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PART VI: APPENDICES 

1.  THE TAU: COAT OF ARMS AND SIGNATURE OF SAINT FRANCIS OF ASSISI 

The first biographer of St. Francis, who was an eyewitness and a contemporary, Bro. Thomas of Celano, wrote:  He favoured the sign of the TAU over all others.  With it alone he signed letters he sent, and painted it on the walls of cells14 everywhere … he signed his letters with this sign whenever charity or necessity led him to send something in writing (treatise on the miracles, N°3 and N° 159).  What is the TAU and why was it so important for St. Francis?

The TAU in the Bible

The letter TAU is contained in the alphabet of both the original languages of the Bible, Hebrew and Greek.  While the TAU has maintained the same shape till today (τ – small letter and Τ - capital letter), in Hebrew it has changed from its old form practically identical to the Greek Tau and our “T” to its present form (ת), though it has maintained the last place in the Hebrew alphabet.   

The books of Job and Ezechiel.  The two clearest references to the Tau in the Old Testament are in Job 31:35 and Ez 9:4.  At the end of his long speech, Job says literally: Here is my TAU, let Shaddai (the Almighty) answer me, which is a way of saying, “Here is my signature” or “I have now finished speaking”, let the Almighty answer me”.

In one of his visions, the prophet Ezechiel sees God who calls a man clothed in linen, who had writing instruments at his side and tells him, Go through the city and sign a TAU upon the foreheads of the men who sigh and groan over all the abominations that are committed in it”. (Ez 9:3-4)  in the ensuing destruction of the city, all those who were signed with a TAU were spared.  In ancient Hebrew culture, besides serving as a signature, as in Job’s case, the TAU also served to identify livestock, slaves and other property.  In this case, the persons signed with the TAU belonged to the Lord, consecrated, and therefore not to be touched.  It is clearly a prophecy of Christ’s redemption on a cross. 

The book of Revelation.  The word “Tau” does not appear in the book of Revelation, and yet the visions of St. John are closely linked with this symbol.  When the text speaks of “the seal printed on the foreheads of the servants15,” it clearly alludes to Ezechiel 9:4 and the Tau printed on the foreheads of the penitents.  All scholars agree that these texts in Revelation are inspired by Ezechiel’s vision. 

The IV Lateran Council 

It was an extraordinary homily delivered on this passage of Ezechiel that inspired St. Francis to adopt this symbol of the cross as his signature and as coat of arms of the Order.  On 11 November 1215, one of the greatest popes of the middle ages, Innocent III, opened the IV Lateran Council.  He wanted to initiate a badly needed reform in the Church through this Council which was the 12th in the History of the Catholic Church, the largest up to that date, and one of the most important.  He invited, not only all the Bishops of the Church, but also all superiors, leaders and founders of old and new congregations to participate in the Council.  St. Francis, whose Order was approved six years previously, was also among the invited.  In the second part of his memorable opening sermon, the pope commented Ezechiel chapter 9, making his own the words of God to the prophet: Pass through the city and mark with a TAU the foreheads of the men who weep… and exhorted all present to be champions of the TAU and of the cross.

How did St. Francis react?  He took the discourse of the pope as a message addressed personally to him.  The pope had said, “mercy will be granted to those who bear the TAU, a mark of a life of penance and renewal in Christ”.  From then on, Francis wanted to sign himself with the TAU, and his brothers along with him; the TAU will become the sign of the Order’s mission.

The TAU coloured his entire spirituality, which from 1215 on, became even more a spirituality of the cross and of salvation.  This shines through the prayers, which he composed, for example, his Office of the Passion. 

The TAU, St. Francis and the Lepers 

The homily of Pope Innocent III in 1215 was not the only occasion to foster the devotion St. Francis had for the TAU.  It had for him another important meaning which preceded the IV Lateran Council: the place lepers held in his life.  We know that when he visited Rome in 1209 to obtain the approval of his first Rule from Innocent III, St. Francis stayed in the leper hospital of St. Anthony in Rome16.  This hospital was maintained by the Brothers of St. Anthony the Hermit (the Antonines) who had the TAU  for an emblem.  They used to carry in their hand a stick at the end of which was a TAU, and they also had a large TAU sewn on their habits. 

