There is a great temptation to linger awhile in San Marco with the friar, for even to-day the place has not lost its appeal, and there are sufficient landmarks in the surrounding city to enable us to trace the influence of men who were at once the contemporaries and inspirers of his genius. Only the limits of space intervene to forbid too long a stay in Florence, and as the painter's later years were spent in Rome we must follow him there. For those who wish to linger in the monastery there are books in plenty, some dealing with the Quattrocento, others dealing with the Popes, others with Fra Angelico himself. This outline of a painter's life seeks to do no more than introduce him to those who may be interested; it is not intended for those who wish to follow him beyond the limits of a modest appreciation. Vasari, Crowe, and Cavalcaselle, Professor Langton Douglas, Bernhard Berenson and others will supply the more complete and detailed accounts of the painter's life and works, and the careful reader will find sufficient references to other writers to direct him to every side issue.
From the Convent of San Marco. This picture gives a fair idea of the exquisite sweetness and delicacy with which the painter handled the subject of the child Christ. He does not treat this subject very often, but when he does the result is in every way delightful.
Pope Eugenius IV., who visited Florence when he was exiled from Rome, had settled for a while in Bologna until the anti-Pope Felix V. fell from power, and had then hastened back to Rome, and settled down to beautify the Vatican. Like all the great men of his generation he felt the spirit of the Renaissance in the air, and desired no more than leisure in order to respond to it. He remembered the clever artist, whose work had charmed him in the days of his Florentine exile, and sent an invitation to Fra Angelico to come to Rome and decorate one of the chapels in the Vatican. In those days one travelled in Italy, even more slowly than one does to-day by the Italian express trains—strange as the statement may seem to moderns who know the country well—and by the time that the friar had received the summons and had responded to it, Eugenius IV. would appear to have relinquished the keys to his successor. Happily the new Pope Nicholas V. was a scholar, a gentleman, and a statesman, as responsive to the new ideas as his predecessor in office. He gathered the best men of his time to the Vatican, which he proposed to rebuild, and he entered upon a programme that could scarcely have been carried out had he enjoyed a much longer lease of life than Providence granted. Unfortunately he had no more than eight years to rule at St. Peter's, and that did not serve for much more than a beginning of his great scheme. He was succeeded by Tomaso Parentucelli, that ardent scholar whom Cosimo di Medici had appointed custodian of the collection of MSS. that he gave to San Marco in Florence when the Dominicans took possession. As it happened Parentucelli himself was in the last year of his life when he ascended the throne of St. Peter, and his schemes, whether for the aid and development of scholarship or art, saw no fruition. But for all that Nicholas V. ruled for no more than eight years in Rome, he did much for Fra Angelico, who painted the frescoes in the Pope's private studio, and decorated a chapel in St. Peter's that was afterwards destroyed. This loss is of course a very serious one, and suggests that those who ruled in the Vatican were not always as careful as they might have been of works that would have outlived them so long had they been fairly treated. It is very unfortunate that art should suffer from the caprices of the unintelligent. When Savonarola, also a Dominican monk, roused the Florentines to a sense of their lapses from grace a few years after Fra Angelico's death, they made a bonfire in the streets of Florence of art work that was considered immoral. To sacrifice great work in the name of morality is bad enough, to destroy it for the sake of building operations is quite unpardonable.
In Rome the summer heat is well-nigh unbearable. Even to-day the voluntary prisoner of the Vatican retires to a villa in the far end of his gardens towards the end of June, and none who can leave the city cares to remain in it when May has gone, and the Tiber becomes a thread, and fever haunts its banks. Fra Angelico felt the burden of the summer and wished to suspend his work for a while. It so happened that he received an invitation from Orvieto to decorate the Duomo there during the months of June, July, and August. The first arrangement was that he should go there every summer to escape the dog-days in Rome, but for reasons not known to us the visit did not extend beyond one year, and the frescoes that he had painted were seriously injured by rain, and were not completed until Luca Signorelli took them in hand half a century later. The little work that is attributed to the painter's brush to-day in Orvieto need not detain us here. The frescoes in Rome represent the summit of Fra Angelico's achievement, but they have not escaped the somewhat destructive hand of nineteenth-century German criticism; one eminent authority having declared that they are not by Fra Angelico at all, but have been painted by pupils, Benozzo Gozzoli receiving special mention in this connection. It is not necessary to take this criticism too seriously. The hands may be the hands of Esau, but "the voice is Jacob's voice." The artist may have received some assistance from pupils, the backgrounds may owe something to another hand; there was no feeling, ethical or artistic, to keep assistants from coming to the aid of their master, but the whole composition and the whole feeling of the frescoes proclaim the friar. The subjects are incidents in the life of St. Stephen and St. Lorenzo, ending, of course, after the inevitable fashion of the time, with a representation of the martyrdom. For once these martyrdoms have a suggestion of reality. In the early days of Fra Angelico's work his representations of martyrdoms and suffering were so naÏve that they could hardly do more than provoke a smile. His idea of hell was very simple, and when he wished to be very bitter indeed—to express his anger at its fullest—he peopled the nether world with brothers of the great rival order of St. Francis. For the founder of that order, Angelico had the greatest love and admiration; who indeed could refuse to pay such tribute even to-day? But all the brethren did not live up to the rule of their founder, and the Dominican painter's rebuke seems very quaint in our eyes, though doubtless it made a great sensation when it was administered.
PLATE VIII.—ST. PETER THE MARTYR
This is a fresco from the Cloisters of San Marco and represents St. Peter, a saint whose appeal to the artist was very great The fact that the saint has his finger to his lips may be taken as the artist's method of emphasising the rule of silence of his Order. In fact the St. Peter Martyr is generally called the "Silenzio," and like so many of the artist's pictures must be taken to have a special spiritual significance.
In Rome the painter's feeling for natural beauty reaches the height of its expression, indeed one feels that every department of his work is at its best and highest there. After his departure from the Eternal City, the frescoes finished, and himself on the shady side of his sixtieth year, the intervening centuries descend like a cloud, blotting out the greater part of the record. The cloud lifts for a moment to show us "Beato" Angelico, Prior of the Dominican Monastery at Fiesole, to which more than forty years ago he had claimed admission as a novice, and then he is back again in Rome in the chief convent of his order, Santa Maria Sopra Minerva. There the light that had burned so brilliantly for nearly half a century, illuminating the most alluring aspects of the Christian faith, paled and went out. The body was laid to rest in the convent Church, near the tomb of St. Catherine, and it is said that the epitaph was composed by the Pope. Thereafter the order of St. Dominic produced no great personality until it gave to the world a man of very different stamp in Fra Girolamo Savonarola.
