name of Fra Giovanni illustrious throughout all Italy, he was invited
to Rome by Pope Nicholas V., who caused him to adorn the chapel of the
palace, where the pontiff is accustomed to hear mass, with a
"Deposition from the Cross," and with certain events from the life of
San Lorenzo, which are admirable."[57]
But Vasari errs in giving to Nicholas V. the merit of having called
Fra Angelico to Rome; he is also mistaken in affirming that the artist
was offered the archbishopric of Florence, and on his modest refusal
Sant' Antonino was proposed to the Pope: "and because Fra Giovanni
appearing to the Pope to be, as he really was, a person of most holy
life, gentle and modest, the archbishopric of Florence having then
become vacant, he judged him worthy of that preferment."[58]
It was instead Pope Eugene IV., who wishing to embellish the Vatican
with pictures, invited Fra Angelico to Rome in 1445, having admired
his sanctity of life, and talent in art when in Florence. That Pope
died the following year, but in his successor Nicholas V., Fra
Angelico found another sincere admirer and friend, and he remained in
Rome to finish the works he had begun. He painted two chapels in the
Vatican, the one of the Sacrament for Eugene IV., the other for Pope
Nicholas V., whose name it still bears. The former was pulled down by
Pope Paul III. to improve the staircase.
"In this work," says Vasari, "which was an excellent one, Fra Giovanni
had in his own admirable manner painted stories in fresco from the
life of Christ, and had introduced many portraits of eminent persons
then living. These portraits would most probably have been lost to us,
had not Paulo Jovius caused the following among them to be preserved
for his Museum: Pope Nicholas V., the Emperor Frederick, who had at
that time arrived in Italy; Fra Antonino, who afterwards became
Archbishop of Florence; Biondo da Forlì, and Ferdinand of
Arragon."[59]
It is probable that after having finished the chapel of the Sacrament,
and before the new commission was given by Nicholas V., Fra
Angelico--by means of Don Francesco di Barone of Perugia, a
Benedictine monk and celebrated master of glass painting--entered into
negotiation with the Operai and Consuls of the Duomo at Orvieto, to
paint the chapel of the Madonna di San Brizio. But before he accepted
the commission he gave them to understand that he could only go to
Orvieto in the months of June, July and August, when he did not wish
to remain in Rome.
"He demanded 200 gold ducats a year, together with all expenses of
board and lodging, colours and scaffolding; besides seven ducats a
month for his assistant, and two for his boy. The contract was signed
on these conditions by Messer Enrico Monaldeschi, the principal
citizen--almost the tyrant--of Orvieto, who always took a personal
part in the most important events of the city. Fra Angelico took with
him Benozzo di Lese, Giovanni di Antonio da Firenze, and Iacomo di
Poli, with whose assistance he commenced the painting in the large
lunettes on June 15th 1447. Pietro di Niccola of Orvieto was also
employed. They painted together for three months and a half, but Fra
Angelico did not return the following year.
"As the summer of 1449 drew near, the overseers, who were left with
only Pietro Baroni, a proved artist, endeavoured to persuade Fra
Angelico to go back again, and join Baroni, saying that if he failed
them, they would prefer to postpone the work, as they looked more to
the beauty than the expense, as they always had been accustomed to do.
When every hope of obtaining Fra Angelico was lost, they gave Benozzo
Gozzoli a trial to continue Fra Giovanni's frescoes,"[60] but the
effect was not happy.
[Illustration: THE PROPHETS. (Orvieto, Cathedral.)]
Fra Angelico painted in the roof of the chapel a "Christ in Judgment,"
surrounded by a "glory" of angels. Sixteen saints and prophets are
seated on clouds with the motto: _Prophetarum laudabilis numerus_. The
Saviour in a circle of light raises His right hand on high, while the
left supports a globe on His knees. On both sides are groups of angels
in varied attitudes of adoration. The prophets stand out in pyramidal
groups on a background of gold, and are either reading or meditating
with religious calm. Rosini judges the Christ to be the work of
Benozzo Gozzoli, because it seems inferior to the prophets, which show
a grander treatment and better execution. "I think," he writes, "that
the prophets alone belong to Fra Angelico; the Christ in glory, and
the remainder to Benozzo and the others. I am led to this not only by
their different style, but the heads of the prophets, although they
are disposed one above the other, as the space demands, show the more
dignified style, and perfect execution of the Florentine monk. That
perfection ought to be seen also in the Christ, which seems to me to
be a little inferior to them."[61]
But even while admitting that the features of the Saviour have in some
parts the characteristics of Benozzo's style, we must not forget that
he derived from his master both his good and bad points, and from the
latter especially originated those peculiar defects, which are greatly
emphasized in Benozzo's works. Hence it is natural that something of
the scholar's manner should appear in that face, but it is no proof
that he has worked at it. On the contrary it is enough to prove the
impossibility of ascribing this figure to him, to glance at the head
of Christ in Benozzo's fresco in the church of St. Francis at
Montefalco, representing the meeting of St. Francis and St. Dominic.