The stay of St. Francis at the Antonine leper hospital in Rome was neither accidental nor the only one because lepers had a special place in St. Francis’ life.  After the encountering and kissing the leper17 at the beginning of his vocation, he inaugurates his service to Christ by serving the lepers: “The Lord Himself brought me among them, and I cared for them with all my heart” (Testament 2).  He also practically imposed this work on them as their novitiate training: “at the beginning of the Order, he wanted the Brothers to live in the leper hospitals in order to care for them.  When postulants, nobles or wanderers, presented themselves, they were informed that among other things, they would have to serve lepers and reside in their hospitals” (Legend of Perugia 102).  The love that Francis had for lepers was none other than the love he had for Jesus, because for Him every leper was Jesus.

We are certain, therefore, that Francis was already well acquainted with this sign before he went to the Council and must have been so pleased with the proposal made by Pope Innocent III in the opening homily, as it already dear to him.

Spirituality of the Tau 

 Francis shared the common ambition of all youths of his day: to become a Knight, and on two occasions he attempted to gain this honour by fighting for a cause18.  After a first dream in which he was shown a palace adorned with all sorts of arms and a voice telling him that all those arms were for him and his followers, Francis set out to fight for the Pope.  However, along the way, he had another vision, in which the Lord told him Go back to the land of your birth because I will fulfil your dream in a spiritual way” (2 Cel 6).

This episode was very important in Francis’ life because it shows us how his ambition for the knighthood became an instrument in God’s hands to trigger off his conversion process. 

In 1215, the year of the IV Lateran Council, God’s promise at Spoleto had already materialised: his Order approved and he had thousands of friars who followed him.  When Francis listened to the homily of Pope Innocent III, he was quite quick to adopt it as his coat of arms.  In those days, every knight, noble family, king or society had a coat of arms sculpted on buildings painted or sewn on clothes to indicate their identity.  In choosing this coat of arms illustrates the spiritual evolution of that dream in Francis, who continued to consider himself the herald of the great King (1 Cel 16) 

Conclusion 

For St. Francis, the Tau was first of all a programme of penance, following in the footsteps of Our Lord Jesus Christ.  Secondly, it was a symbol of a mission of renewal within oneself and the Church.  Finally, it was a sign of the glory shared with the risen Lord which gave Francis confidence in the face of all difficulties.

2.0 THE CRUCIFIX OF SAN DAMIANO.  How to read to icon and use it for personal prayer

Introduction

 When St. Francis was on his way towards conversion, he was walking one day by the Church of San Damiano, which was abandoned by everyone and almost in ruins.  Led by the Spirit he went in to pray and knelt down before the crucifix.  After some time the lips of the image of Christ crucified spoke to him.  “Francis”, it said, “go rebuild my house.  As you see, it is all being destroyed”  (2 Cel 11). This was the beginning of Francis’ mission which had an extraordinary impact in the life of the Church.  From that time onwards, so many people throughout the ages have venerated the cross that spoke to St. Francis.

The Cross of San Damiano, however, is more than a beautiful painting.  It is an icon created to reveal the essence of a profound mystery: it contains a surprising wealth of rich teachings inspired by the Gospel according to John.  For this reason, we say “read” an icon, not look at an icon, because each particular detail of an icon is something to understand and not merely to be looked at, as in any common painting.  The following explanation can be of help for anyone who contemplates this cross during his prayer of meditation.

