Works of Grant Allen

by Grant Allen

  FRA ANGELICO. — GREAT CRUCIFIXION.

  Now return to the Chapter-house, on the opposite side, which contains the so-called * *Great Crucifixion, — in reality the Adoration of the Cross by the Monastic Orders, and more particularly by the Dominicans in this Monastery of San Marco in the Town of Florence. This is one of Fra Angelico’s noblest paintings. Those who have only seen his small panels in the north will hardly be prepared for the freedom and vigour of this splendid picture. At the foot of the Cross stands a most touching group, with the essential figures of the fainting Madonna sustained by St. John, St. Mary Magdalen, with her long fair hair, and the other Mary. These are simply part of the conventional Calvary. The group to the right, however, for whose sake the fresco was really painted, represents the Founders of all the various Monastic Orders. Nearest the foot of the Cross, and in ardent adoration, as is right in a Dominican house, kneels St. Dominic himself, with his little red star, a most powerful figure. Behind him, also kneeling, is St. Jerome, the father of all monks, and founder of monasticism, with his cardinal’s hat on the ground beside him. The two standing figures in the background represent St. Albert of Vercelli, in green and white, the founder of the order of the Carmelites, habited as bishop (a compliment to the great Florentine monastery of the Carmine); and St. Augustine, with his pen and book, as the founder of the Augustinian or Austin Friars, and author of the “De Civitate Dei.” (It was believed that the Carmelites were originally founded by Elijah, and only “revived” by St. Albert: hence his nearness to the Cross, and perhaps also the attitude in which he seems to be calling St. Jerome’s attention, as if the Old Dispensation pointed the way to the New.) Next, again, in brown Franciscan robes, comes St. Francis with the Stigmata, bearing his usual crucifix. Note how well the difference is marked between the intellectual St. Dominic, the ascetic St. Jerome, and the ecstatic piety of St. Francis. Behind the last, standing, is St. Benedict, with the scourge, representing the Benedictines; in front of whom kneels St. Bernard with his book. Next, standing and holding a crutch, is St. Romualdo, the founder of the Camaldolese, in his white robe. Close by kneels San Giovanni Gualberto, founder of the Vallombrosans; these two being important monastic bodies in the neighbourhood of Florence, toward whom such politeness was only natural. Last of all, next the arch, the series is completed by the two most distinguished Dominican saints, St. Thomas Aquinas, standing, and St. Peter Martyr, kneeling, with his wounded head. These two represent respectively the Learning and the Sanctity of the Dominican Order. Note that each saint is habited in the garb of the monastic body which he founded, while only the Dominicans themselves are permitted to show any minor members. Every face is characteristic of the Order it represents: every detail has its meaning. Look out for these: they will dawn upon you.

  The group to the left represents rather the Town of Florence and this Monastery of San Marco situated within it. At the foot of the cross of the Penitent Thief (distinguished by a halo from his reviling companion) stands St. John the Baptist, patron saint of the town, as embodying Florence. Beside him sits St. Mark, the patron of the monastery, writing, in order that you may see he is an Evangelist. To the extreme left again, we have St. Lawrence with his gridiron, in rich deacon’s robes, as representing Lorenzo de’ Medici (the elder — Cosimo’s brother): while behind him stand the two patron saints of the Medici family, Cosimo and Damian. Of these, St. Cosimo, standing for Cosimo de’ Medici, then the ruling power in Florence, looks up toward the cross in adoration; while St. Damian, who is here merely because his presence is needed to complete the pair, turns away and hides his face, weeping, — a very courtly touch for this saintly painter. The whole composition thus indicates the Devotion to the Cross of the Monastic Bodies, and especially of the Dominicans, more particularly as embodied in this Dominican house of San Marco, in this town of Florence, founded and protected by the ruling Medici family, and especially by the brothers Cosimo and Lorenzo. We can now understand why the Crucifixion is so relatively unimportant in the picture, and why all the painter’s art has rather been lavished on the three exquisite groups in the foreground. Study it all long. The longer you look at it, the more will you see in it. (The ugly red of the background was once covered by blue, but the pigment has peeled off or, ultramarine being expensive, been removed on purpose.)

