III
Yet Milan is not dependent on the seasons for this midsummer magic of light and colour. For dark days it keeps its store of warmth and brightness hidden behind palace walls and in the cold dusk of church and cloister. Summer in all its throbbing heat has been imprisoned by Tiepolo in the great ceiling of the Palazzo Clerici: that revel of gods and demi-gods, and mortals of all lands and races, who advance with linked hands out of the rosy vapours of dawn. Nor are loftier colour-harmonies wanting. On the walls of San Maurizio Maggiore, Luini’s virgin martyrs move as in the very afterglow of legend: that hesitating light in which the fantastic becomes probable, and the boundaries between reality and vision fade; while tints of another sort, but as tender, as harmonious, float through the dusk of the sacristy of Santa Maria delle Grazie, a dim room panelled with intarsia-work, with its grated windows veiled by vine-leaves.
But nothing in Milan approaches in beauty the colour-scheme of the Portinari chapel behind the choir of Sant’ Eustorgio. In Italy, even, there is nothing else exactly comparable to this masterpiece of collaboration between architect and painter. At Ravenna, the tomb of Galla Placidia and the apse of San Vitale glow with richer hues, and the lower church of Assisi is unmatched in its shifting mystery of chiar’-oscuro; but for pure light, for a clear shadowless scale of iridescent tints, what can approach the Portinari chapel? Its most striking feature is the harmony of form and colour which makes the decorative design of Michelozzo flow into and seem a part of the exquisite frescoes of Vincenzo Foppa. This harmony is not the result of any voluntary feint, any such trickery of the brush as the later decorative painters delighted in. In the Portinari chapel, architecture and painting are kept distinct in treatment, and the fusion between them is effected by unity of line and colour, and still more, perhaps, by an identity of sentiment, which keeps the whole chapel in the same mood of blitheness,—a mood which makes it difficult to remember that the chapel is the mausoleum of a martyred saint. But Saint Peter Martyr’s marble sarcophagus, rich and splendid as it is, somehow fails to distract the attention from its setting. There are so many mediæval monuments like it in Italy—and there is but one Portinari chapel. From the cupola, with its scales of pale red and blue, overlapping each other like the breast-plumage of a pigeon, and terminating in a terra-cotta frieze of dancing angels, who swing between them great bells of fruit and flowers, the eye is led by insensible gradations of tint to Foppa’s frescoes in the spandrils—iridescent saints and angels in a setting of pale classical architecture—and thence to another frieze of terra-cotta seraphs with rosy-red wings against a background of turquoise-green; this lower frieze resting in turn on pilasters of pale-green adorned with white stucco rilievi of little bell-ringing angels. It is only as a part of this colour-scheme that the central sarcophagus really affects one—the ivory tint of its old marble forming a central point for the play of light, and allying itself with the sumptuous hues of Portinari’s dress, in the fresco which represents the donator of the chapel kneeling before his patron saint.