 The Frame and the Base

The border of the icon sets the tone immediately.  It is formed of a great number of shells.  Among the ancients, the seashell had become a symbol of the beauty and eternity of heaven because of its beauty and endurance.  This border of seashells shows us that the icon is destined by its very nature to reveal heavenly mystery.  However, the border is not fully complete.  It is not closed at the base, suggesting that a space has been left free to allow for an entry.  In fact, right at the opening, we can clearly distinguish two persons – others cannot be distinguished because this part of the icon is not in a good state of preservation.  It is not improbable that other figures have been erased by the kisses of the faithful venerating the icon throughout the ages. 

Who are the figures at the base of the cross?  One of the two clearly distinguished persons has to be St. Peter, who is part of the base of the icon which seems to be formed of a block of stone.  It reminds us of the Rock, that is the authority of Peter according to the words of Jesus, “You are Peter and upon this rock I will build my Church” (Mt 16:18).  Besides the traditional short beard attributed to St. Peter, the first figure from the right is also standing beneath the cock, reminding us of the scene of Peter’s denial after the crowing of the cock.  The other figures could include St. John the Baptist, St Paul, St. Damian and St. Rufino (patron saint of the Cathedral of Assisi).

A glorified Jesus as described by the Gospel according to John

The central figure of Christ dominates the icon not only for its size, but also for the light that His splendid white figure effuses on all the persons that surround Him and face Him.  The crown of glory that replaces the usual crown of thorns indicates that the prayer of Jesus is now answered, “Father, glorify Your Son” (Jn 17,1).  This living Christ effusing light and life to all around Him has already won over suffering and death. 

This victory of the light (Jesus) over the darkness is symbolized by the red and black colours.  The red colour, symbolic of Love, found all about the icon, dramatizes the victory of light and Love over darkness.  The black colour is symbolic of the tomb of death, brought about by the opposition to the light, of unbelief and of sin.  The risen Christ, standing over the empty and open tomb (black) with His hands extended, is in the act of ascending to Heaven.

The wound in Jesus’ right side is also one of the testimonies made by the beloved disciple and can be found only in the fourth Gospel.

Th The Crown of Glory

The sorrowful mystery of Christ is neither forgotten nor hidden.  The crown of thorns is substituted by a triumphant oriental cross.  Instead it discovers its meaning and fulfilment in glory.  We must remember this when we attempt to identify the feelings of the others characters on the painting.  Jesus is glorified and, therefore, it is only proper that those around Him should also be in a state of joy. 

How this crown is full of consolation!  It gives meaning to every suffering.  It reminds us that every crown of thorns can be changed into a crown of glory.

Th The Vestment of Jesus

It is very important to take note of the vestment that Jesus is wearing, since by this vestment we can know what office He is exercising in this icon.  Notice that it is not an ordinary loincloth; but it has a gold border.  Such a vestment made of linen, was used as a priestly vestment in the Old Testament and was called an ephod.  From various passages describing the ephod, we can draw up the conclusion that there was a difference between the somewhat elaborate ephod prescribed for the High Priest in Ex 28:6-12 and the ephod worn by other priests and King David, which covered only the loins, leaving the knees uncovered.  In fact, in Ex 20:26 we find a liturgical prescription specifying that the priest should not ascend the steps to the altar for fear of immodesty.  Again, King David was reproached by his spouse, Michal, for having displayed himself as a commoner (2 Sam 6:13-20), which leads us to understand that David’s vestment was truly short.  In this passage, it is clear that King David was exercising his priestly function. 

While the cut of the vestment worn by Jesus in this fits more the description of the ephod worn by king David, the golden border of the vestment and the belt holding it, also golden and part of the vestment, fits the description of the High Priest’s ephod described in Ex 28:8.

We can conclude that this icon presents Jesus as Messiah and High Priest of the New Testament.

The Veil over the Face of Jesus

If one looks carefully at the icon, it becomes evident that both the face of Jesus and the crown of glory are slightly veiled.  Their brilliance is muted by a shadow that extends as far as Jesus’ neck.  As the glory of the Lord was formerly veiled by a cloud (Ex 24:16), now this glory is veiled by the humanity of Jesus.  The Letter to the Hebrews calls this veil, the flesh of Jesus (Heb 10:20).  At the time of the Transfiguration, the veil was lifted in a certain manner and the glory of Jesus was manifest.

