Fra Angelico

Fra Angelico, by J. B. Supino

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Title: Fra Angelico
Author: J. B. Supino
Translator: Leader Scott
Release Date: May 21, 2007 [EBook #21561]
Language: English
Character set encoding: ISO-8859-1
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ANGELICO ***

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FRA ANGELICO
BY

J. B. SUPINO
TRANSLATED
BY
LEADER SCOTT.
FLORENCE
ALINARI BROTHERS, PUBLISHERS.
1902.
ALL RIGHTS RESERVED
Printed by Barbéra--Alfani and Venturi, proprietors Florence.
* * * * *
[Illustration: The Annunciation. (Convent of San Marco, Florence)]

INDEX.
Beato Angelico--Proem Page 5
I.--Fra Angelico at Cortona and Perugia (1409-1418) 29
II.--Fra Angelico at Fiesole (1418-1436) 55
III.--Fra Angelico at Florence (1436-1445) 93
San Marco 95
In the Gallery of Ancient and Modern Art 131
IV.--Fra Angelico at Rome and Orvieto (1445-1455) 155

Index to the Illustrations 179

[Illustration]
[Illustration: Angels of the "Last Judgement."]
Tradition shows us Fra Giovanni Angelico absorbed in his work, and
either caressing with his brush one of those graceful angelic figures
which have made him immortal, or reverently outlining the sweet
image of the Virgin before which he himself would kneel in adoration.
Legend pictures him devoutly prostrate in prayer before commencing
work, that his soul might be purified, and fitted to understand and
render the divine subject; and again in oration after leaving his easel, to
thank heaven for having given him power to make his holy visions
visible to other eyes.
But has tradition any foundation in fact? Why not? Through his
numberless works we may easily divine the soul of the artist, and can
well understand, how the calm and serene atmosphere of the monastic
cell, the church perfumed with incense, and the cloister vibrating with
psalms, would develop the mystic sentiment in such a mind.
And can we disregard tradition in face of such humility of life, such
beauty of work, exquisite refinement of feeling, and sweetness of
expression!
Among all the masters who have attempted to imbue the human form
with the divine spirit, he is perhaps the only one who succeeded in
producing pure celestial figures, and this with such marvellous
simplicity of line, that they have become the glory of his art.
Whether it be the Virgin enthroned amidst groups of cherubim
sounding heavenly trumpets, or Christ blessing the just and driving
away sinners; whether the martyrs supporting their torments with
superhuman resignation, the apostles preaching the gospel, or angels
free in the air and chanting celestial glories; the same spirit is in them
all--at once intense, devout, and utterly pure, in which the fervent

believer and the true artist are inseparably blended.
The reason is, that Fra Giovanni put into his work the flame of an
overpowering passion; under his touch features were beautified, and
figures animated with a new mystic grace. He threw himself entirely
into his art which thus became the spontaneous expression of his soul.
"It was the custom of Fra Giovanni," says Vasari, "to abstain from
retouching or improving any painting once finished. He altered nothing,
but left all as it was done the first time, believing, as he said, that such
was the will of God. It is also affirmed that he would never take his
pencil in hand until he had first offered a prayer. He is said never to
have painted a crucifix without tears streaming from his eyes, and in
the countenances and attitudes of his figures it is easy to perceive proof
of his sincerity, his goodness, and the depth of his devotion to the
religion of Christ."[1]
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. His saints ecstatically gaze at luminous
celestial apparitions; his golden winged angels dance lightly beneath
the throne of their Lord or sound merrily the most various instruments,
singing: laudate Dominum..., laudate eum in sono tubæ, laudate eum in
psalterio et cithara, laudate eum in timpano et choro...; or else with
their fair curly heads downcast they reverently worship the divine
majesty. What a feast of light and colour is in these panels, gleaming
with azure and gold like a hymn to religion