he holds upright on his knees, while the right is raised in
malediction against the sinners, with an action which recalls the
Christ in the Judgment of the Camposanto at Pisa. On the sides are
groups of angels, apostles and saints; and the elect are on the right,
the wicked on the left below them. "In the picture of the Corsini
Gallery," writes Venturi, "the representation was cramped by the
narrow limits of the central panel of the triptych. It is evidently a
reduced form of preceding compositions, for several angels which
terminate the picture above, are here seen only from the waist
downwards. The figures of the elect, loving, ecstatic and beautiful,
clad in flame-coloured robes, with stars and flowers, as in similar
compositions by Fra Angelico, are absolutely sublime, while those of
the wicked are almost childish, especially the demons with faces of
cats and jackals, with red eyes and mouths, black bodies and clawed
feet. How much happier he is in the clear and joyful note of colour in
some figures standing before a door on the right! And how much better
we recognise his sweet spirit in the features of the blest, with their
clear eyes whose pupils are fixed trance-like under lightly drawn
eyebrows."[34]
[Illustration: THE LAST JUDGMENT. (Berlin Museum.)]
Another panel with a subject analogous to these is in the Berlin
Museum, and is considered superior to that in the Florentine
Gallery.[35] Although the figure of the Saviour may be slightly
wanting in character, the celestial phalanx is full of grace,
especially the blessed ones who cross a flower-strewn field to be led
by angels up to paradise; they hold each others hands, and dance and
sing delightfully and with graceful action and attitudes raise their
heads to join in the glory of _Colui che tutto move e risplende_
Nel ciel che più della sua luce prende.
[Illustration: THE VIRGIN OF THE LINEN WEAVERS' GUILD. (Uffizi
Gallery, Florence.)]
[Illustration]
Another last Judgment forms one of the thirty-five small pictures
which adorned the doors of the presses for the silver vessels etc., in
the chapel of the SS. Annunziata. It is generally believed that he
painted this during his stay at Fiesole; but as we find it dates
posterior to this, we shall speak of it later, and must first record
that in 1432 Fra Angelico painted an "Annunciation" for the church of
Sant' Alessandro at Brescia, said to be the one on an altar to the
right on entering the church. So greatly is it transformed by
restorations, that no one in looking at it now would dream that it was
by our artist, if indeed it ever were his work. It would appear that
the restorer had used other models in repainting the Angel and the
Virgin.[36]
[Illustration]
On July 11th 1433 the contract was signed between the Consuls of the
Arte dei Linaioli (Guild of Linen Weavers) and our artist, for the
tabernacle of which they had asked Lorenzo Ghiberti to give a design.
The contract says: "We engage Fra Guido, called Fra Giovanni of the
Order of St. Dominic of Fiesole, to paint for the said Guild, a
tabernacle of Our Lady; to be painted within and without with colours,
gold, azure and silver, all of the very finest that can be found, with
all his art and diligence, and for all this and his fatigue and work,
he shall receive one hundred and ninety gold florins, or any less sum
as shall appear to his conscience, and in consideration of the figures
that are in the design."
[Illustration: ST MARK. ST. JOHN BAPTIST.]
This painting is now to be admired in the Uffizi Gallery where it was
placed in 1777; it is too universally known to need a minute
description. The Virgin enthroned with the Holy Child is surrounded by
twelve angels, the most lovely, graceful and celestial that Fra
Angelico ever painted. In the interior of the side panels are St. John
and St. Mark, in the exterior St. Peter and St. Mark. The latter, as
is well known, was the protector of the Linen Guild: "therefore," says
Padre Marchese, "they wished that whether the tabernacle were open or
closed, he should be always in their sight."
In this work Fra Angelico shows that his style was derived from Giotto
and Orcagna, though his figures with their large heads, are treated
like miniatures and become insignificant; the result is cold and void,
precisely by reason of this over conscientious execution.
The face of the Virgin lacks expression and sentiment, while the
angels depicted on the slope of the frame in act of sounding trumpets,
psalters, cymbals etc., have such a sweetness of sentiment that they
seem literally rained down from heaven.
[Illustration]
III.
FRA ANGELICO AT FLORENCE.
[1436-1445.]
[Illustration]
SAN MARCO.
