Page:Encyclopædia Britannica, Ninth Edition, v. 9.djvu/159

F I E S L E 149 invited by the pope to Rome. The pope who reigned from 1431 to 1447 wasEugenius IV., and he it was who in 1445 appointed another Dominican friar, a colleague of Angelico, to be archbishop of Florence. If the story (first told by Yasari) is true that this appointment was made at the suggestion of Angelico only after the archbishopric had been offered to himself, and by him declined on the ground of his inaptitude for so elevated and responsible a station Eugenius, and not (as stated by Vasari) his successor Nicholas V., must have been the pope who sent the invita tion and made the offer to Fra Giovanni, for Nicholas only succeeded in 1447. The whole statement lacks authenti cation, though in itself credible enough. Certain it is that Angelico was staying in Rome in the first half of 1447; and he painted in the Vatican the Cappella del Sacramento, which was afterwards demolished by Paul III. In June 1447 he proceeded to Orvieto, to paint in tho Cappella Nuova of the cathedral, with the co-operation of his pupil Benozzo Gozzoli. He afterwards returned to Rome to paint the chapel of Nicholas V. In this capital he died in 1455, and he lies buried in the church of the Minerva. According to all the accounts which have reached us, few men to whom the distinction of beatification has been con ferred could have deserved it more nobly than Fra Giovanni. He led a holy and self-denying life, shunning all advancement, and was a brother to the poor; no man ever saw him angered. He painted with unceasing diligence, treating none but sacred subjects : he never retouched or altered his work, probably with a religious feeling that, such as divine providence allowed the thing to come, such it should remain. He was wont to say that he who illustrates the acts of Christ should be with Christ. It is averred that he never handled a brush without fervent prayer, and he wept when he painted a Crucifixion. The Last Judgment and the Annunciation were two of the sub jects he most frequently treated. Bearing in mind the details already given as to the dates of Fra Giovanni s sojournings in various localities, the reader will be able to trace approximately the sequence of the works which we now proceed to name as among his most important productions. In Florence, in the con vent of S. Marco (now converted into a national museum), a series of frescoes, beginning towards 1443. In the first cloister is the Crucifixion, with St Dorninick kneeling; and the same treatment recurs on a wall near the dormitory; in the chapterhouse is a third Crucifixion, with the Virgin swooning, a composition of twenty life-sized figures the red background, which has a strange and harsh effect, is the misdoing of some restorer; an Annunciation, the figures of about three-fourths of life-size, in a dormitory; in the adjoining passage, the Virgin Enthroned, with four saints; on the wall of a cell, the Coronation of the Virgin, with Saints Paul, Thomas Aquinas, Benedict, Dominick, Francis, and Peter Martyr; two Dominicans welcoming Jesus, habited as a pilgrim; an Adoration of the Magi; the Marys at the Sepulchre. All these works are later than the altarpiece which Angelico painted (as before mentioned) for the choir connected with this convent, and which is now in the academy of Florence; it represents the Virgin with Saints Cosmas and Daraian (the patrons of the Medici family), Dominick, Peter, Francis, Mark, John Evangelist, and Stephen : the pediment illustrated tho lives of Cosmas and Damian, but it has long been severed from the main subject. In the Uffizi gallery, an altarpiece, the Virgin (life-sized) enthroned, with the Infant and twelve angels. In S. Domenico, Fiesole, a few frescoes, less fine than those in St Marco; also an altarpiece in tem pera of the Virgin and Child between Saints Peter, Thomas Aquinas, Dominick, and Peter Martyr, now much destroyed. The subject which originally formed the predella of this picture has, since I860, been in the London National Gallery, and worthily represents there the hand of the saintly painter. The subject is a Glory, Christ with the banner of tho Resurrection, and a multitude of saints, including, at the extremities, the saints or beati of the Dominican order; here are no fewer than 266 figures, or portions of figures, many of them having names in scribed. This predella was highly lauded by Vasari; still more highly another picture which used to form an altar- piece in Fiesole, and which now obtains world-wide celebrity in the Louvre the Coronation of the Virgin, with eight predella subjects of the miracles of St Dominick. For the church of S. Trinita, Florence, Angelico executed a Deposition from the Cross, and for the church of the Angeli a Last Judgment, both now in the Florentine academy; for S. Maria Novella, a Coronation of the Virgin, with a predella in three sections, now in the Uffizi, this again is one of his masterpieces. In Orvieto cathedral he painted three triangular divisions of the ceiling, portraying respect ively Christ in a glory of angels, sixteen saints and prophets, and the virgin and apostles : all these are now much repainted and damaged. In Rome, in the chapel of Nicholas V., the acts of Saints Stephen and Lawrence; also various figures of saints, and on the ceiling the four evan gelists. These works of the painter s advanced age, which have suffered somewhat from restorations, show vigour superior to that of his youth, along with a more adequate treatment of the architectural perspectives. Naturally, there are a number of works currently attributed to Angelico, but not really his; for instance, a St Thomas with the Madonna s girdle, in the Lateran museum, and a Virgin enthroned in the church of S. Girolamo, Fiesole. It has often been said that he commenced and frequently practised as an illuminator; this is dubious, and a pre sumption arises that illuminations executed by Giovanni s brother Benedetto, also a Dominican, who died in 1448, have been ascribed to the more famous artist. Benedetto may perhaps have assisted Giovanni in the frescoes at S. Marco, but nothing of the kind is distinctly traceable. A folio series of engravings from these paintings was published in Florence in 1852. Along with Gozzoli already men tioned, Zanobi Strozzi and Gentile da Fabriano are named as pupils of the Beato. We have spoken of Angelico s art as "pietistic"; this is in fact its predominant character. His visages have an air of rapt suavity, devotional fervency, and beaming esoteric consciousness, which is intensely attractive to some minds, and realizes beyond rivalry a particular ideal that of ecclesiastical saintliness, and detachment from secular fret and turmoil. It should not be denied that ho did not always escape the pitfalls of such a method of treatment, the faces becoming sleek and prim, with a smirk of sexless religiosity which hardly eludes the artificial or even the hypocritical; on other minds, therefore, and these some of the most masculine and resolute, he produces little genuine impression. After allowing for this, Angelico should nevertheless be accepted beyond cavil as an exalted typical painter according to his own range of conceptions, consonant with his monastic calling, unsullied purity of life, and exceeding devoutness. Exquisite as he is in his special mode of execution, he undoubtedly falls far short, not only of his great naturalist contemporaries such as Masaccio and Lippo Lippi, but even of so distant a precursor as Giotto, in all that pertains to bold or life-like invention of a subject, or the realization of ordinary appearances, ex pressions, and actions the facts of nature, as distinguished from the aspirations or contemplations of the spirit. Tech nically speaking, he had much finish and harmony of composition and colour, without corresponding mastery of light and shade, and his knowledge of the human frame