High up on the left the Saviour raises His right hand and the Virgin
kneels at His feet. Now all the figures are absolutely wanting in
dignity and character, especially the downcast head of Christ, with
its projecting forehead and receding chin, which is absolutely vulgar.
Here Benozzo has not even distantly remembered any of his master's
noble representations of the Saviour. Therefore not only had he no
part in that figure at Orvieto, but neither could he have done the
prophets, for they are far superior to the Christ. Finally, it is not
probable that Fra Angelico, with the feeling which inspired his work,
should entrust to an assistant the execution of such an important
figure as the Christ.
Even though the figure of the Christ is not to be compared to the
finest of the prophets, yet we find in the countenance the same
characteristics as the other heads display. True, it looks worse than
it really is, for a crack in the roof has damaged the mouth and beard,
and the fresco has besides suffered in the restorer's hands.
It is a known fact, that a few months after Fra Angelico left, it was
necessary to repair the roof of the chapel in which he had worked, on
account of the rain that percolated there, to the great detriment of
the paintings.
However this may be, it is certain that the heads of the prophets have
sweetness of expression and nobility of character, and all the figures
are remarkable for their fine form, dignified attitudes, free and
simple draperies, combined with bright and vivid colouring. These
qualities are not so visible in the compartment of our Lord and the
adoring angels, which may with more certainty be attributed to
Benozzo.
Fra Angelico returned to Rome on the 28th of September in that year
(1447) and never went back to Orvieto, but his reasons for breaking
his contract and leaving a work incomplete are not explained.
Perhaps he perceived the difficulties of the composition and was
arrested by the terrifying dread--which his character and feeling
would have magnified--of painting a Last Judgment in such grand
proportions. Or he may have had an intuition, that his work would
never be worthy of that famous building, especially as he was called
on to depict the punishments of hell and the various feelings of
sorrow, passion and despair in the damned souls, sentiments so
foreign to his own nature. Or possibly the desire to finish the
paintings entrusted to him in Rome by the new Pontiff Nicholas V.,
induced him to break his contract. In the absence of more precise
records it is difficult to establish the truth.
Certain it is that Fra Angelico left Orvieto for Rome and that he
painted there a "Studio" or Chapel for Nicholas V., for which the
payment is entered in a register dated 1449, but "after this year,"
writes Müntz, "we find no more traces of the illustrious Dominican, in
the books of the secret treasury."[62]
On January 10th 1452 Fra Angelico is again at Fiesole as prior of his
convent, and in the same year the rulers of the Commune of Prato
employed the good offices of Archbishop Antonino to induce Fra
Angelico to paint the principal chapel of their church; but he
refused, and the commission was given to Filippo Lippi.
The fact that the name of the Dominican artist has not been found in
the registers of the Vatican Treasury after 1449, need not necessarily
be taken as a proof that he was not working in the Chapel of Nicholas
V. at a later date. Indeed, as he went no more to Orvieto, and would
not undertake to paint the Choir of the Prato Cathedral, it seems
probable that he should have gone back to Rome to finish his work
there.
The chapel which preserves these precious frescoes by Angelico may be
considered one of the most famous monuments of Italian art.
On three of the walls, he has represented in two lines of frescoes the
Vocation, the Apostleship, and the Martyrdom of St. Stephen and St.
Laurence. On the first side St. Stephen receives the Communion from
St. Peter, and distributes alms to the poor: on the second are his
preaching and justification before the high priest: in the third his
lapidation. Below on the first wall is the consecration of St.
Laurence, and his almsgiving to the poor and maimed; second, his
imprisonment and the conversion of the jailer; and lastly his
martyrdom.
