FRA GIOVANNI DA FIESOLE

      [FRA ANGELICO]

      PAINTER OF THE ORDER OF PREACHING FRIARS

       Table of Contents

      Fra Giovanni Angelico da Fiesole, who was known in the world as Guido, was no less excellent as painter and illuminator than he was upright as churchman, and for both one and the other of these reasons he deserves that most honourable record should be made of him. This man, although he could have lived in the world with the greatest comfort, and could have gained whatever he wished, besides what he possessed, by means of those arts, of which he had a very good knowledge even in his youth, yet resolved, for his own peace and satisfaction, being by nature serious and upright, and above all in order to save his soul, to take the vows of the Order of Preaching Friars; for the reason that, although it is possible to serve God in all walks of life, nevertheless it appears to some men that they can gain salvation in monasteries better than in the world. Now in proportion as this plan succeeds happily for good men, so, on the contrary, it has a truly miserable and unhappy issue for a man who takes the vows with some other end in view.

      There are some choral books illuminated by the hand of Fra Giovanni in his Convent of S. Marco in Florence, so beautiful that words are not able to describe them; and similar to these are some others that he left in S. Domenico da Fiesole, wrought with incredible diligence. It is true, indeed, that in making these he was assisted by an elder brother, who was likewise an illuminator and well practised in painting.

      One of the first works in painting wrought by this good father was a panel in the Certosa of Florence, which was placed in the principal chapel (belonging to Cardinal Acciaiuoli); in which panel is a Madonna with the Child in her arms, and with certain very beautiful angels at her feet, sounding instruments and singing; at the sides are S. Laurence, S. Mary Magdalene, S. Zanobi, and S. Benedict; and in the predella are little stories of these Saints, wrought in little figures with infinite diligence. In the cross of the said chapel are two other panels by the hand of the same man; one containing the Coronation of Our Lady, and the other a Madonna with two saints, wrought with most beautiful ultramarine blues. Afterwards, in the tramezzo[5] of S. Maria Novella, beside the door opposite to the choir, he painted in fresco S. Dominic, S. Catherine of Siena, and S. Peter Martyr; and some little scenes in the Chapel of the Coronation of Our Lady in the said tramezzo. On canvas, fixed to the doors that closed the old organ, he painted an Annunciation, which is now in the convent, opposite to the door of the lower dormitory, between one cloister and the other.

      This father was so greatly beloved for his merits by Cosimo de' Medici, that, after completing the construction of the Church and Convent of S. Marco, he caused him to paint the whole Passion of Jesus Christ on a wall in the chapter-house; and on one side all the Saints who have been heads and founders of religious bodies, mourning and weeping at the foot of the Cross, and on the other side S. Mark the Evangelist beside the Mother of the Son of God, who has swooned at the sight of the Saviour of the world Crucified, while round her are the Maries, all grieving and supporting her, with S. Cosimo and S. Damiano. It is said that in the figure of S. Cosimo Fra Giovanni portrayed from the life Nanni d' Antonio di Banco, a sculptor and his friend. Below this work, in a frieze above the panelling, he made a tree with S. Dominic at the foot of it, and, in certain medallions encircled by the branches, all the Popes, Cardinals, Bishops, Saints, and Masters of Theology whom his Order of Preaching Friars had produced up to that time. In this work he made many portraits from nature, being assisted by the friars, who sent for them to various places; and they were the following: S. Dominic in the middle, grasping the branches of the tree; Pope Innocent V, a Frenchman; the Blessed Ugone, first Cardinal of that Order; the Blessed Paolo, Florentine and Patriarch; S. Antonino, Archbishop of Florence; the Blessed Giordano, a German, and the second General of that Order; the Blessed Niccolò; the Blessed Remigio, a Florentine; and the martyr Boninsegno, a Florentine; all these are on the right hand. On the left are Benedict II[6] of Treviso; Giandomenico, a Florentine Cardinal; Pietro da Palude, Patriarch of Jerusalem; Alberto Magno, a German; the Blessed Raimondo di Catalonia, third General of the Order; the Blessed Chiaro, a Florentine, and Provincial of Rome; S. Vincenzio di Valenza; and the Blessed Bernardo, a Florentine. All these heads are truly gracious and very beautiful. Then, over certain lunettes in the first cloister, he made many very beautiful figures in fresco, and a Crucifix with S. Dominic at the foot, which is much extolled; and in the dormitory, besides many other things throughout the cells and on the surface of the walls, he painted a story from the New Testament, of a beauty beyond the power of words to describe. Particularly beautiful and marvellous is the panel of the high-altar of that church; for, besides the fact that the Madonna rouses all who see her to devotion by her simplicity, and that the Saints that surround her are like her in this, the predella, in which there are stories of the martyrdom of S. Cosimo, S. Damiano, and others, is so well painted, that one cannot imagine it possible ever to see a work executed with greater diligence, or little figures more delicate or better conceived than these are.

      In S. Domenico da Fiesole, likewise, he painted the panel of the high-altar, which has been retouched by other masters and injured, perchance because it appeared to be spoiling. But the predella and the Ciborium of the Sacrament have remained in better preservation; and the innumerable little figures that are to be seen there, in a Celestial Glory, are so beautiful, that they appear truly to belong to Paradise, nor can any man who approaches them ever have his fill of gazing on them. In a chapel of the same church is a panel by his hand, containing the Annunciation of Our Lady by the Angel Gabriel, with features in profile, so devout, so delicate, and so well executed, that they appear truly to have been made rather in Paradise than by the hand of man; and in the landscape at the back are Adam and Eve, because of whom the Redeemer was born from the Virgin. In the predella, also, there are some very beautiful little scenes.

      But superior to all the other works that Fra Giovanni made, and the one wherein he surpassed himself and gave supreme proof of his talent and of his knowledge of art, was a panel that is beside the door of the same church, on the left hand as one enters, wherein Jesus Christ is crowning Our Lady in the midst of a choir of angels and among an infinite multitude of saints, both male and female, so many in number, so well wrought, and with such variety in the attitudes and in the expressions of the heads, that incredible pleasure and sweetness are felt in gazing at them; nay, one is persuaded that those blessed spirits cannot look otherwise in Heaven, or, to speak more exactly, could not if they had bodies; for not only are all these saints, both male and female, full of life and sweet and delicate in expression, but the whole colouring of that work appears to be by the hand of a saint or an angel like themselves; wherefore it was with very good reason that this excellent monk was ever called Fra Giovanni Angelico. Moreover, the stories of the Madonna and of S. Dominic in the predella are divine in their own kind; and I, for one, can declare with truth that I never see this work without thinking it something new, and that I never leave it sated.

      In the Chapel of the Nunziata in Florence which Piero di Cosimo de' Medici caused to be built, he painted the doors of the press (in which the silver is kept) with little figures executed with much diligence. This father painted so many pictures, now to be found in the houses of Florentine citizens, "that I sometimes stand marvelling how one single man could execute so much work to such perfection, even in the space of many years. The Very