[Illustration]
The church of San Giorgio--writes Vasari--"had at this time been given
to the monks of San Domenico da Fiesole, but they did not occupy it
longer than from about the middle of July to the end of January,
because Cosimo de' Medici and Lorenzo his brother had obtained for
them, from Pope Eugenius, the church and convent of San Marco, which
had previously been occupied by Salvestrine monks, to whom San
Giorgio was given in exchange. Moreover, they (Cosimo and Lorenzo de'
Medici), being much devoted to religion, and zealous for the divine
service and worship, gave orders that the above-named convent of San
Marco should be entirely rebuilt according to the design and model of
Michelozzo, commanding that it should be constructed on the most
extensive and magnificent scale, with all the conveniences that those
monks could possibly desire."[37] And in the year 1436, the said
monks made their entry with pomp and solemn fêtes, in which the three
bishops of Taranto, Treves and Parentino, took part, preceded by the
mace-bearers of the Signoria who were sent to give greater
magnificence to the scene. Fra Cipriano, Vicar general of the new
congregation of the "Osservanza," took possession of the convent in
the name of that Order.[38]
"The first part completed," continues the Aretian biographer, "was
that above the old refectory and opposite to the ducal stables, which
had formerly been erected by the Duke Lorenzo de' Medici. In this
place twenty cells were made, the roof was put on, and the various
articles of wood-work brought into the refectory, which was finished
as we see it in our day."[39]
"The library was afterwards erected, it was vaulted above and below,
and had sixty-four bookcases of cypress wood filled with the most
valuable books. The dormitory which was in the form of a square, was
next built, and finally the cloister was completed, with all the other
truly commodious apartments of that convent, which is believed to be
the most perfectly arranged, the most beautiful and most convenient
building of its kind that can be found in Italy, thanks to the skill
and industry of Michelozzo, who gave it up to its occupants entirely
finished in the year 1452.[40] Cosimo de' Medici is said to have
expended 36,000 ducats on this fabric; it is added that while it was
in course of construction, he gave the monks 366 ducats every year
for their support."[41]
In 1439, two years after the building was begun, the principal chapel
was finished, and the work of restoring and embellishing the church
was commenced. This was completed in 1441.
While the architect was engaged in restoring the church of San Marco,
Fra Giovanni was probably commissioned to paint the altar-piece for
the great altar. Vasari writes of it: "But exquisite and admirable
above all is the picture of the High Altar in that church; for besides
that the Madonna in this painting awakens devotional feeling in all
who regard her, by the pure simplicity of her expression; and that the
saints surrounding her have a similar character; the predella, in
which are stories of the martyrdom of St. Cosmo, St. Damian, and
others, is so perfectly finished, that one cannot imagine it possible
for any thing to be executed with greater care, nor can figures more
delicate, or more judiciously arranged, be conceived."[42]
Unfortunately the picture, now in the Academy of the Belle Arti, is in
such bad condition that we are not able to confirm Vasari's judgment,
for the tints have faded, in some parts leaving the undercolouring
exposed, in others it is corroded even down to the white of the
plaster ground work.
The Virgin is enthroned, holding on her lap the child, whose right
hand is uplifted to bless, while the left holds a globe. Beside the
throne are groups of angels, in front on the right St. Dominic, St.
Francis and St. Peter Martyr; on the left St. Laurence, St. Paul and
St. Mark; above them kneel Sts. Cosmo and Damian, protectors of the
Medici family, placed here in homage to the liberality of the Medici
towards the Order.
[Illustration: MADONNA AND CHILD WITH ANGELS AND SAINTS.
(Ancient and Modern Gallery, Florence.)]
In the predella, now divided, were represented various stories
relative to the lives of Sts. Cosmo and Damian, which may be
recognised in two little pictures (Nos. 257-258, Catalogue of 1893) at
the Belle Arti, and in those now at the Gallery at Munich (Nos. 989,
990, 991).
In the first of the two at Florence, the saints have cut off the leg
of a sick man, and placed that of a negro in its stead. In the second
is represented their burial together with the brethren. In those at
Munich the scenes are:--the saints constrained by the judge Lisia to
sacrifice to idols; the saints thrown into the sea and saved by
angels, while the judge is liberated from two demons by their prayers;
and lastly their crucifixion, while stones and arrows are aimed
against them, but rebound on the executioners.[43]
Other similar subjects are represented in six "stories" divided into
two panels (No. 234, Catalogue of 1893) in the Belle Arti. In the
first the saints are seen exercising the healing art without receiving
payment; they cure Palladia, who in her gratitude prays St. Damian in
the name of God to accept a gift, her brother being wrathful not
knowing the cause. In the second the judge Lisia obliges the saints
and their three brethren to sacrifice to idols; in the third the
angels save them from drowning; in the fourth they are condemned to be
burnt alive, and sing psalms in the midst of the flames; in the fifth
is the stoning; and lastly the decapitation.