The design is free and firm, yet keeping true to the character of the
artist. The execution is more accurate and equal; although less
realistic than that of Masaccio, yet he succeeds in giving his figures
a greater grace and softer expression, indeed, the sentiment with
which he imbues his figures, was never reached by any other artist,
and that sentiment is here more admirably expressed than in any other
of his works.
[Illustration: CHAPEL OF POPE NICHOLAS V. VATICAN--ROME. ST. LAWRENCE
ORDAINED DEACON BY POPE SIXTUS II.]
[Illustration: THE PREACHING AND JUSTIFICATION OF ST. STEPHEN.
(Vatican, Rome.)]
Whether St. Stephen be kneeling in wrapt devotion to take the chalice,
or with the love of divine charity giving money to the woman, while
the little child gives him its hand; whether touching his thumb he
seems to explain some religious question, while some women seated
there hang on his words, exchange their impressions, or ecstatically
clasp their hands in sign of admiration or faith; whether he speak
before the Great Council, or is conducted at last torture, supporting
it with faith and resignation;--his noble figure always inspires a
feeling of profound piety, of serene calm and personal devotion.
Although the representation of buildings is still too fantastic, the
perspective is not neglected as in some other works. In the
"Ordination of St. Stephen," the design of the interior of the church
is in good architectural style, but the canopy above the altar is so
low in proportion to the figure of St. Peter, that if he were to rise
to his full height he could not stand at the altar; in another the
open space in which St. Stephen is preaching has a fortress on the
right, and a palace of very doubtful character in the background. The
details of ornamentation, however, are very carefully designed, the
motives of the decoration being refined and elegant. The pilasters
with their pretty candelabra and capitals rich with sculpture, combine
so harmoniously with the purer architectural forms, as to produce a
most pleasing effect and show the result of his studies among the
numberless remains of ancient Rome.
[Illustration: CHAPEL OF POPE NICHOLAS V.--VATICAN--ROME.
POPE SIXTUS II CONSIGNS THE TREASURES OF THE CHURCH TO ST. LAURENCE.]
The St. Laurence series is not less beautiful. It is marvellous that
Fra Angelico could express motives so analogous to the former set of
frescoes without repeating himself. Sixtus II., drawn with the
lineaments of Nicholas V., consecrates to the diaconal office St.
Laurence, who reverently kneeling extends both hands to receive the
sacramental cup. Around them are some fine figures of ecclesiastics,
who, robed in magnificent vestments, assist at the ceremony, together
with deacons and acolytes, who hold the book and censer. There is, it
is true, a great sameness in the heads, which suggests that most of
them were studied from the same model.
In another fresco, the Pope consigns the treasures of the church to
the saint, while a monk turns brusquely round at the noise made at the
door by two soldiers who come to conduct St. Laurence to martyrdom.
But where Fra Angelico has best succeeded in fully rendering his
sentiment, is in the painting which represents the distribution of
alms. Angelico evidently delights in the thought of the inner
satisfaction of the saint, and the happiness of the recipients; and
the sincere and serene joy transfused in the countenances of the
different figures is expressed with unusual ability and extraordinary
truth to nature.
He has enlivened the severity of the scene by the episode of two
children, who are laughingly struggling over a piece of money
received. Infantile grace and content breathe in their features,
though slightly disturbed by the doubt which of them will remain
possessor of the precious gift.
The two last frescoes are very attractive and equally admirable. One
represents the condemnation of St. Laurence, the other his martyrdom.
The study of classic art is still more manifest in these than in the
others, for not only the architecture, but even the niches which
contain statues are imitated from the antique.
In the "Condemnation" the Emperor Decius wears a cuirass with a toga
over it fastened on the right shoulder, as in the ancient imperial
busts. His sceptre is terminated by a little idol, and above his
throne is the Roman eagle with outspread wings, in a garland of bay
leaves: in the other fresco the statues appear to be reproductions of
ancient Roman monuments. But unfortunately this last picture has been
so injured and restored that we cannot fully appreciate its value.
[Illustration: CHAPEL OF POPE NICHOLAS V.--VATICAN--ROME.
ST. LAURENCE GIVE THE CHURCH MONEY TO THE POOR.]
[Illustration: ST. BONAVENTURE.]