  Do not fail also to notice the framework of Sibyls, prophets, and patriarchs, nor the genealogical tree of Dominican saints and distinguished personages who form a string-course beneath the picture, with St. Dominic as their centerpiece, flanked by two Popes of his Order, and various cardinals, bishops, etc., whose names are all inscribed beside them. Look at each separately, observing that the saints have each a halo, while the Beati or “Blessed” have only rays around their heads. (Read up in this connection the subject of canonisation.)

  After sitting about an hour before this picture (for a first impression) proceed into the Great Refectory, at the end of the same corridor. A good later fresco here, by Antonio Sogliani, represents St. Dominic and the brethren at St. Sabina in Rome being fed by angels. This appropriate subject for a refectory is called the Providenza; its obvious meaning is, “The Dominican Order receives its sustenance from the Divine Bounty.” In the background is a Calvary, by Fra Bartolommeo, with St. John and Our Lady, while St. Catherine of Siena, kneeling with her lily to the right, signifies the participation of the female branch of the Dominicans in the same divine protection. (The figure to the left I take for St. Antonine.) Observe always the meaning and relevancy of refectory frescoes: the most frequent subjects are the Last Supper and the Feast of Levi.

  The central door gives access to the corridor which leads to the upper story. On the left of this corridor is the entrance to the smaller Refectory, which contains a fine fresco by Ghirlandajo of the Last Supper. In this work Judas is represented after the earlier fashion (as at Santa Croce) seated opposite to Christ in the foreground. (Another Cenacolo by Ghirlandajo, so closely similar to this as to be almost a replica, exists in the Refectory of the monastery of Ognissanti in this town. The two should be visited and compared together. Those who feel an interest in this frequent and appropriate refectory subject should also compare the Giotto at Santa Croce and the Cenacolo di Fuligno in the Via Faenza.) Observe in this work the characteristic decorative background, the border of the table-cloth, the decanters and dishes, and other dainty prettinesses so frequent with Ghirlandajo, who delights in ornament.

  CHAPTER IX.

  THE FRA ANGELICOS OF SAN MARCO.

  Mount the stairs to the first floor.

  Opposite you, at the summit, is a beautiful * *Annunciation, all the details of which should be closely studied. This is essentially a monastic treatment of the subject, severe and stern in architecture and furniture, — in which respect it may well be contrasted with such earlier treatments as Filippo Lippi’s for the Medici Palace, now in the National Gallery at London. The loggia in which the scene takes place is that of the Church of the Annunziata, here in Florence. By a rare exception at San Marco, this picture has no distinctive touch of Dominicanism. On the other hand, you will notice in almost all the cells the figure of St. Dominic, often accompanied by the Medici saints, as a constant factor. All the frescoes here are by Fra Angelico himself, unless otherwise mentioned. Opposite this Annunciation is another version of St. Dominic embracing the Cross. His red star will always distinguish him.

  Continue down the corridor to the right, opposite this last picture, leading through the Dormitory of the monastery, and visit the cells from right to left alternately. Each has its own fresco. I give them as they come, irrespectively of the official numbers.

  The first is “Noli me tangere;” Christ as the gardener, and the Magdalen.

  The second is the Crucifixion, with Mater Dolorosa, and an adoring Dominican.

  The third represents the Deposition in the Tomb, with St. John and the mourning women, partly suggested by the Giotto at Padua; behind, St. Dominic with his lily, in adoring wonder.

 
The fourth is another Crucifixion with a Dominican worshipper (St. Peter Martyr).

  FRA ANGELICO. — ANNUNCIATION.

  The fifth, another *Annunciation, with St. Peter Martyr adoring. The flame on the archangel’s head is conventional. Notice the exquisite adoring figure of the Madonna, who here kneels to the angel, while in later treatments the angel kneels to her. This is again a very monastic picture; the architecture is suggested by this very monastery.

