Fortunately in recent years there has come, as we have said, a growing recognition of the fact that the real beginning of modern art lies much farther back in history, and that the real {255} father of the Italian Renaissance is a man whom very few people in the last three centuries have appreciated at his true worth. Undoubtedly the leader in that great return to nature, which constitutes the true basis of modern poetic and artistic ideas of all kinds, was St. Francis of Assisi. "The poor little man of God," as in his humility he loved to call himself, would surely be the last one to suspect that he should ever come to be thought of as the initiator of a great movement in literature and art. Such he was, however, in the highest sense of the term and because of the modern appreciation of him in this regard, publications concerning him have been more frequent during the last ten years than with regard to almost any other single individual. We have under our hand at the present moment what by no means claims to be a complete bibliography of St. Francis' life and work, yet we can count no less than thirty different works in various languages (not reckoning translations separate from the originals) which have issued from the press during the last ten years alone. This gives some idea of present day interest in St. Francis. It must not be thought, however, that it is only in our time that these significant tributes have been paid him. Much of his influence in literature and art, as well as in life, was recognized by the southern nations all during the centuries since his death. That it is only during the last century that other nations have come to appreciate him better, and especially have realized his literary significance, has been their loss and that of their literatures. At the beginning of the Nineteenth Century Görres, the German historian who was so sympathetic towards the Middle Ages, wrote of St. Francis as one of the Troubadours, and even did not hesitate to add that without St. Francis at the beginning of the Thirteenth Century there would have been no Dante at the end. Renan, the well-known French rationalist historian and literateur, did not hesitate to proclaim St. Francis one of the great religious poets of all time and his famous Canticle of the Sun as the greatest religious poem since the Hebrew Psalms were written. It was from Renan that Matthew Arnold received his introduction to St. Francis as a literary man, and his own studies led him to write the famous passages in the Essays in Criticism, which are usually so much a source of {256} surprise to those who think of Mr. Arnold as the rationalizing critic, rather than the sympathetic admirer of a medieval saint.