The Wounds

The wounds in the hands, feet and side of Jesus have become fountains that are flowing abundantly with the Blood of the Lamb of God.  It is the blood of the New Covenant that has won for us an eternal redemption (Heb 9:12).

Two Angels (one on each side of the cross) gaze intently at the wounds in Jesus’ hands. Four Angels (two under each arm) express their astonishment before the spectacle of the blood shed by the only Son of God and with their hands seem to announce, in front of the open tomb,  the Resurrection and Ascension of Our Lord to all those present.

The abundant redeeming blood flows over the Angels and Saints, over Mary and the Centurion (from the hands); over other Saints (from the feet) and over St. John (Blood from the right side of Jesus).

Notice that blood is coming out from Jesus’ right side in agreement with ancient tradition (in particular taken from a Syrian Gospel of the 6th Century A.D.) and also the position of the wound as seen in the Holy Shroud of Turin.  This flow of blood and water from the right side of Jesus reminds us of the stream flowing from the right side of the Temple in Ezechiel (chapter 42).  The water that flows like a torrent from the Temple invigorates everything along its path and gives the trees an extraordinary fruitfulness.

The Characters under the arms of Jesus

There is no problem identifying the characters placed beneath the arms of Jesus: the painter of the icon has written their names at their feet.  From left to right they are Mary, John, Mary Magdalen, Mary the mother of James and the Centurion.

This glorious representation of the Passion of the Son is revealed also in the persons closest to Christ under the cross.  First of all, we notice Mary and John both on the right side of Jesus, which is, in the East, the place of honour.  The psalmist says: “At right hand stands the Queen in Gold of Ofir” (Psalm 45:10).  They are closely united according to the Gospel of John (John alone, in Jn 19:26 mentions the presence of the Mother of Jesus under the cross).  Mary is indicating the beloved disciple with her right hand, reminding us of the precise moment in which Jesus, with the blood falling over John, exclaims from the cross: “Woman, behold Your son”.  Despite the fact that Mary and Mary of Magdala have their left hand raised to their cheek as a sign of grief, none of the persons near them manifest an expression of deep suffering.  Much more vivid is their profound and believing adhesion to Christ, victorious Redeemer and Saviour.  Under the left arm of Jesus stand Mary of Magdala and Mary, wife of Clopas who were present at the foot of the cross (Jn 19:25) and were also first witnesses of the resurrection in the Gospel of Luke (Lk 24:10).  On the right side of the two women stands the Centurion that, looking at Jesus with his right hand raised towards Him says: “Truly this was the Son of God!” (Mt 27:54; Mk 15:39; Lk 23:47).  Above the shoulders of the Centurion there is the head of a minute person whose identity is not certain.  Most probably, he represents the son of the Centurion, whom Jesus heated, but it could also be the author of the icon or a representative of the crowd. 

At the foot of Mary we can see the soldier, whose name, according to tradition, was Longinus.  He holds in his hands the long lance with which he pierced Jesus’ side.  The corresponding soldier at the foot of the Centurion is the one who carried the sponge soaked with vinegar.  According to tradition, his name was Stepaton.  Both of these two figures have their heads turned towards the crucifix. 

The Inscription

Above the head of Christ we see this inscription: IHS NAZARE REX IVDEORV which stands for: Iesus (the first three letters of the name “Jesus” in Greek: IHS) Nazarenus Rex Iudeorum – Jesus the Nazarene, King of the Jews.  This name is found only in the Gospel of John – the other three Gospels omit the word “Nazarene” which affirms the profound humility Jesus assumed before being glorified.  In Jn 1:48-49 Nathanael, after affirming that nothing good can come from Nazareth, confesses that Jesus of Nazareth is the Son of God, the King of Israel and the Messiah.

