere the restrained emotion of the writer; his heart is subjected by the moral beauty of his hero.