The execution of these pictures is really remarkable. Fra Angelico, as
we have said, without losing his fundamental qualities, has acquired
and here reveals new qualities; the four Evangelists among the clouds
on a background of blue, dotted with golden stars, are noble and full
of character; the figures of the saints on the simulated pilasters,
and at the corners of each side of the chapel, might be classed among
Fra Angelico's best. Who does not remember above the rest the fine and
noble figure of St. Bonaventure, with his flowing white beard,
thoughtful eyes, and an aspect of goodness and seriousness combined
that is quite enchanting? What other figure, however beautiful, can
show such just proportions, solid form, and majestic design, such a
strong character and expression as this? The saint's thoughtful gaze
is turned to the left, his mouth lightly indicating a smile, or rather
the sweet expression of innate goodness, the marvellously drawn hands
support an open book which rests on his side. Here Fra Angelico
reveals his skill in all its fulness; and when we reflect on his
advanced age, we can only remain in admiring surprise before the
freshness of his creative power, and the force of his execution.
We have documental evidence that Benozzo Gozzoli assisted his master
in these frescoes, and doubtless we may attribute to him the fine
decorations, where roses bud amidst flowers and foliage of every kind,
and garlands are resting on pretty little children's heads, or are
festooned on medallions bearing the tiara, and crossed keys of
Nicholas V.; but we cannot give him the merit of having beautified the
scenes of the "Preaching of St. Stephen," or "St. Laurence
distributing alms."[63]
[Illustration: CHAPEL OF POPE NICHOLAS V. VATICAN--ROME.
ST. LAURENCE CONDEMNED TO MARTYRDOM.]
We admit the probability that Benozzo may have executed some of the
figures, but there is a difference between this and supposing that he
had any conspicuous part in the compositions, especially in the St.
Laurence series, which we cannot believe. If the whole scene were
indeed by Benozzo, would not the difference of hand between master and
scholar be more strikingly evident? And the more so, as the scholar
had not yet reached mastery of technique, and his early frescoes show
a certain crudeness, want of harmony and incorrectness of design,
which far remove them from the proved technical ability of his master.
Nor can we believe that he timidly followed the lines traced on the
walls by Fra Angelico, for even in that case something peculiar to
himself must have been clearly perceptible in them. Now this, to speak
frankly, is not evident.
None of the women assisting at the preaching of St. Stephen recall the
characteristic type of those which Benozzo painted in the frescoes at
Montefalco. The saint's listeners have regular features, and remind
one of the various female figures in the San Marco frescoes
("Resurrection of Christ" and "Prayer on the Mount of Olives").
Benozzo's handling is less solid, his outlines are hard and sharp,
colouring crude and chiaroscuro weak; in the stories of St. Laurence
we find instead, and in a very high degree, the solidity and
correctness which we have admired in Fra Angelico's Florentine
paintings.
It suffices to recall the "Adoration of the Magi," in San Marco, one
of his last works before leaving for Rome, and the beautiful prophets
at Orvieto; in both these pictures we meet with the same types and
figures as in the Roman frescoes, especially in those representing
"St. Peter ordaining St. Stephen," "St. Laurence distributing alms,"
and "St. Stephen before the high priest." Without then following up
doubtful suppositions, it does not seem admissible that Fra Angelico,
old as he was, should have ceded to his pupil either the direction,
or the greater part of works of such importance, which it was greatly
to his interest to finish with the utmost care and perfection.
Cavalcaselle remarks that the severity of the Orvietans who would not
let Benozzo finish the work which Fra Angelico had left incomplete, is
inexplicable; but we must remember that though Benozzo imitated his
master's style, the inferiority of his talent was always apparent in
the common types, false anatomy, and mistaken proportions of his
figures. "He does not equal the master who guided him in his first
years, but he follows his style as much as he can, with less
talent."[64]
It was not therefore Benozzo's work which enlarged the master's style,
but in the Vatican frescoes the master clearly [64] shows the effort
he has himself made to render the action of his figures more grand,
his painting more solid, figures more characteristic and the episodes
with which his admirable compositions are enriched more fundamentally
truthful.
These paintings prove that he had reached his greatest artistic
development; although always retaining his innate character he
concedes to the new requirements of art as much of his temperament
and sentiment, as he can conscientiously yield. Thus his works display
a continuous improvement, each new stage in the long road of his
artistic career, represents a fresh conquest, a new and remarkable
progress. His pupils and collaborators limited themselves to aiding
him, and rendering his work lighter in parts of secondary importance,
but he needed no other help to be, and always remain, worthy of the
high company in which he finds himself in the Vatican.
