_Fra Angelico_ (Florentine: 1387-1455).
Artists may be divided according to the subjects of their
choice into Purists, Naturalists, and Sensualists. The first
take the good in the world or in human nature around them
and leave the evil; the second render all that they see,
sympathising with all the good, and yet confessing the evil
also; the third perceive and imitate evil only (_Stones of
Venice_, vol. ii. ch. vi. § 51). Of the first class Fra
Giovanni da Fiesole is the leading type. His life was largely
spent in the endeavour to imagine the beings of another
world.[158] His baptismal name was Guido, but he changed it
early in life to Giovanni, when he entered a Dominican convent
in Florence. He was once offered the archbishopric of his city,
but he refused it: "He who practises the art of painting,"
he said, "has need of quiet, and should live without cares
and anxieties; he who would do the work of Christ must dwell
continually with Him." He was given the name of "Angelico,"
and after his death the style and distinction of "Beato" (the
Blessed), for his purity and heavenly-mindedness, and it
is said of him that "he was never known to be angry, or to
reprove, save in gentleness and love. Nor did he ever take
pencil in hand without prayer, and he could not paint the
Passion of Christ without tears of sorrow." By this "purity of
life, habitual elevation of thought, and natural sweetness of
disposition, he was enabled to express the sacred affections
upon the human countenance as no one ever did before or since.
In order to effect clearer distinction between heavenly beings
and those of this world, he represents the former as clothed
in draperies of the purest colour, crowned with glories of
burnished gold, and entirely shadowless. With exquisite choice
of gesture, and disposition of folds of drapery, this mode of
treatment gives, perhaps, the best idea of spiritual beings
which the human mind is capable of forming. It is, therefore,
a true ideal; but the mode in which it is arrived at (being
so far mechanical and contradictory of the appearances of
nature) necessarily precludes those who practise it from
being complete masters of their art. It is always childish,
but beautiful in its childishness" (_Modern Painters_, vol.
iii. pt. iv. ch. vi. § 4). Angelico, it may be added, looking
on his work as an inspiration from God, never altered or
improved his designs when once completed, saying that "such
was the will of God." Angelico's work, says Ruskin in a later
passage, in which he discusses the weakness of the monastic
ideal, will always retain its power, "as the gentle words of
a child will." Yet "the peculiar phenomenon in his art is,
to me, not its loveliness, but its weakness.... Of all men
deserving to be called great, Fra Angelico permits to himself
the least pardonable faults and the most palpable follies.
There is evidently within him a sense of grace and power of
invention as great as Ghiberti's; ... [but] comparing him with
contemporary great artists of equal grace and invention, one
peculiar character remains noticeable in him--which, logically,
we ought therefore to attribute to the religious fervour;--and
that distinctive character is, the contented indulgence of
his own weaknesses, and perseverance in his own ignorances."
Passing to consider the sources of the peculiar charm which
we nevertheless feel in Angelico's work, Ruskin mentions
"for one minor thing, an exquisite variety and brightness of
ornamental work"; while "much of the impression of sanctity"
is "dependent on a singular repose and grace of gesture,
consummating itself in the floating, flying, and, above all,
in the dancing groups" (_Ethics of the Dust_, pp. 150-152).
Fra Angelico is said to have begun his artistic career as an
illuminator of manuscripts--a tradition which is entirely in
accordance with the style of his later works. In 1409 he left
Fiesole for Foligno and Cortona. In the churches of the latter
place fine altar-pieces by him are still preserved. From 1418
to 1436 he was again at Fiesole. In the latter year he was
invited to Florence to decorate the new Convent of St. Mark.
His frescoes here occupied him nine years. "This convent, now
converted into a national monument, is a very museum of Fra
Angelico--cloisters, refectory, chapter-house, guest-room,
corridor, stairs, and not less than nineteen or twenty cells,
bear witness to a skill and leisure alike obsolete." Copies of
several of the frescoes may be seen in the Arundel Society's
collection. In 1445 Fra Angelico was called to Rome, where he
painted the chapel of Nicolas V. in the Vatican (also copied
and engraved for the Arundel Society). At Orvieto in 1447 he
commenced some paintings in the chapel of the Madonna di San
Brixio, which were afterwards completed by Signorelli. The last
years of the painter's life were spent at Rome. He was buried
in the Church of the Minerva, where his recumbent effigy (an
emaciated figure in the Dominican habit) may still be seen.
"Some works are for Earth," says a line in his Latin epitaph,
"others for Heaven."
The weakness and the strength of the painter are alike well seen in
this picture of Christ, with the banner of the resurrection surrounded
by the Blessed. The representation of Christ Himself is weak and devoid
of dignity; but what can be more beautiful than the surrounding angel
choirs, "with the flames on their white foreheads waving brighter as
they move, and the sparkles streaming from their purple wings like
the glitter of many suns upon a sounding sea, listening in the pauses
of alternate song for the prolonging of the trumpet blast, and the
answering of psaltery and cymbal, throughout the endless deep, and
from all the star shores of heaven" (_Modern Painters_, vol. ii. pt.
iii. sec. ii. ch. v. § 21).[159] No two of the 266 figures are alike
in face or form, though each is perfect in grace and beauty.[160] In
the central compartment the seraphim (red) are on Christ's right, the
cherubim (blue) on His left. In the compartment to Christ's left are,
amongst other patriarchs and saints, Abraham with the sword, Noah
with the ark, Moses with the tables of law, Aaron with his name on his
mitre, and below them St. Agnes with the Lamb, and St. Catherine with
her wheel. The martyrs bear palms in their hands; some wear wreaths
of roses, others the crown of thorns. In the compartment to Christ's
left are the Virgin, St. Peter with the keys, and the Evangelists. On
the extreme ends on either side are those of the painter's brother
Dominicans, in their black robes, who have joined the company of the
"Blessed."
Multitudes--multitudes--stood up in bliss,
Made equal to the angels, glorious, fair;
With harps, palms, wedding-garments, kiss of peace,
And crowned and haloed hair.
Each face looked one way like a moon new-lit,
Each face looked one way toward its Sun of Love;
Drank love, and bathed in love, and mirrored it,
And knew no end thereof.
Glory touched glory, on each blessèd head,
Hands locked dear hands never to sunder more:
These were the new-begotten from the dead
Whom the great birthday bore.
CHRISTINA ROSSETTI: _From House to Home_.
This picture was formerly the predella of an altar-piece in San
Domenico at Fiesole. It was sold by the monks in 1826 to the Prussian
Consul in Rome, from whose nephew it was purchased for our Gallery.
"The price paid was £3500. The additional and incidental expenses, in
consequence of the demands of the Roman Government before allowing the
exportation, were unusually great. Those demands, ostensibly founded
on the excellence and celebrity of the picture, were admitted to be
partly also suggested by the state of the Papal finances." The British
Consul finally paid £700 for the permission of exportation (_Director's
Report_, 1861). The altar-piece to which our picture belonged remains
sadly damaged _in situ_.