  The sixth represents the Bearing of the Cross, with an adoring Dominican (St. Thomas Aquinas?).

  The seventh is a Crucifixion, with Madonna and St. John, St. Dominic, and St. Jerome. Observe the cardinal’s hat in the corner, which is St. Jerome’s emblem. As before, the figures represent Monasticism as a whole and the Dominicans in particular.

  In the eighth is Christ bound to the pillar to be scourged, accompanied by a Dominican, similarly stripped for penance and flagellation. A mystical subject.

  The ninth represents the Nativity, with the ox and ass and other habitual features. St. Peter Martyr with his wounded head adoring. The figure to the left is St. Catherine of Alexandria.

  The tenth is a Pietà; Peter and the maid, Kiss of Judas, Scourging (with only hands visible), Judas receiving the bribe, and other symbolical scenes in background. In the foreground is St. Thomas Aquinas with his book in adoration.

  On the wall, between this and the next cell, are a Madonna and Child with Dominican and Medici saints, — a symbolical composition, similar to that in the Chapter-house. On the extreme left is St. Dominic; near him are St. Cosimo and St. Damian in their red doctors’ robes, representing the family of the founder; beside them, St. Mark as patron of this convent: on the opposite side, St. John the Evangelist, St. Thomas Aquinas, St. Lawrence with his gridiron, representing (the elder) Lorenzo de’ Medici, and St. Peter Martyr (for Piero de’ Medici). All the martyrs bear their palms of martyrdom; — once more the Learning and Sanctity of the Dominican Order, and this convent of St Mark, with its Medici founder, and the saints of his son and brother. Note, by the way, the draped child, the red cross behind the head of Christ, and the star which almost always appears on the Madonna’s shoulder. The more you observe these symbolical points, the more will you understand Florentine pictures. I recommend the development and variation of the halo of Christ as a subject for study.

  The eleventh fresco represents * *the Transfiguration, Christ in a mandorla, with Moses and Elias; His extended hands prefigure the crucifixion. Below are the three saints whom He took up into the mountain. On the left is the Madonna; on the right, St. Dominic observing the mystery.

  The twelfth is a Crucifixion; Madonna, Magdalen, an adoring St. Dominic.

  In the thirteenth are shown the Scourging and Buffeting; the Crown of Thorns. Only the hands and heads are seen: Fra Angelico could not bring himself to paint in full this painful scene. Below is St. Dominic reverently looking away from it.

  The fourteenth represents the Baptism of Christ; the positions, and the angels on the bank are conventional. Observe them elsewhere. To the right are two saints adoring.

  The subject of the fifteenth is the Resurrection, with the Maries at the sepulchre. Their attitudes are admirable. On the left is St. Dominic adoring.

  The sixteenth is a Crucifixion, a symbolical treatment with angels and the usual St. Dominic.

  The seventeenth represents the * *Coronation of the Virgin, a most lovely subject, in celestial colouring. Below are adoring saints, conspicuous among whom are not only St. Dominic, St. Thomas Aquinas, St. Peter Martyr, and St. Mark, but also, by a rare concession, St. Francis with the Stigmata. This is a compliment to our Franciscan brethren. Perhaps the cell was lent to Franciscans.

  The eighteenth is a Crucifixion, in this case with no Dominican symbolism.

  The nineteenth represents the *Presentation in the Temple, with a charming girlish Madonna. The St. Joseph behind is a marked type with Fra Angelico. Observe him elsewhere. On either side, St. Peter Martyr and St. Catherine of Siena, — the male and female representatives of Dominican piety.

  The subjects of the twentieth are the Madonna and Child, with St. Thomas Aquinas, and (I think) St. Zenobius, Bishop of Florence. He often appears in works in this city.

  FRA ANGELICO. — CORONATION OF THE VIRGIN.

