Still it is easy to see that Franciscan poverty is neither to be confounded with the unfeeling pride of the stoic, nor with the stupid horror of all joy felt by certain devotees; St. Francis renounced everything only that he might the better possess everything. The lives of the immense majority of our contemporaries are ruled by the fatal error that the more one possesses the more one enjoys. Our exterior, civil liberties continually increase, but at the same time our inward freedom is taking flight; how many are there among us who are literally possessed by what they possess?[9] Poverty not only permitted the Brothers to mingle with the poor and speak to them with authority, but, removing from them all material anxiety, it left them free to enjoy without hindrance those hidden treasures which nature reserves for pure idealists. The ever-thickening barriers which modern life, with its sickly search for useless comfort, has set up between us and nature did not exist for these men, so full of youth and life, eager for wide spaces and the outer air. This is what gave St. Francis and his companions that quick susceptibility to Nature which made them thrill in mysterious harmony with her. Their communion with Nature was so intimate, so ardent, that Umbria, with the harmonious poetry of its skies, the joyful outburst of its spring-time, is still the best document from which to study them. The tie between the two is so indissoluble, that after having lived a certain time in company with St. Francis, one can hardly, on reading certain passages of his biographers, help _seeing_ the spot where the incident took place, hearing the vague sounds of creatures and things, precisely as, when reading certain pages of a beloved author, one hears the sound of his voice. The worship of Poverty of the early Franciscans had in it, then, nothing ascetic or barbarous, nothing which recalls the Stylites or the Nazirs. She was their bride, and like true lovers they felt no fatigues which they might endure to find and remain near her. La lor concordia e lor lieti sembianti, Amor e maraviglia e dolce sguardo Facean esser cagion de' pensier santi.[10] To draw the portrait of an ideal knight at the beginning of the thirteenth century is to draw Francis's very portrait, with this difference, that what the knight did for his lady, he did for Poverty. This comparison is not a mere caprice; he himself profoundly felt it and expressed it with perfect clearness, and it is only by keeping it clearly present in the mind that we can see into the very depth of his heart.[11]