These works, however, do not always show equal execution, therefore we
might judge that the artist sometimes availed himself of the hand of
an assistant.
From the records remaining to us, it does not appear that Fra Giovanni
worked at any other pictures for his church, so it is probable he gave
all his attention to adorning the convent, which on account of the
works he has left there, may fairly be considered one of the finest
monuments of Italian art.
It was not the first time that Fra Angelico had painted large mural
frescoes. As he had already shown at Fiesole his mastery in that more
minute style, which was to find more complete expression in the Roman
pictures, so the convent of San Marco gave him scope to prove his
genius also in this freer branch of art. In the cloisters, the
corridors, the cells, and the rooms in which the monks met together,
we find specimens of his artistic work, and in these various pictures
all his favourite personages reappear one by one in larger
proportions, but without losing that original grace and sentiment with
which his smaller works are imbued. Indeed these show that he had
studied from the life with independence and sincerity of purpose, and
could render it with greater facility and decision.
A very noteworthy change in the character of Fra Angelico's art may be
observed in these mural paintings. He must have perceived, after
painting the tabernacle for the Linen Weavers' Guild, that a deeper
study of the real was necessary to give life to his figures,
especially when these should assume larger proportions.
To give intelligent expression even to dreams, visions and ideality
of thought, a material and technical part is necessary; the mind may
wander free in fantasy, through indefinite space, but it needs a firm
hand to render the conception evident; and the clearer the expression
is, the greater ability in the creation of his works does it show in
the artist. Thus Fra Angelico, placing his figures in ideal
surroundings, believed at first that refined thought was sufficient to
make a perfect picture, and he illuminated his little figures with
superficial delicacy, surrounding them with azure and gold, and so
idealized them that they are more like diaphanous apparitions than
human beings.
[Illustration: CHRIST ON THE CROSS.]
But he soon learned that by merely enlarging these little pictures, he
could not succeed in giving them even that individuality to which he
was led by natural taste and mode of life. In fact, what a difference
lies between the figures of the Linen Weavers' Tabernacle painted in
1433, and those of the picture in the church of San Marco done in
1438! The first: void, weak and without expression; the second: full
of life and character; and note that this difference strikes the eye
even now, notwithstanding the difficulty of comparison owing to the
wretched condition to which the panel at San Marco is reduced.
In this cloister, therefore, where the pictures assume larger
proportions and more importance, and the figures greater character
and individuality of form, more solidity of artistic execution,--it is
here we perceive that far as he still was from the world and worldly
things, yet with earnest study and thought he had not failed to avail
himself of the progressive development of art around him to improve
his style and give more grandeur to his design.
We do not know whether the cause which influenced his mind was, that
in coming down to Florence from the Fiesole cloister he was brought
into more immediate contact with other styles of art, and artists who
followed a different, even opposite method. The distance of his
convent from the city was not, however, so great as to have prevented
his visiting the immortal works which enriched Florence, or to
diminish the relations of friendship or acquaintance which he surely
had formed with his greater colleagues. In fact, Fra Angelico and
Ghiberti must have already consulted together about the Tabernacle of
the Linen Guild; and the works which the pious monk sent from Fiesole
to the churches and convents of Florence could not have been unknown
there, any more than the works of the other artists in the city were
to him.
Certain changes independent of external causes sometimes take place
naturally, we might say spontaneously, in strong artistic
temperaments. Fra Angelico felt and understood as he continued his
work, that something was wanting in him before he could succeed in
giving reality to his thoughts and sentiment; he necessarily perfected
his studies, and investigated truth more conscientiously--the result
was the new style, a natural consequence of artistic individual
progress.
[Illustration: ST. PETER MARTYR.]
