I. B. Supino

“ 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." ”

“ But on her face there is no expression of ecstatic joy, modest, indeed "humble in the midst of glory", she droops her eyes, almost as if she dared not rest them on the Saviour. Angels and saints, symmetrically disposed at the sides, fill the whole background of the picture, with heads either raised in admiration or bowed in respect, but in attitudes so similar, that they give a sense of monotony. Then come the saints, some kneeling at the foot of the throne, and others in the side wings of the triptych, reverently bowing to the Mother of God. ”

“ An angel holds the cross at the feet of Christ, and two others flying, blow their trumpets towards the dead, who rise from the open sepulchres below.
079 In the base at the left, demons drag the damned ones to Hell; on the right the elect cast glances of love and faith on the Saviour, and in joyous fraternity enjoy the heavenly guerdon. The Elysian Fields of the blessed are truly celestial, gleaming with gold, irrigated by limpid streams, glorious with beautiful flowerets that bloom amid the verdure, the exuberance of nature harmonizing marvelously with the joy of the elect. ”

“ Six saints in ecstasy assist at the triumph, St. Thomas Aquinas, St. Paul, St. Dominic, St. Francis, St. Peter Martyr and St. Benedict, three on the right and three on the left, in a semicircular composition, all in attitudes of contemplative ecstasy.
The frescoes of the Maries at the Sepulchre, may also be considered one of our artist's masterpieces. The risen Christ emerges to half His figure from the clouds which envelop Him, while the holy women contemplate the empty sepulchre, and the angel seated in it points out the miracle which has happened. ”

“ The landscape in the background shows the usual defects of perspective, but the mountains shade off delicately against the distant blue of the sky, the plain is illuminated with infinite flowerets, and a rich verdure clothes the summit of the sacred hill. In the pilasters of the frame are small figures of Saints, some of the best and finest that Fra Angelico ever painted, and in the gables above the three arches Lorenzo Monaco has represented the "Noli me tangere," the "Resurrection," and the "Maries at the Sepulchre." ”

“ 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. ”

“ He derived the inspiration of the subject directly from Orcagna's fresco in Santa Maria Novella, only Fra Angelico has created a paradise too exclusively modelled on the monastic life. "His ideal," writes Reymond, "is a young neophyte entirely absorbed in prayer—a contemplative being who has renounced earthly life, abdicating his qualities as a man to dream of nothing but the future life. Orcagna, on the contrary, dreams of an ideal in which human life triumphs in all its fulness, and one might say that the beings which people his Paradise are but glorified bodies." ”

“ Not to love Fra Angelico would mean to lack the true sentiment of ancient art, for though we recognize the pious naïveté of the monk, there is in the heavenly beauty of his figures, and the joy of youthful faith which animates the artist, a charm unequalled in the whole history of Art!" [2]
Whether Fra Angelico ever actually had a master, it is impossible to ascertain. ”

“ The fresco, rich in figures and beauty, is executed with real mastery. The personages of the royal cortège vary in type and character, in expression and sentiment, showing the great pains our artist had taken in the painting of this important work, which now, unhappily restored and injured, only allows us to guess at the wonderful beauty with which it was once filled. ”

“ 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 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. ”

“ How this devout mind, full of the figurative sacred writings then current, must have overflowed with visions, ecstasies and miracles! And what tremors of awe must he have felt, in putting these visions into colour! His Madonnas, their features suffused with candour and humility, bend with maternal grace hitherto unwitnessed, in loving contemplation of the Son, or—mothers in glory—they bow to receive the homage of the Redeemer. ”

“ He modifies the traditional type of Christ according to his own faith and feeling. Deriving it from Giotto, with improvements gathered from Orcagna, he excels both masters, impressing on it a divine character, and giving to the face of the Man God a sweet gentleness which is truly sublime. These qualities reach the highest grade in the "Coronation of the Virgin" at the Convent of San Marco, and in the picture at Pisa [8] where the Saviour is represented standing upright, in the act of blessing with his right hand, while in the uplifted left he holds a golden cup. ”

“ In a chapel of the same church is a picture from the same hand, representing Our Lady receiving the Annunciation from the angel Gabriel, with a countenance which is seen in profile, so devout, so delicate, and so perfectly executed, that the beholder can scarcely believe it to be by the hand of man, but would rather suppose it to have been delineated in Paradise. In the landscape forming the background are seen Adam and Eve, whose fall made it needful that the Virgin should give birth to the Redeemer. ”

“ Less spoiled perhaps by retouching, but yet in a deplorable condition, is the other painting, a Crucifixion, still existing in the Sacristy of the Convent. The Redeemer with extended arms, has His head drooping straight on the breast, and the legs are stiffened and curve to the right. A crown of thorns encircles the head, which is surrounded by a great aureole; but the head is small; and the face, with its insignificant features, lacks the intense expression which Fra Angelico usually succeeds in putting into similar subjects. ”

