She died, surrounded by her spiritual children, in the octave of the Feast of the Holy Innocents, 1309, aged sixty-one; and was buried in the Church of the Franciscans at Foligno, where her body still lies. An Office in her honour was approved by Gregory XIV in 1701, and her Feast is kept throughout the Franciscan Order on March 30. So much for the scanty outer history. Of greater interest is our knowledge of her inner life; the real life of mystics and contemplatives. The history of this inner life assures us that Angela was of the stuff of which great mystics are made; though not at all of the stuff of which many amateurs of mysticism expect them to be made. First great necessity, she possessed a strongly romantic temperament; like St. Francis, Suso, St. Ignatius, Mechthild, St. Teresa, her companions on the highway of the soul. Like these, she had also an innate simplicity and ardour, a character at once childlike and heroic; that “all-or-none” reaction, the power of total self-giving to the matter in hand, which distinguishes the hero, whether as man of action, as artist, or as saint. Indeed, heroism may properly be ascribed to a comfortable and self-indulgent married woman, who leaves all for the lonely adventure of Sinai, however many tumbles she may have upon the road. With this courage she combined an extreme sensibility to impressions, great power of endurance, a strong will; all the potentialities of a great sinner or a great saint. Further, she evidently possessed that peculiar, unstable psychic makeup, which the mystic shares with other types of genius; and which is seen in its full development in the two greatest of Italian saints, Francis of Assisi and Catherine of Siena. She experienced all the normal episodes of complete mystical development: the phases of penitence and self-discipline, illumination and dereliction, and at last that ecstatic union with the Divine Nature which is the goal of the Way. Her mysticism was deeply coloured by the Franciscan atmosphere in which it was nurtured; it exhibited the highly emotional and enthusiastic character, the tendency to eccentric penances, the concentration upon the Cross and Passion of Christ, which are found in her contemporary Jacopone da Todi, and are typical of the Franciscan mystics at their best. Indeed, the many parallels between Angela and Jacopone suggest to us that the favourite subjects of their contemplations were those in vogue in “Spiritual” circles at this time; and that we have in their works the surviving examples of a complete school of mysticism, which taught, as Ubertino da Casale says that Cecilia of Florence did, “the whole art of the higher contemplation.”