Jesus in the Medallion

The small dynamic figure of Jesus in the medallion above the inscription represents the Ascension with the trophy of the Cross in His left hand and His right hand extended towards the right hand of the Father above the medallion.  The cross is now golden; it has become His royal sceptre and His garments of gold speak of His victory and royalty. 

It is important to note that, according to the Gospel of John, Jesus ascended to His Father after His death and his glorious bodily entrance into heaven happen the same day of the resurrection.  As He told Mary, “do not hold me for I have not yet ascended to the Father” (Jn 20:17).  This medallion of the Crucifix of San Damiano clearly wants to illustrate this “glorious” Passion according to the Gospel of John.

From high, the right hand of the Father welcomes the Son surrounded by Angels (and Saints?).  Why does the right hand of the Father have only two fingers open?  Some scholars have advanced the hypothesis that this represents the Holy Spirit, Who is called digitus Dei – finger of God (see Lk 11:12; Mt 12:28).  Over His shoulders, Jesus has a red stole – a symbol of the His dominion, kingship and new priesthood instituted by His blood and exercised in Love (red).

The Cock

Near the left leg of Jesus, the artist has painted a cock, which is directly above the head of St. Peter at the base of the Crucifix to remind us of the denial of Peter at the crowing of the cock.  The cock is included in some ancient paintings and also in crucifixes found at Lucca, in central Italy.  It must be noted that John was the only direct witness of Peter’s denial during the night of the Passion.  John himself had gained entrance for Peter inside Caifa’s courtyard (See Jn 13:38; 18:15-27).  After the resurrection, Peter and John are together again.

Th The Cross of San Damiano as lived by St. Francis

When Francis entered the Church of San Damiano, little did he know what mission was awaiting him when seeking conversion, he prayed:

Most High,
glorious God,
enlighten the darkness of my heart
and give me
true faith,
certain hope, and perfect Charity,
sense and knowledge,
Lord,
that I may carry out
Your holy and true command.

Francis only asked for interior enlightenment, but ended the prayer with a full disposition to do God’s will.  He had no plans except a programme of conversion that, without his knowing, had already gone far in the eyes of God.  And so, God does not give him any instruction on how to improve himself, but:

Go and rebuild my house.  As you see, it is all being destroyed.

Francis’ first reaction was to start rebuilding San Damiano and then other two churches.  But he soon realised that God is more interested in souls than in stones.  His “rebuilding project” did not last long, however, because God sent him many Brothers.

When the Crucifix spoke to St. Francis in San Damiano, it was not the first time he had prayed in front of it because the Church was along the way he had to walk to reach one of his father’s lands, where he used to go to pray for long periods after his recovery from the imprisonment at Perugia. 

Dear reader, you too can try to imitate St. Francis in praying and meditating in front of this Crucifix, praying his conversion prayer with the same spirit of humility and disposition for interior enlightenment.  If you do this long enough and seriously enough, be prepared for some surprises!

____________________________________________

3.  FRANCISCAN CALENDAR

 * When no rank is given, it is an optional memorial.

(SFO Saints and Blessed are underlined)

JANUARY

3. Holy Name of Jesus Mem
7. Bl. Angela of Foligno, religious, III Order  (For the III Order)*
12. St. Bernard of Corleone, religious, I Order
14. Bl. Odoric of Pordenone, priest, I Order
16. Berard, priest, and companions, protomartyrs, (I Order)  Mem
30. Hyacinth of Mariscotti, virgin, III Order  (For the III Order)
 

FEBRUARY

4. Joseph of Leonissa, priest, I Order
6. Peter Baptist, Paul Miki and companions, martyrs, I and III Orders Mem
7. Colette, virgin, II Order (For II and II Order nuns: Memorial)
10. Conrad of Piacenza, hermit, III Order (For the III Order)
 

