The Saint begins this extraordinary series which brings together "the writings of Saint Francis and those of the early Franciscan witnesses" and it will "be of estimable value to scholars, students, and lovers of Il Poverello as well...a scholarly achievement done in the service of history, theology and spirituality." (Lawrence Cunningham)

The Prophet is the third volume in this extraordinary series of "the writings of Saint Francis and those of the early Franciscan witnesses" and it will "be of estimable value to scholars, students, and lovers of Il Poverello as well...a scholarly achievement done in the service of history, theology and spirituality." (Lawrence Cunningham)

This three-volume project produces a translation of the extant texts of the thirteenth, fourteenth, and fifteenth centuries that present the life and writings of Francis of Assisi. It 1) provides a new and more complete publication of the early Franciscan critical texts that offer fresh translations in light of the scholarship of the past three decades; 2) provides a more manageable and accessible edition of the Franciscan texts in several volumes; 3) presents scholarly introductions, critical apparatus, and annotations to give readers biblical, historical, sociological, hagiographical, spiritual and pastoral perspectives; 4) situates the Franciscan texts within the Christian tradition and context of their day. The texts chosen represent the most important sources for studying the life and vision of Francis. The Saint includes The Writings by Francis, The Life of Francis by Thomas of Celano, The Liturgical Texts, The Life of Francis by Julian of Speyer, The Versified Life of Francis by Henri DÂ’Avranches, The Sacred Exchange between Saint Francis and Lady Poverty and Related Documents. Also included is a general introduction to the series by Regis Armstrong, helpful introductions to each section, colored maps, extensive annotation.

A biography of the saint as both mystic and man: “The single best book about Francis now available in English” (Commonweal). In this towering work, Andre Vauchez draws on the vast body of scholarship on Francis of Assisi, particularly the important research of recent decades, to create a complete and engaging portrait of the saint. He also explores how the memory of Francis was shaped by contemporaries who recollected him in their writings, and completes the book by setting “il Poverello” in the context of his time, bringing to light what was new, surprising, and even astonishing in the life and vision of this man. The first part of the book is a fascinating reconstruction of Francis’s life and work. The second and third parts deal with the texts—hagiographies, chronicles, sermons, personal testimonies, etc.—of writers who recorded aspects of Francis’s life and movement as they remembered them, and used those remembrances to construct a portrait of Francis relevant to their concerns. Finally, Vauchez explores those aspects of Francis’s life, personality, and spiritual vision that were unique to him, including his experience of God, his approach to nature, his understanding and use of Scripture, and his impact on culture as well as culture’s impact on him. “Considered one of the great spiritual leaders of humankind, Francis of Assisi was also a man of many faces and personas: ascetic, the founder of a religious order, a romantic hero, a mystic, a defender of the poor, a promoter of peace. But as Vauchez emphasizes—and this biography constantly reminds us—Francis was also a flesh-and-blood human being . . . A bracing, erudite account of a mystic’s life.” —Booklist

Provides new translations of Clare's writings and related primary sources, as well as previously unpublished documents.

An aid to reading the four volume publication of 'Francis of Assisi: Early Documents' and a resource for all studying early Franciscanism. The book especially helps the reader appreciate St Francis in the context of his culture and time.

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.

General readers will enjoy learning about Saint Francis in this book and how hagiography shaped the public stories of medieval saints.

Few saints have received so much attention as Francis of Assisi and few artists so much attention as Giotto di Bondone--and yet the master's cycle of Saint Francis in the Bardi Chapel of Santa Croce in Florence has been little discussed. Similarly, the remarkable panel that now serves as the chapel's altarpiece has been given only cursory consideration by historians and art historians--even though this panel, with its twenty narrative scenes of the saint's life, represents the most complete visualization of mid-thirteenth-century Franciscan spirituality which has survived. In this book Goffen shoes how the history of Santa Croce itself, which contains both of these works of art, parallels and summarizes the early history of the Order of Friars Minor. Santa Croce was and is the most important Franciscan church of Florence and, like the order itself in the Middle Ages and the Renaissance, it was bitterly divided into opposing factions, the Spirituals and the Conventuals. We see here that, tragically, the source of their disagreement lay in the character of Saint Francis himself. Unlike the Dominicans--and, indeed, unlike all other contemporary religious orders--the Friars Minor fostered a "cult of personality" of their founder. Precisely because Francis provided the example for his friars, the way in which his character was presented in art and in literature became of the utmost concern to the order, a matter requiring deep consideration and, eventually, careful control. But despite their disagreements, the factions were agreed about one central point: Francis was unique in having received the wounds of Crucifixion as a sign of divine approbation. Goffen considers the church of Santa Croce, the Bardi Dossal, and Giotto's cycle of Saint Francis both in relation to each other and in the context of the history and spirituality of the Franciscan order during its first century. The dossal is the visual equivalent of the writings of Celano, the first biographer of Saint Francis. The hero of the dossal is the Spiritual ideal, but by the time the Bardi family had commissioned its chapel of Saint Francis, almost a century after the dossal was painted, the Conventuals had effectively taken over the church and friary of Santa Croce. Giotto's cycle of Saint Francis in the Bardi Chapel is understood as the representation of the Conventual Saint Francis, the purposeful and controlled hero of Bonaventure's biography, which had been imposed as the only official life of a saint.