In the Sixtine Chapel, near the quiet creations of the artists of the
Renaissance, the power and awful force of Michelangelo stand out; in
the "Stanze" Raphael has left an everlasting wealth of artistic
treasures; and in the Chapel of Nicholas V. Fra Angelico with
ingenuous expression and the purest and most sincere religious
feeling, painted his master-piece.
But notwithstanding the great difference between the former giants of
art, and our saintly artist, he is quite worthy of their glorious
company.
The sweet gentleness of his character was all that hindered him from a
more exact and deep study of reality, but it was precisely by means of
this character that he succeeded, as no one else could do, in
expressing the elevated ideas of his serene and calm soul, profound
inspiration and naïve freshness of faith.
In 1455 after a life entirely dedicated to art, Fra Giovanni, at the
age of 68 years, died in Rome, having well earned the grateful
veneration of posterity. The austere virtues of his soul gained him
the title of _Beato_ (blessed) and for the lovely lines traced by his
brush, he was called _Angelico_. A marble monument was erected over
his tomb in the church of the Minerva, with his effigy and the
following inscription, said to have been dictated by Pope Nicholas V.
himself:
HIC JACET VEN. PICTOR
FR. JO. DE FLOR. ORD. P.
M
C C C C
L
V
Non mihi sit laudi, quod eram velut alter Apelles,
Sed quod lucra tuis omnia, Christe, dabam;
Altera nam terris opera extant, altera coelo;
Urbs me Joannem Flos tulit Etruriæ.
"Give me not praise for being almost a second Apelles, but because I
gave to thy poor, O Christ, all my earnings. Thus part of my work
remains on earth and part in heaven. My home was in that city, which
is the Flower of Etruria."
[Illustration]
[FOOTNOTES]
[1] Vasari, Sansoni's edition, II, p. 520.
[2] Buckhardt und Boue, _Cicerone_.
[3] _Storia della Pittura_, II, p. 360.
[4] Guido was Fra Angelico's baptismal name in the world.
[5] Marchese, _Memorie dei più insigni pittori, scultori e architetti
domenicani_, I, p. 267. Bologna, Romagnoli 1878.
[6] Cavalcaselle, _Storia della Pittura_, II, p. 234.
[7] Vasari, _Vita di Masaccio_, II, p. 299.
[8] Museo civico. Sala 6, n. 7.
[9] Cartier, _Vie de Fra Angelico_. Paris, 1857, p. 356.
[10] Vasari, II, p. 518.
[11] Vasari, II, p. 528, note i. The translations from Vasari are
from Bohn's edition.
[12] Ibid., II, p. 528.
[13] Vasari, II, p. 505.
[14] Vasari, vol. II, p. 512.
[15] Translation:
I raise my eyes, sweet Mary I behold,
With book in hand; an angel form is near.
It is the shining angel Gabriel
Who kneels before her in humility,
And saith: "Fear not, pure Virgin, I from heaven
A messenger from God omnipotent
Come down to bring glad tidings unto thee,
For he hath chosen thee for his blest spouse."
He saith again: "In heaven it is decreed
Thou shalt be mother of the Son of God,
Therefore the Father me, his angel, sends
To swift fulfil his sacred will and law.
And down from him the highest Lord to bring
This benediction unto which thou'rt called."
The angel's heaven-sent words were so inflamed
With sacred love's own virtue did they burn
They truly seemed to fall from God above.
With holy joy her beating heart was full:
"Behold," she said, "the handmaid of the Lord,
Be it to me according to his word."
But as she sat within her archèd cell
She wondered greatly how this thing should be:
"For I know not, nor speak with any man,"
To Gabriel she timidly responds.
Then quoth he: "Mary Hail! thou favoured art,
And full of grace, the Lord is with thee now."
And then came down the spirit of the Lord,
A ray of golden light shone round about,
It pierced her breast, that fruitful heaven-sent ray,
And from her womb, whose virgin purity
Was still inviolate, was born the Christ
While she a mother, was pure Virgin still.
Oh! lovers true, come hither unto her:
Madonna she of grace and beauty fair,
The earth and air but live for her sweet sake,
The queen of heaven, and pillar of the world:
He who would see the lovely damosel
One this Annunciation he should gaze.
From an anonymous "Laud" reprinted by Galletti, n. CCLXVIII, p. 121.
[16] Op. cit., I, p. 293.