MARCH

2. Bl. Agnes of Prague, virgin, II Order (For and III Order nuns)
4. Bl. Didacus Joseph of Gadiz. priest. I Order
 

APRIL

3. Benedict the Black, religious, I Order Mem
21. Conrad of Parzham, religious, I Order
23. Bl. Giles of Assisi, religious, I Order
24. FIDELIS OF SIGMARINGEN. CAPUCHIN PRIEST AND MARTYR, I Order  Feast
28. Bl. Luchesius. III Order (For the III Order)
 

MAY

9. Catherine of Bologna. virgin. II Order (For II and III Order nuns: Memorial)
11. Ignatius of Laconi. Capuchin religious. I Order
16. Margaret of Cortona, III Order Memorial
17. Paschal Baylon, religious, I Order Memorial
18. FELIX OF CANTALICE. CAPUCHIN RELIGIOUS. I Order Feast
20. BERNARDINE OF SIENA. PRIEST. I Order Feast
24. DEDICATION OF THE BASILICA OF ST. FRANCIS OF ASSISI Feast
28. Mary Ann of Jesus of Paredes. virgin. III Order
30. BI. Baptista Varano, virgin, II Order (For II and III Order nuns)
 

JUNE

12. BI. Jolenta. religious, II Order (For II and III Order nuns)
13. ANTHONY OF PADUA. PRIEST AND DOCTOR, I Order Feast
30. Bl. Raymond Lull, martyr, III Order (For the III Order)
 

JULY

8. Bls. Gregory Grassi, bishop and companions martyrs, I and III Order
9. Nicholas Pick, priest, and companions, martyrs, I Order Memorial
10. Veronica Giuliani, virgin, II Order Memorial (For II and III Order nuns: Feast)
12. John Jones and John Wall. priests and martyrs, I Order.
13. Bl. Angeline of Marsciano, religious. III Order (For the III Order nuns: Memorial)
14. Francis Solano, priest, I Order
15. BONAVENTURE. BISHOP AND DOCTOR, I Order Feast
21. LAWRENCE OF BRINDISI, CAPUCHIN PRIEST AND DOCTOR, I Order Feast
23. Bl. Cunegunda. religious. II Order (For II and III Order nuns)
24. BI. Louise of Savoy, religious. II Order (For II and III Order nuns)
25. BI. Mary Magdalene of Martinengo, virgin, II Order (For II and III Order nuns)
 

AUGUST

2. OUR LADY OF THE ANGELS OF PORTIUNCULA Feast
7. Bls. Agathangelus and Cassian. Capuchin priests and martyrs. I Order
8. HOLY FATHER DOMINIC. PRIEST. FOUNDER OF THE ORDER OF REACHERS Feast
11. CLARE OF ASSISI. VIRGIN. II Order Feast (For II and III Order nuns: Solemnity)
14. Bl. Maximilian Mary Kolbe. priest and martyr.  I Order
19. Louis, bishop, I Order Memorial
25. Louis IX, King, Patron of the III Order Memorial
 

SEPTEMBER

1. Bl. Beatrice of Silva. virgin II Order
2. Bls. John Francis Burté: Severin Girault and companions. martyrs. I and III Orders
4. Rose of Viterbo. virgin. III Order (For the III (Order)
17. STIGMATA OF OUR HOLY FATHER FRANCIS Feast
18. JOSEPH OF CUPERTINO. PRIEST. I Order Feast
20. Francis Mary of Camporosso, religious, I Order Memorial
23. Finding of the Body of St. Clare (For II and III Order nuns)
26. Elzear of Sabran and Bl. Delphina, husband and wife, III Order (For the III Order)
 

