The Crib
This time every year in schools, churches, homes, hospitals, hospices and shopping centres the Christmas Crib stands as a tangible reminder to us that God is real and God is with us. Cribs come in all shapes and sizes and often reflect the cultural context they are in. A crib is an important part of Christmas symbolism and a doorway to deeper reflection and prayer.
The formation of the first Christmas crib is attributed to St Francis of Assisi. In 1223, just three years before his death, Francis went to visit the Friars living in the remote mountain village of Greccio. St Bonaventure tells us that in order to excite the people of Greccio to celebrate the birth of the Saviour with all solemnity, Francis brought together all the elements of the stable in Bethlehem into what would become the very first Christmas crib.
Francis used real people, straw and animals to bring the Christmas story to life for the people of Greccio. People came from far and wide to see this spectacle. The night was aglow with candlelight as hymns were sung in praise of the God who is with us.
Francis was very real and very practical.He understood that as human beings we often need to see, hear and even smell something before it can enlighten our minds and ignite our hearts. As Francis carefully brought the characters of the Christmas scene together, he also skilfully brought the people of Greccio together; uniting them in prayer and praise around a living and breathing expression of God’s connection with the human story. The crib remains a beacon of peace, hope and reconciliation and offers an opportunity for us to reflect upon the deeper message it represents.
(Capuchin Franciscans Ireland)
The Tau cross
The Tau — A Franciscan Emblem
The sign Tau has its origin in biblical antiquity and is the last letter of the Hebrew alphabet. It has a special significance for Franciscans because Francis adopted it as his personal seal and encouraged his companions to do the same. Describing Francis preference for this sign, St. Bonaventure writes in his Life of Saint Francis: ‘This Tau symbol had the saint’s deep veneration and devotion; he spoke of it in order to recommend it and he signed himself with it before beginning any action’ (Lm 2:9).
In this way, Bonaventure cleverly bestows on Francis’ use of the Tau an eschatological significance. That Francis was aware of the deep spiritual significance of the Tau is manifested in the way he used it to autograph his blessing for Brother Leo. The holograph called the Chartula has the Praises of God on one side, and, the Aaronic Blessing (Num.6:24-26), now commonly known as the Blessing of St. Francis, on the other.
The Tau was for Francis and his companions a symbol of their total commitment to Christ in poverty and penance, and for whom they carried the cross in their bodies for salvation of the Church. This sign Francis and his friars adopted and used at the
wish of Pope Innocent to symbolise their loyalty and active support of their consiliar reforms.
Minor Life of St. Francis by St. Bonaventure
Major Life of St. Francis by St. Bonaventure
The San Damiano Cross
The San Damiano cross is the large Romanesque rood cross that hung in the abandoned chapel near Assisi. While still in his early 20’s and seeking his place in the world, Francis of Assisi was praying before this cross when he heard the voice of God commanding him to “rebuild my church.”
It is because of this event in Francis’ life that the cross takes on such importance in the Franciscan tradition. All Franciscans cherish this cross as the symbol of their mission from God to commit their lives and resources to renew and rebuild the Church through the power of Christ.
Let’s examine the images on the cross:
The largest figure is Jesus Christ, represented both as wounded and strong, standing upright and resolute. The bright white of the Lord’s body contrasts with the dark red and black around it and, therefore, accentuates the prominence of Jesus. He projects the life of divine nature in a body pierced by nails in the hands and feet, by the crown of thorns on his head, and by the soldier’s lance in his side. This representation contrasts with the regal Christ portrayed on the cross in earlier centuries and the crucified Christ depicted generally throughout the Church since the beginning of the 14th century.
The next largest figures are the five witnesses of the crucifixion and witnesses of Jesus as Lord. On the left side are the Virgin Mary and St. John the Evangelist, to whom Jesus entrusted his mother. On the right side are Mary Magdalene; Mary, Mother of James; and the centurion who in Matthew’s Gospel account asks Christ to heal his son. Both Mary and Mary Magdalene have their hands placed on their cheeks to reflect extreme grief and anguish. The first four witnesses have halos because they are saints who gave their lives for the Lord.
The three smaller figures are represented as witnessing the crucifixion. On the lower left is Longinus, the traditional name of the Roman soldier who pierced the side of Jesus with a lance. In the lower right is Stephaton, the traditional name for the soldier who offered Jesus the sponge soaked in vinegar wine.
