Читать книгу Fra Angelico - I. B. Supino - Страница 3
Оглавление[1409–1418.]
ANGEL OF THE ANNUNCIATION. (Pinacoteca, Perugia.)
f, after a study of the pictorial works of Fra Angelico, any one should undertake to make a precise classification of them, he would—although his frescoes are easy enough to classify—find himself confronted by no small difficulty in regard to the panel paintings.
So active and original was the artist, and so grand in his simplicity, that he always remained just what he appeared from the beginning—the painter of ingenuous piety, mystical ecstasy, and intense religious fervour.
HISTORY OF ST. DOMINIC'S LIFE.
No record is extant of his first visit to Foligno, but in the church of St. Dominic at Cortona we may still admire a triptych with the Virgin and four Saints; an Annunciation; and two "predelle"; one of which is said to have belonged to the picture of St. Dominic, as the scenes relate to the life of that Saint, and the other with some stories of the Virgin, to the Annunciation mentioned above.
THE RESURRECTION OF CARDINAL DE' CECCANI'S NEPHEW.
To the story of St. Dominic (which had already been treated in a masterly manner by Fra Guglielmo, in the "arca" at Bologna, and by Traini in his picture at Pisa), Fra Angelico has, in some scenes, given a fuller development, but with less dramatic sentiment; exactly the good and bad points which are more clearly shown in his other works. The "predella", divided into seven parts, represents the birth of Saint Dominic; the dream of Pope Honorius III., to whom the Saint appears in act of steadying the falling church; the meeting of the Saint with St. Francis; the confirmation of his rule by means of the Virgin; the visits of St. Peter and St. Paul; the dispute with heretics; the resurrection of the nephew of Cardinal de' Ceccani; the supper of the Saint and his brethren; and lastly his death.
DEATH OF ST. DOMINIC.
The scene of the resurrection of the young Napoleon, nephew of Cardinal Stefano de' Ceccani, had been already powerfully depicted by Traini; in Angelico's hands it comes out restrained and cold, the acts of amazement in the devotees present at the miracle, who raise their hands in astonishment, are too conventional: and it is precisely in the intermingling of these gestures of sorrow for the death, and wonder for the revivication, that the Pisan artist has brought out his best effects. 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. We shall see instances of this in other works of his.
THE ANNUNCIATION. (Church of Gesù, Cortona.)
One of Angelico's most familiar subjects was the Annunciation, and the most interesting of the Cortona pictures, is that of the angel's visit to Mary. Its motive is simple and clear, as it was transmitted from early Christian art; the general lines are unchanged, but the expression greatly so. Fra Angelico did not disturb the religious solemnity of the apparition with useless accessories; faithful to his own sentiment, he has clothed Mary with humility. She sits beneath the portico, the book neglected on her lap, her hands crossed, and her drooping head inclined towards the heavenly messenger. The golden-winged angel with roseate robe also bends before the Virgin, the right hand pointing to her breast and the left to the dove which sheds celestial rays on Mary's head. In the background Adam and Eve are being expelled from the terrestrial Paradise, symbol of the ancient Christian legend which directly connects the story of original sin with that of the Redemption.
This mystic subject, which does not lack grace and freshness in the Cortona painting, finds its fuller development in San Marco at Florence. Here the Madonna is seated on a wooden stool, her head projected forward almost in ecstasy, with hands clasped on her breast, and in similar attitude the angel half kneels before her. The scene takes place before a little grated window in the colonnade of a cloister, utterly bare of ornament, but in this very simplicity lies all the charm and poetry of Angelico.
Before a subject so ideal, so solemn, which reveals in such intensity of faith and feeling how his thought spontaneously turned to the prayer of the Salutation which was certainly on the artist's lips as he painted, or was inspired by some sweet Annunciation hymn such as this, which probably has been often repeated before this entrancing picture:
Alzando gli occhi vidi Maria bella Col libro in mano, e l' angel gli favella.
Dinnanzi a lei si stava inginocchiato Quell' angel Gabriel tanto lucente, Ed umilmente a lei ebbe parlato: "Vergine pura, non temer niente; Messaggio son di Dio onnipotente, Che t' ha eletta e vuolti per sua sposa."
E poi le disse: "In cielo è ordinato, Che siate madre del figliuol di Dio, Però che gli angeli il padre han pregato, Che con effetto adempia el lor disio; E da parte del sommo e buono Dio, Questa benedizione a voi s' appella."
Queste parole fur tanto infiammate E circundate di virtù d' amore, Che ben parean da Dio fussin mandate, E molto se n' allegra nel suo core: "Da poi che piace all' alto Dio Signore, Io son contenta d' essere sua ancella."
Ella si stava dentro alla sua cella, E grande meraviglia si faceva, Però che a nessun uomo ella favella, E molto timorosa rispondeva. L' angelo disse allora: "Ave Maria, Di grazia tu se' piena, o chiara stella."
Allor discese lo Spirito santo, Come un razzo di sol l' ha circundata, Poi dentro a lei entrò quel frutto santo In quella sacrestia chiusa e serrata; Di poi partori inviolata E si rimase vergine e donzella.
O veri amanti, venite a costei, Quella che di bellezza è madonna: L' aria e la terra si sostien per lei, Del ciel regina e del mondo colonna, Chi vuol veder la donzella gioconda Vada a veder la nunziata bella.[15]
The other predella at Cortona represents various episodes in the life of the Virgin:—the Nativity, Marriage, Visitation, Adoration of the Magi, Presentation in the Temple, Death, Burial and lastly the apparition of the Virgin to the blessed Dominican Reginald of Orleans. Padre Marchese believes that this last scene did not originally belong to the predella; but the doubt is unfounded, for nothing is more natural than the artist's wish to connect the history of the Virgin with his Order, of which she is the patroness.