“ Fra Angelico repeats the principal motive, but develops it according to his high ideal, his intense faith, and mystic sentiment. He gives to the Virgin an expression of infinite sweetness; to the angels a truly celestial charm, to the saints a serene expression of beatitude, and to the whole scene the azure divine character of a vision of Paradise.
High in the centre the Redeemer extends his right hand to add a brilliant gem to the crown of the Virgin, who sits near him, with hands crossed in loving reverence. ”

“ Sixteen saints and prophets are seated on clouds with the motto: Prophetarum laudabilis numerus. The Saviour in a circle 162 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. ”

“ He is represented full face, in all his majesty, his features of an exquisite sweetness and nobility,—a grand figure, which has all the seduction of a vision, such as our Dominican alone could conceive and design. ”

“ 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. ”

“ As we have before pointed out, the calm spirit of Fra Angelico avoided realistic representation; his figures always suggest love, faith and resignation, but are never agitated; like the soul of their author, they are incapable of violent action; therefore when these should be drawn, the representation falls below reality. ”

“ 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. ”

“ To give wider scope to the scene Fra Angelico has depicted the marriage in an open space. The picture in the Uffizi, on the other hand, is so conventional both in architecture and landscape that it is impossible to establish a comparison between the two.
The Visitation depicts the wife of Zacharias meeting the Virgin, and lovingly embracing her; a serving maid leaning against the threshold, half hidden by the door, is listening with devotion, while another woman kneels on the ground in the road raising her hands to heaven. ”

“ ADORATION OF THE MAGI.
043In the Adoration of the Magi we find the usual qualities of composition and feeling. One of the Kings has already rendered homage to the Redeemer, and is talking to St. Joseph, who thanks him with earnest devotion; and while the second falls prone before the divine Child, and kisses His feet with profound emotion, the third prepares himself to render the required homage. All around are elegant little figures of pages and servants, in life-like and natural attitudes. ”

“ The poverty of conception in this "Inferno" is not even compensated by the usual good qualities of refinement; one could almost believe that the artist found it so repugnant to his character to depict brutality and infernal tortures, that he hurried over this part to get rid of it the sooner. The representation of the damned is cold, their struggles with the demons, which at Pisa and in other places is so full of energy, is given here with exaggerated art and becomes ineffectual ”

“ The type of the Virgin, too, though its characteristic construction of features, and short and receding chin, are derived from the Sienese masters, especially from Lorenzetti, in Fra Angelico responds to an artistic idealization chosen by him as approaching more the divinity of her person. The flowing robes of the Virgin show her long and refined hands, but beneath that mantle he draws no feminine figure nor can one even guess at it. All the power of the artist is concentrated in her face ”

“ Although marred by restoration—for the eye is offended by the inharmonious contrast of tints, the effect of unskilful135 retouching,—we may consider this painting as one of the most beautiful works which Fra Angelico has left us. Grandeur and simplicity are marvellously blended with freshness of colour, and correctness of design with most intense expression and pure sentiment. ”

“ 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." ”

“ Such are the characteristics, the spirit and the sentiment that appear in the works of Fra Angelico, who might be considered as the last representative of that school of which Giotto was master; and at the same time the initiator of "Quattrocento" art, whose powerful development irresistibly attracted him. He painted so many pictures for the houses of Florentine citizens, that "I was often astonished," writes Vasari, "how one man alone could, even in many years, do so much and so well." ”

“ The representation is faithful to artistic tradition. In the highest part the Saviour calls the elect to Him with His right hand, while with His left He motions away the reprobate: around Him are eight winged cherubim, with whom kneeling angels below join to form a circle. Some are adoring or praying, others hold scrolls in their hands. On the right sits the Virgin in white robes, with hands crossed on her breast and head gently bent: on the left St. John Baptist with hands clasped in prayer. At the sides Patriarchs, Apostles and Prophets, and at the extremities St. Dominic and St. ”

“ There are critics who affirm that 009 if anyone initiated him in art, imbuing him with his own sentiment and style, it might have been the Camaldolese monk Lorenzo Monaco; but Cavalcaselle justly observes that between Angelico and Lorenzo Monaco there only exists that affinity which in coetaneous artists results from community of thought, social conditions, and religious sentiments. Two monks like the Camaldolese and the Dominican might well show the same ideas, without implying a relation of master and scholar between them. ”

“ In the centre is Christ robed in white, His right hand raised in benediction, and a standard held in His left; at the sides are a crowd of angels—some blowing trumpets, others playing instruments, others again in attitudes of profound veneration—all have 068robes of pure and brilliant hues with azure wings lightly sprinkled with gold. The side scenes have multitudes of saints, either standing or kneeling in adoration: on the left are patriarchs, bishops, monks and martyrs, each with his own emblem; on the right, a crowd of kneeling feminine saints among whom we can recognise St. ”

“ 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. ”

“ 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 ”