Peering over the left shoulder of the centurion is a small face. A close look reveals the tops of the heads of three others beside him. This represents the centurion’s son who was healed by Jesus and the rest of his family to show that “he and his whole household believed.” (John 4:45-54)
At both ends of the crossbar are six angels are represented as marveling over the event of the crucifixion. Their hand gestures indicate they are discussing this wondrous event of the death and calling us to marvel with them.
At the foot of the cross there is a damaged picture of six figures, two of whom have halos. In accordance with the traditions of the day, these six are the patrons of Umbria, the region surrounding Assisi: St. John, St. Michael, St. Rufino, St. John the Baptist, St. Peter, and St. Paul.
On the top of the cross, one sees Jesus now fully clothed in his regal garments and carrying the cross as a triumphant scepter. He is climbing out of the tomb and into the heavenly courts. Ten angels are crowded around, five of whom have their hands extended in a welcoming gesture to Jesus, who himself has his hand raised in the form of a greeting.
At the very top of the cross is the Hand of God with two fingers extended. This is to be understood as the blessing of God the Father on the sacrifice of his Son. On the right side of the picture next to the left calf of Jesus, there is a small figure of a fowl. Some art historians have interpreted it to be a rooster, (Jesus’ denial by Peter); other commentators see it as a peacock, a frequent symbol of immortality in Early Christian art. Along the lower right side of the shaft, there is a small animal, possibly a cat.
The Transitus (Death) of St Francis
The Transitus of St. Francis..
is traditionally celebrated by Franciscans all over the world on October 3rd.
This is the vigil of the Feast of St. Francis and is a night to commemorate the death of our beloved Saint. Transitus is a Latin word that means passage or crossing over. In every account written on the death of St. Francis, it is remembered that he crossed over from life on earth to eternal life with the Lord, full of great joy and song.
“On the eve of his death, the saint, in imitation of his Divine Master, had bread brought to him and broken. This he distributed among those present, blessing Bernard of Quintaville, his first companion, Elias, his vicar, and all the others in order. “I have done my part,” he said next, “may Christ teach you to do yours.” Then wishing to give a last token of detachment and to show he no longer had anything in common with the world, Francis removed his poor habit and lay down on the bare ground, covered with a borrowed cloth, rejoicing that he was able to keep faith with his Lady Poverty to the end. After a while he asked to have read to him the Passion according to St. John, and then in faltering tones he himself intoned Psalm cxli. At the concluding verse, ‘Bring my soul out of prison’, Francis was led away from earth by ‘Sister Death’, in whose praise he had shortly before added a new strophe to his ‘Canticle of the Sun’.“
– Paschal Robinson, Catholic Encyclopedia: St. Francis of Assisi
This painting …
was performed by the Italian Baroque master Michelangelo Merisi da Caravaggio, and it’s located in Wadsworth Atheneum, Connecticut, United States of America.
Saint Francis of Assisi is shown in a state of ecstasy, at the moment of receiving the signs of the stigmata, the wounds left in Christ’s body by the Crucifixion. Franciscan tradition sustains that in 1224, St Francis retired to the wilderness with brother Leo. A six-winged seraph (one of the higher orders of angels) came down to St Francis in answer to the saint’s prayer that he might know both Christ’s suffering and His love.
This work was commissioned by Cardinal Francesco del Monte, to celebrate his ascension to this high service. In this scene, st Francis has just received the stigmata, and an angel is holding him.
The painting was the first of Caravaggio’s religious canvasses, and is thought to date from 1595, when he had recently entered the household of Cardinal Francesco Maria Del Monte.
(Oil on canvas, 1595)
The Coat of Arms
This Franciscan Coat of Arms is an image worthy of contemplation. The image is a true expression of both Jesus’ and Francis’ fervent style of love. We see in Jesus’ crucified hand, first of all, God’s incredible love for us. In Francis’ wounded hand, in turn, we see the loving response of St. Francis to the burning love of God, who first loved us.
This is indeed something to ponder. All in all, the Franciscan Coat of Arms is a wonderful expression of the Franciscan (or Seraphic) style of love. Though few of us live up to this ideal, it calls us to something rare and splendid!
The Coat of Arms of the Franciscan Order is often depicted on the altar in sanctuaries of Franciscan churches or is engraved in plaques that represent the Franciscan Order in various institutions throughout the world. It is a familiar picture: an emblazoned circle, with two arms crossed, the bare arm of Christ over the robed arm of Francis, both with the stigmata, beneath a larger central cross emitting glittering rays of light.
The Coat of Arms depicts the total conformity of Francis to Jesus Christ, a central theme of early Franciscan legends and hagiography.