  The cells to the right, along the next corridor, all contain repetitions of a single subject, — the Crucifixion, with St. Dominic in adoration, but in varied attitudes, all of them significant. They need not be particularised. These frescoes are said to have been executed by Fra Angelico’s brother, Fra Benedetto, who also assisted him in some of the preceding. At any rate they are the work of a pupil and imitator. The cells were those inhabited by the novices.

  The last three cells in this corridor were those inhabited by Savonarola, as the little Latin inscription testifies. The first contains his bust, with a modern relief of his preaching at Florence (by Dupré). The walls have frescoes by Fra Bartolommeo, contrasting ill with his mediæval predecessor: Christ as a pilgrim received by two Dominicans, etc. The second contains a portrait of the great prior by Fra Bartolommeo, and Savonarola relics. The third has a curious picture of the scene of his burning in the Piazza della Signoria, — interesting also as a view of the Florence of the period. (Read up the period in Villari: see also George Eliot’s “Romola”).

  Now, return to the head of the staircase by which you entered, and proceed to examine the cells in the corridor beyond the great Annunciation.

  The first to the left contains a quaint genealogical tree of the Dominican Order, and several relics, sufficiently described on their frames. These are the rooms of St. Antoninus, and contain the bier on which his body used to be carried in procession. It now rests in the adjoining church. The fresco represents Christ delivering the souls of the pious dead from Hades. Notice the personal Hades crushed under the doors of Hell, as described in the Apocryphal Gospel of Nicodemus. The white robe, and the banner with the red cross, always mark Christ after the Crucifixion till the Ascension. Observe the lurking devils in the crannies. Conspicuous among the dead is the figure of St. John the Baptist, patron of Florence, who, having predeceased the Saviour, was then in Hades. Study this picture closely.

  In the second cell to the left are represented Christ and the Twelve; the Sermon on the Mount. In the small cell adjoining are two scenes of the Temptation, with ministering angels. The fourth cell contains another Crucifixion, with fainting Madonna and an adoring Dominican.

  Beyond this cell, the door to the right gives access to the Library, whose architecture has coloured several of Fra Angelico’s pictures in the Dormitory. The cases contain beautiful illuminated manuscripts, chiefly by Fra Benedetto, all of which should be inspected, though description is impossible.

  In the next cell to the right is a Crucifixion, with St. Longinus piercing the side of Christ, and an adoring Dominican. St. Martha, exceptionally represented in this picture, has her name inscribed accordingly. She occurs elsewhere here: I do not know the reason, but one must be forthcoming. Could it have been the name of the painter’s mother or sister?

  To the left is the Kiss of Judas, unusually spirited, with Roman soldiers, and Peter cutting off the ear of Malchus (a constant concomitant). This picture has perhaps more action than any other by Fra Angelico. Here, also, in a frame, is the *Madonna della Stella, one of Fra Angelico’s most famous smaller works.

  In the adjacent cell is an exquisite little *tabernacle of the Coronation of the Virgin, closely resembling the well-known picture in the Louvre. The saints below are worth the trouble of identifying. Here also is a fragment of a fresco of the Entry into Jerusalem.

  Next is the Agony in the Garden, with Mary and Martha, and an exquisite little tabernacle of the Annunciation and the Adoration of the Magi. Contrast Fra Angelico’s style in fresco and panel. Below is a row of named saints: identify their types.

  Then comes a fresco of the Last Supper, an unusual and symbolical treatment with wafers and patina: say rath
er, a mystic Institution of the Eucharist. Four Apostles have risen from their seats and kneel: on the other side, a kneeling saint in white — not, I think, Our Lady. Notice the quaint device of the windows, in order to suggest the upper chamber.

  In the last cells on the left are shown Christ being nailed to the Cross (with Nicodemus, Joseph of Aramathæa, and Longinus), and a Crucifixion, with St. Dominic spreading his arms in adoration, and St. Thomas with his book, philosophically contemplating the mystery of redemption. Observe such frequent touches of characterisation. Note, too, the halo on the penitent thief, whose anatomy is unusually good for Fra Angelico.