_Domenico Veneziano_ (died 1461). _See 766._
For the history of this picture (now withdrawn from exhibition) see
under 766. The restorations of 1851 there referred to were in great
part removed after the acquisition of the picture by the National
Gallery. But "it was found, late in 1904, that its state threatened
its immediate destruction, and it was hoped that the mischief might
be arrested by re-lining. The pigment was, however, found to be
falling from the plaster ground in such a way that re-lining, which
would affect only the adherence of the ground to the canvas backing,
was useless, and very reluctant recourse was had to the process of
transferring the picture itself to canvas. This transfer resulted in
such a loss to the picture that it has been withdrawn from public
exhibition, and, for the present, it is thought better to leave it as a
genuine picture, of interest to connoisseurs, rather than subject it to
the extensive repainting without which it would hardly be intelligible
to the ordinary visitor" (_Director's Report_, 1905). A small copy of
the picture is exhibited among the Arundel Society's Collection.
1216, 1216 a & b. THE FALL OF THE REBEL ANGELS.
_Spinello Aretino_ (Tuscan: about 1333-1410). _See 581._
These fragments of a fresco, now transferred to canvas, are of
particular interest from the following mention of it by Vasari. He
relates how Spinello Aretino, after executing important works in
various cities of Italy, returned to his native city, Arezzo, and very
shortly settled down to decorate the church of S. Maria degli Angeli.
The subject chosen was certain stories from the life of St. Michael.
"At the high altar," says Vasari, "he represented Lucifer fixing his
seat in the North, with the fall of the angels, who are changed into
devils as they descend to the earth. In the air appears St. Michael
in combat with the old serpent of seven heads and ten horns, while
beneath and in the centre of the picture is Lucifer, already changed
into a most hideous beast. And so anxious was the artist to make him
frightful and horrible that it is said--such is sometimes the power
of imagination--that the figure he had painted appeared to him in his
sleep, demanding to know where the painter had seen him looking so
ugly as that, and wherefore he permitted his pencils to offer him, the
said Lucifer, so mortifying an affront." Vasari attributes a fatal
result to this vision. "The artist awoke," he says, "in such extremity
of terror that he was unable to cry out, but shook and trembled so
violently that his wife, awakening, hastened to his assistance. But
the shock was so great that he was on the point of expiring suddenly
from this accident, and did not in fact survive it beyond a very short
time, during which he remained in a dispirited condition, with eyes
from which all intelligence had departed" (i. 269). In fact, however,
Spinello lived many years and executed several important works after
the date in question. Some years ago the church of the Angeli was
dismantled, and the greater portion of the frescoes perished. Sir A.
H. Layard, who was passing Arezzo at the time, was fortunately able
to secure a large piece of the principal fresco. The fragment is from
the centre of the composition, and contains a portion of the figure of
Michael and six of the angels following him. The archangel, with raised
sword, is striking at the dragon; his attendants, armed with spears and
swords, thrust down the demons. Besides these figures, Sir A. H. Layard
was able to save a portion of the decorated border of the fresco (1216
A & B). These he presented to the nation in 1886.