has puzzled many people, but in a pamphlet by Mr Montgomery Carmichael[90] it has received a plausible translation. He thinks that _cum capite_ refers to the small knob at the top of the Thau, by which St. Francis meant to represent a malefactor's head; the line would read thus: "in like manner with his own hand he made a cross with a head," and not "with his own head," as some believe. Mr Carmichael thinks the curious mound out of which the cross rises is a rough drawing of La Vernia. Above the benediction, in neatly formed letters, Brother Leo has written a short account of the sojourn at the Sacred Mount and of the Vision of the Seraph. This relic has been mentioned in the archives of the convent since 1348, and is always carried in procession at the commencement of the feast of the "Perdono" on July 31st. Almost more honoured by the faithful is the "Sacred Veil of the most Holy Virgin," which can only be exposed to the public in the presence of the Bishop of Assisi, and is shown in times of pilgrimage when the sacristy and church are full of men and women waiting for their turn to kiss the holy relic. The picture over the door, painted by Giunta Pisano (?) is always pointed out as a portrait of St. Francis, but as the painter's first visit to Assisi was in 1230 he can only have seen the body of the saint borne to its last resting-place in the Basilica, and even that is doubtful when we remember with what secrecy the burial was performed. Here the face is pointed and emaciated, with a curious look in the eyes as though Giunta had desired to record his blindness. The figure is surrounded by small scenes from the miracles of St. Francis, performed during his lifetime and at his tomb in San Giorgio. But though in the so-called portraits of the saint, the artists think more of representing him as the symbol of asceticism and sanctity than of aiming at giving a true likeness, both this picture and a fresco painted in 1216 at Subiaco when the saint stayed there on his way to Spain, are not very dissimilar from the graphic description left us by Celano. He tells us that St. Francis "was rather below the middle stature with a small round head and a long pinched face, a full but narrow forehead and candid black eyes of medium size, his hair likewise was black; the brows were straight, the nose well-proportioned, thin and straight, the ears erect but small, and the temples flat; his speech was kindly, yet ardent and incisive; his voice powerful, sweet, clear and sonorous; his teeth were regular, white and set close; his lips thin and mobile, his beard was black and scant, his neck thin, his shoulders square; the arms were short, the hands small with long fingers and almond-shaped nails, his legs were thin, his feet small, his skin delicate, and he was very thin...." [Illustration: BIRD'S EYE VIEW OF THE BASILICA AND CONVENT OF SAN FRANCESCO, FROM A DRAWING MADE IN 1820]