OCTOBER

4. OUR HOLY FATHER FRANCIS OF ASSISI, DEACON, FOUNDER OF THE THREE ORDERS Solemnity

6. Mary Frances of the Five Wounds, virgin, III Order (For the III (Order)

10. Daniel, priest, and companions, martyrs, I Order

12. St. Seraphin of Montegranaro, religious, I Order

20. Bl. Contardo Ferrini, III Order (For the III (Order)

      Bl. James of Strepar, bishop, I Order

21. Bl. Josephine Leroux, virgin and martyr, II Order (For II and III Order nuns)

22. Peter of Alcantara, priest, I Order Memorial

23. John of Capistrano, priest, I Order Memorial

26. Bl. Bonaventure of Potenza, priest, I Order

30. ANNIVERSARY OF DEDICATION IN CONSECRATED CHURCHES OF THE ORDER Solemnity

NOVEMBER

7. Didacus of Alcala, religious, I Order
14. Nicholas Tavelic, priest, and companions, martyrs, I Order Memorial
17. ELIZABETH OF HUNGARY, Patroness of the III Order Feast
18. Bl. Salome, virgin, II Order (For II and III Order nuns)
19. Agnes of Assisi, virgin, II Order (For II and III Order nuns: Memorial)
24. Commemoration of all the Deceased of the Seraphic Order Memorial
26. Leonard of Port Maurice, priest, I Order Memorial
27. Bl. Francis Anthony Fasani, priest, I Order
28. James of the March, priest, I Order Memorial
29. ALL SAINTS OF THE SERAPHIC PRDER Feast

DECEMBER

15. Bl. Mary Frances Schervier, virgin, III Order (For the III (Order)

4.  THE SAINTS OF THE SECULAR FRANCISCAN ORDER

 Saints

1. Elizabeth of Hungary, W (d. 1231)?
2. Ferdinand II of Castile, C (d. 1252)?
3. Rose of Viterbo, V (d. 1252).
4. Louis IX of France, C (d. 1270)?
5. Margaret of Cortona, P (d. 1297).
6. Ivo of Brittany, C (d. 1303)?
7. Elzear of Sabran, C (d. 1323).
8. Rock of Montpellier, C (d. 1327)?
9. Elizabeth of Portugal, W (d. 1336)?
10. Conrad of Piacenza, C (d. 1351).
11. Bridget of Sweden, W (d. 1373).
12. Catherine of Genoa, V (d. 1510)?
13. Thomas More, M (d. 1535).
14. Charles Borromeo, Bp (d. 1584)
15. Paul Suzuki, M (d. 1597).
16. Gabriel of Ize, M (d. 1597).
17. John Kinuya, M ( d. 1597).
18. Thomas Danki of Ize, M (d. 1597).
19. Francis “the Doctor” of Mikayo, M (d. 1597).
20. Thomas Kosaki, M (d. 1597).
21. Joachim Sakakibara, M (d. 1597).
22. Bonaventure of Mikayo, M (d. 1597).
23. Leo Kasasumaru, M (d. 1597).
24. Matthias of Mikayo, M (d. 1597).
25. Antony of Nagasaki, M (d. 1597).
26. Louis Iabaraki, M (d. 1597). .
27. Paul Iabaraki, M ( d. 1597).
28. Michael Kosaki, M (d. 1597).
29. Peter Sukejiro, M (d. 1597).
30. Cosmas Takeya, M (d. 1597).
31. Francis Fahelante, M (d. 1597).
32. .Jane Frances Fremyot de Chantal, W (d. 1641).
33. Mary Anne of Jesus de Paredes, V (d. 1645).
34. Mary Frances of the Five Wounds, V (d. 1791).
35. Joseph Benedict Cottolengo, C (d. 1842).
36. Vincentia Gerosa, V (d. 1847).
37. Vincent Pallotti, C (d. 1850).
38. Emily de Vialar, V (d. 1856).
39. Jean-Marie Vianney, C (d. 1859).
40. Joseph Cafasso, C (d. 1860)?
41. Mary Joseph Rossello, V (d. 1880).
42. John Bosco, C (d. 1888).
43. Pius X, Pope (d. 1914).
44. Frances Xavier Cabrini, V (d. 1917).
45  John XXIII, Pope (d. 1963)

