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Above: St Bonaventure Enters the Franciscan Order by Francisco Herrera the Elder (1576–1656).
750 years ago, on the morning of July 15, 1274, in Lyon, the world bid farewell to one of the most esteemed figures in Church history: Saint Bonaventure, whose original name was Giovanni da Fidanza.
Born probably in 1217, he lived during a time when the Christian faith deeply influenced European culture and society, leaving an indelible mark on literature, visual arts, philosophy, and theology.
Hailing from Bagnoregio, northwest of Rome, he was “a man of action and contemplation, of profound piety and prudent government.”[1] His life was marked by a miraculous healing as a child, attributed to the intercession of St. Francis of Assisi († 1226). He studied in Paris, joined the Friars Minor of Saint Francis of Assisi, assuming the name Bonaventure, and rose to become one of the Church’s foremost theologians. He relinquished teaching on February 2, 1257 upon being elected Minister General of the Franciscans, a position he held until 1273. Consecrated bishop and created cardinal by Pope Gregory X († 1276), he met his end during the Second Ecumenical Council of Lyon.
Bonaventure was canonized by Pope Sixtus IV in 1482 and declared a Doctor of the Church (Doctor Seraphicus) alongside Saint Thomas Aquinas (Doctor Angelicus) by Pope Sixtus V in 1588. Among his notable works are the commentary on the Sentences of Peter Lombardo, considered the theology manual in that time; the Breviloquium; various Quæstiones disputatæ, particularly De scientia Christi; the De reductione artium ad theologiam; the De triplici via; the renowned Itinerarium mentis in Deum, hailed as his masterpiece and a cherished treasure of Catholic mysticism; and the Collationes in Hexaëmeron.
In Dante Alighieri’s Paradiso (Canto XII, 128-129), Bonaventure is portrayed as the quintessential Franciscan: “I am the living light of Bonaventure / of Bagnorea; in high offices / I always put the left-hand interests last.” These words of the supreme poet underscore the Seraphic Doctor’s unwavering commitment to his mission as a religious, prioritizing spiritual concerns over worldly matters.
In addition to his theological, philosophical, and spiritual contributions, St. Bonaventure possessed a profound understanding of Sacred Scripture. He offered a unique perspective on biblical interpretation, intricately intertwining it with music and harmony. His words echo through the ages as a hymn to the symphony of the Bible, likening it to the beauty of a zither. He wrote: “Tota Scriptura est quasi una cithara, et inferior chorda per se non facit harmoniam, sed cum aliis: similiter unus locus Scritturæ dependet ab alio, immo unum locum respiciunt mille loca.” That is: “All of Scripture is like a single zither. And the lesser string does not produce the harmony by itself, but in union with the others. Likewise, one passage of Scripture depends upon another. Indeed, a thousand passages are related to a single passage.”[2]
This perspective reflects the medieval approach to interpreting the inspired Scripture, a tradition dating back to the Fathers of the Church.[3] According to this tradition, the Old and New Testament are but one book, a complex work requiring an equally complex and harmonious approach, akin to notes on a musical score.
The metaphor of the zither used by St. Bonaventure is particularly poignant. This instrument, attributed to Jubal, “who became the ancestor of all who play the lyre and the reed pipe” (Genesis 4:21), featured prominently in biblical history. It was played by David before Saul (1 Samuel 16,14-23; 18, 10-11) and hung by the Levites on the willows during their captivity (Psalm 137,1-4). Also used in the temple of Jerusalem, the zither was widespread in classical antiquity, especially in Greece. Like the Sacred Scripture, the zither’s beauty and resonance depend on the proper tuning and tension of its strings, played with a plectrum or, less frequently, fingers. Just as each string contributes to the zither’s melody, each text within the Bible enriches its overall meaning and depth.
This symphonic view of the sacred books has profound implications for theological and spiritual interpretation, encouraging readers to explore the interconnectedness of its passages. St. Bonaventure’s teachings continue to inspire theologians and spiritual seekers, inviting them to delve deeper into the beauty of Sacred Scripture.
Furthermore, in his Breviloquium (Prologus 2.4), the Franciscan doctor employed another musical analogy about the Bible. The latter describes the stages of human life as an example of a beautiful ordered song, in which one can speculate according to the course of time “varietatem, multiplicitatem et aequitatem, ordinem, rectitudinem et pulchritudinem multorum divinorum iudiciorum” (the variety, multiplicity and equality, order, rectitude and beauty of the many divine judgements).
In conclusion, St. Bonaventure’s life and teachings resonate across the centuries, offering a unique perspective on the interpretation of Sacred Scripture. His insights invite us to contemplate the Bible’s beauty as a harmonious melody, where each part contributes to the whole, revealing the depth of the divine message.
[1] Benedict XVI, General Audience, March 3, 2010.
[2] In Hexaemeron, 19.7.
[3] Cf. H. De Lubac, Esegesi Medievale. I quattro sensi della Scrittura, Rome 1962, p. 549-657.
