1215. MADONNA AND CHILD.
Domenico Veneziano (died 1461). See 766.
For the history of this picture (now withdrawn from exhibition) see under 766. The restorations of 1851 there referred to were in great part removed after the acquisition of the picture by the National Gallery. But "it was found, late in 1904, that its state threatened its immediate destruction, and it was hoped that the mischief might be arrested by re-lining. The pigment was, however, found to be falling from the plaster ground in such a way that re-lining, which would affect only the adherence of the ground to the canvas backing, was useless, and very reluctant recourse was had to the process of transferring the picture itself to canvas. This transfer resulted in such a loss to the picture that it has been withdrawn from public exhibition, and, for the present, it is thought better to leave it as a genuine picture, of interest to connoisseurs, rather than subject it to the extensive repainting without which it would hardly be intelligible to the ordinary visitor" (Director's Report, 1905). A small copy of the picture is exhibited among the Arundel Society's Collection.
1216, 1216 a & b. THE FALL OF THE REBEL ANGELS.
Spinello Aretino (Tuscan: about 1333-1410). See 581.
These fragments of a fresco, now transferred to canvas, are of particular interest from the following mention of it by Vasari. He relates how Spinello Aretino, after executing important works in various cities of Italy, returned to his native city, Arezzo, and very shortly settled down to decorate the church of S. Maria degli Angeli. The subject chosen was certain stories from the life of St. Michael. "At the high altar," says Vasari, "he represented Lucifer fixing his seat in the North, with the fall of the angels, who are changed into devils as they descend to the earth. In the air appears St. Michael in combat with the old serpent of seven heads and ten horns, while beneath and in the centre of the picture is Lucifer, already changed into a most hideous beast. And so anxious was the artist to make him frightful and horrible that it is said—such is sometimes the power of imagination—that the figure he had painted appeared to him in his sleep, demanding to know where the painter had seen him looking so ugly as that, and wherefore he permitted his pencils to offer him, the said Lucifer, so mortifying an affront." Vasari attributes a fatal result to this vision. "The artist awoke," he says, "in such extremity of terror that he was unable to cry out, but shook and trembled so violently that his wife, awakening, hastened to his assistance. But the shock was so great that he was on the point of expiring suddenly from this accident, and did not in fact survive it beyond a very short time, during which he remained in a dispirited condition, with eyes from which all intelligence had departed" (i. 269). In fact, however, Spinello lived many years and executed several important works after the date in question. Some years ago the church of the Angeli was dismantled, and the greater portion of the frescoes perished. Sir A. H. Layard, who was passing Arezzo at the time, was fortunately able to secure a large piece of the principal fresco. The fragment is from the centre of the composition, and contains a portion of the figure of Michael and six of the angels following him. The archangel, with raised sword, is striking at the dragon; his attendants, armed with spears and swords, thrust down the demons. Besides these figures, Sir A. H. Layard was able to save a portion of the decorated border of the fresco (1216 A & B). These he presented to the nation in 1886.