Blessed and Beatae

1. Viridiana de Attavantis, V (d. c. 1242)?
2. Humiliana of Cerchi, W (d. 1246).
3. Luchesio of Poggibonsi, C (d. 1260).
4. Gerard of Villamagna, C (d. c. 1270).
5. Novellone of Faenza, C (d. 1280).
6. James of Citta della Pieve, M (d. 1286).
7. Peter “the Comb-Maker" of Siena, C (d. 1289).
8. Bartholomew of San Gimigniano, C (d. 1300).
9. John Pelingotto of Urbino, C (d. 1304).
10. Amato Ronconi of Saldezzo, C (d. 1304).
11. Joan of Signa, V (d. 1307).
12. Angela of Foligno, W (d. 1309).
13. Chrisiana Menabuoi, V (d. 1310).
14. Ramon Lull, M (d. 1316).
15. Ubald of San Gimigniano, C (d. c. 1320).
16. Peter Cresci of Foligno, C (d. 1323).
17. Francis (“Cecco") Zanferdini of Pesaro, C (d. 1350).
18. Michelina of Pesaro, W (d. 1356). .
19. Delphina of Glandeves, V (d. 1360).
20. Charles of Blois, C (d. 1364).
21. Hugolino Magalotti, C (d. 1373).
22. Oddino Barrotti, C (d. 1400).
23. William of Scicli, C (d. 1404).
24. Jeanne-Marie de Maille, W (d. 1414).
25. Peter Gambacorti of Pisa, C (d. 1435).
26. Nicholas of Forcapalena, C (d. 1449).
27. Paula Gambara Costa, W (d. 1515).
28. Louisa Albertoni, W (d. 1533).
29. Hippolytus Galantini, C (d. 1619).
30. Leo Satzuma, M (d. 1622).
31. Lucy Freitas, W M (d. 1622).
32. Louis Baba, M (d. 1624).
33. Caspar Vaez, M (d. 1627).
34. Mary de Vaez, M (d. 1627).
35. Thomas o Jinemon, M (d. 1627).
36. Francis Huhyoe, M (d. 1627).
37. Michael Kizaemon, M (d. 1627).
38. Luke Kiemon, M (d. 1627).
39. Louis Matsuo Soemon, M (d. 1627).
40. Cayo Jiemon, M (d. 1627).
41. Martin Gomez, M (d. 1627).
42. Thomas Tzugi, M (d. 1627).
43. Louis Maki, M (d. 1627).
44. John Maki, M (d. 1627).
45. Louis Higashi, M (d. 1628).
46. Francis Higashi, M (d. 1628).
47. Dominic Higashi, M (d. 1628).
48. John Tomachi, M (d. 1628).
49. Dominic Tomachi, M (d. 1628).
50. Michael Tomachi, M (d. 1628).
51. Paul Tomachi, M (d. 1628).
52. Matthew Alvarez, M (d. 1628).
53. Michael Yamada, M (d. 1628).
54. Laurence Yamada, M (d. 1628).
55. Raymund of Omura, M (d. 1628).
56. Louisa of Omura, V M (d. 1628).
57. Peter of Senday, M (d. 1630).
58. Thomas Sakujiro, M (d. 1630).
59. Peter de Betancur, C (d. 1667).
60. John Tchang, M (d. 1900).
61. Patrick Tun, M (d. 1900).
62. John Van, M (d. 1900).
65. Philip Tchang, M (d. 1900).
64. John Tchang of Nan-che, M (d. 1900).
65. Thomas Sen, M (d. 1900).
66. Simon Tcheng, M (d, 1900).
67. Peter U-ngan-pan, M (d. 1900).
68. Francis Tchang-iun, M (d. 1900).
69. Matthias Fun-te, M (d. 1900).
70. Peter Tchang-pan-nieu, M (d. 1900).
71. Contardo Ferrini, C (d. 1902).
72. Louis Guanella, C (d. 1915).
73. Erminio Pampuni, C (d. 1930). .

Credits: Br. Dennis Calleja: The Capuchin Vocational Centre, Maltese Capuchin Friars,
Province of St. Paul the Apostle