Opposite the entrance in the pretty cloister of the Florentine
convent we may admire the figure of the crucified Christ who turns His
eyes to St. Dominic kneeling below, and embracing the cross with both
hands, while raising his head to meet the glance of the Saviour. In
the five lunettes of the doors in the cloister, Fra Angelico has
represented St. Peter Martyr, St. Dominic, Christ issuing from the
sepulchre, Christ in the dress of a pilgrim, and St. Thomas Aquinas.
The figure of the crucified Saviour is nobly beautiful in its simple
and intelligent outline, firm design and life-like colouring. That of
St. Peter Martyr is full of character; it is a half figure holding
with his left hand the palm of martyrdom and a book which he rests on
his side; the first finger of the right hand is placed on his mouth,
indicating the silence of the cloister. St. Dominic has the book of
his rules in one hand and the discipline, or rope for scourging in the
other, as though to demonstrate that both moral and material influence
should govern a religious community. The "Christ of the resurrection"
shows His wounds, and St. Thomas Aquinas holds his book of theology in
both hands.
[Illustration: CHRIST ISSUING FROM THE SEPULCHRE.]
In the arch of the hospice the painter has represented two Dominicans
welcoming Christ, to remind the brethren that to offer hospitality to
the poor and the pilgrims, was the same as receiving Christ.
The Redeemer with his hat hanging behind His shoulders leans on His
pilgrim's staff; one of the brethren presses His left hand, and taking
Him by the right arm invites Him to rest. The heads of the two
devotees are full of character and expression, and on their faces beam
the joy and love they feel for their unexpected guest. The second monk
who clasps the Saviour's arm with both hands as though he can scarcely
believe his own eyes, is drawn with such natural feeling that nothing
greater can be desired or attained.
Equally beautiful is the pilgrim Christ with His long beard and curls
flowing on His shoulders; the whole scene in fact is given with great
nobility and exquisite grace.
[Illustration: CHRIST IN PILGRIM'S DRESS.]
In the chapter-house of the convent Fra Angelico repeated the scene of
the Crucifixion. Vasari writes of it thus: "Fra Giovanni was so
greatly beloved for his admirable qualities by Cosimo de' Medici,
that the latter had no sooner completed the church and convent of San
Marco, than he caused the good father to paint the whole story of the
Crucifixion of Jesus Christ on one of the walls of the chapter-house.
In this work figures of all those saints who have been heads and
founders of religious bodies, are mourning and bewailing at the foot
of the cross on one side; and on the other, St. Mark the Evangelist
beside the Mother of the Son of God, who has fainted at sight of the
crucified Saviour. Around the Virgin are the Maries, who are sorrowing
with and supporting her; they are accompanied by the saints Cosimo and
Damian.
"Beneath this work, in a frieze above the dado the master executed a
figure of St. Dominic standing at the foot of a tree; on the branches
of which are medallions, wherein are all the popes, cardinals,
bishops, saints, and masters in theology who had belonged to Fra
Giovanni's Order of the Preaching Friars, down to his own day."[44]
In this masterly work Fra Angelico pours out with full hands the most
vivid and intense feelings of his soul, and if he does not attain to
grand dramatic power, he at least succeeds in depicting with rare
ingenuity the varied expressions of sorrow, despair, hope and faith
which animate each person, and in giving natural and life-like
character and attitude to the various heads.
The group of the fainting Virgin may possibly seem conventional, but
what sweet piety is in the feeling of the other figures! St. Dominic,
devoutly kneeling, inclines his head (cleverly foreshortened and
marvellously expressed) and extends his arms to the Redeemer; St.
Zenobi (or St. Ambrose the archbishop) standing upright, points with
his right to the Saviour; St. Jerome, in hermit's dress, bends forward
and clasps his hands in prayer; St. Augustine holds his pen in one
hand, his book and pastoral staff in the other; St. Francis brings his
hand to his brow in an attitude of melancholy indefinable sadness. The
Saints Benedict, Bernard and Romuald follow, then St. Thomas Aquinas
with a most beautiful head full of life and character (it must
certainly be a portrait, so life-like is the expression), next St.
Peter Martyr with his hands on his breast; and lastly in the
foreground an unknown monk (Padre Marchese thinks it is St. John
Gualbert) who weeps, with his left hand over his eyes.[45]
[Illustration: SAN MARCO--FLORENCE THE CRUCIFIXION.]
On the left of the fresco, near the swooning Virgin, stands St. John
Baptist pointing to the Saviour; St. Mark kneeling shows his gospel;
St. Laurence clasps his hands on his breast; and St. Cosmo wrings his
hands as he contemplates the Cross; while St. Damian turns, covering
his eyes, and weeping the mournful loss of the Lord.
In the ornamentation of the simulated frame which surrounds the
fresco, are hexagonal spaces containing half figures of prophets with
labels, containing texts referring to the passion of Christ; and below
them on the right, the Erythrean Sibyl. In the lower part of the
frieze, are ten rounds, containing portraits of the most illustrious
members of the Dominican Order. In the centre St. Dominic, on the left
Pope Innocent V., Cardinal Ugone, Father Paulo the Florentine, the
Archbishop St. Antonino (this must surely have been added later), the
blessed ones Giordano of Saxony, Niccolò, Remigius the Florentine and
Buoninsegna the martyr. On the right are the blessed brethren John
Dominici, Peter of the Marshes, Albertus Magnus, St. Raymond, Chiaro
of Sesto, St. Vincent Ferreri and Bernard the martyr.
Retouches and restorations are not wanting in this picture, the
drapery has been repainted in several parts and the background has
been smudged with that reddish colour, which, in altering the tone of
the whole fresco, has injured the limpidity of colour and original
refinement of harmony.
The chronicles of the convent of San Marco record another Crucifixion
by Fra Angelico in the refectory of the monks, "probably," writes
Padre Marchese, "a replica of that which he had already painted in the
Fiesolan convent." This now no longer exists, it appears to have been
destroyed to make space for Sogliani's great fresco of St. Dominic at
table with his brethren, when they were supplied with bread by angels.
But in the cells and dormitories of the Florentine convent Fra
Angelico scattered lovely proofs of his genius and sentiment, pouring
out on them with rare talent the most exquisite grace of his brush,
and tenderest thoughts of his soul. From the "Annunciation" to the
various scenes from the life of Christ; from the "Virgin among the
saints," in the corridor, to the decoration of the room which Cosimo
had built for himself in his favourite convent, all breathe such sweet
poesy in the grace and simplicity of the varied scenes, that one
cannot look at them unmoved.
Facing the entrance of the upper corridor of the cloister he painted
the Angel bringing the glad tidings to the Virgin. We have already
noted in regard to this subject as created by him at Cortona, how the
representation finds its greater development here, where the artist
succeeds better in rendering the feeling of veneration on the part of
the heavenly messenger, and the submissive humility of the Virgin.
The same subject is repeated in a cell (No. 3), but in this design,
which breathes the same sentiment of sweetness and piety, St. Dominic
in reverent attitude is looking on.
[Illustration: THE ANNUNCIATION.]
On the wall at the left of the entrance is a Crucifixion, with St.
Dominic on his knees, embracing the cross, the figures are about half
life size, the design similar to that which we have already seen in
the cloister, but showing less ability. Nor are these the only
Crucifixions which our artist painted. He has reproduced the subject
in several cells, always varying either the attitude of the Saviour,
or the persons who adore Him, but the serene attitude of the Son of
God is unalterable. Without exaggerated contractions or violent action
He remains fixed on the cross, His head bowed in mute contemplation of
the figures below Him. These, on the contrary, are the prey of sorrow
and despair, they cover their faces, or weep distractedly at His feet.
[Illustration: "NOLI ME TANGERE."]
Some of these frescoes of the Crucifixion with St. Dominic kneeling
below, may be classed as decidedly by other hands, the execution being
weak, the drawing incorrect, and the sentiment inefficiently
expressed. These variants are doubtless attributable to the assistants
he employed in their execution.
In the fresco representing the _Noli me tangere_ Angelico gives us a
work full of freshness and life, idealized in Giottesque style. The
figure of Christ is majestic, as with a sign He withdraws Himself from
the kneeling Magdalene, who supplicatingly extends her arms towards
Him.
[Illustration: THE TRANSFIGURATION.]
Most lovely are the composition and feeling of the figures in the
"Nativity," where the Virgin and St. Joseph with joined hands kneel in
adoration of the Babe stretched on a heap of straw on the ground. A
little above, on the right stands St. Dominic, and behind the Virgin
on the left a female saint kneels, her hands clasped in prayer. In the
background beneath a humble shed are the bull and the ass, and four
adoring angels above.
[Illustration: THE RISEN CHRIST.]