The group of the fainting Virgin may possibly seem conventional, but what sweet piety is in the feeling of the other figures! St. Dominic, devoutly kneeling, inclines his head (cleverly foreshortened and marvellously expressed) and extends his arms to the Redeemer; St. Zenobi (or St. Ambrose the archbishop) standing upright, points with his right to the Saviour; St. Jerome, in hermit's dress, bends forward and clasps his hands in prayer; St. Augustine holds his pen in one hand, his book and pastoral staff in the other; St. Francis brings his hand to his brow in an attitude of melancholy indefinable sadness. The Saints Benedict, Bernard and Romuald follow, then St. Thomas Aquinas with a most beautiful head full of life and character (it must certainly be a portrait, so life-like is the expression), next St. Peter Martyr with his hands on his breast; and lastly in the foreground an unknown monk (Padre Marchese thinks it is St. John Gualbert) who weeps, with his left hand over his eyes.[45]
On the left of the fresco, near the swooning Virgin, stands St. John Baptist pointing to the Saviour; St. Mark kneeling shows his gospel; St. Laurence clasps his hands on his breast; and St. Cosmo wrings his hands as he contemplates the Cross; while St. Damian turns, covering his eyes, and weeping the mournful loss of the Lord.
In the ornamentation of the simulated frame which surrounds the fresco, are hexagonal spaces containing half figures of prophets with labels, containing texts referring to the passion of Christ; and below them on the right, the Erythrean Sibyl. In the lower part of the frieze, are ten rounds, containing portraits of the most illustrious members of the Dominican Order. In the centre St. Dominic, on the left Pope Innocent V., Cardinal Ugone, Father Paulo the Florentine, the Archbishop St. Antonino (this must surely have been added later), the blessed ones Giordano of Saxony, Niccolò, Remigius the Florentine and Buoninsegna the martyr. On the right are the blessed brethren John Dominici, Peter of the Marshes, Albertus Magnus, St. Raymond, Chiaro of Sesto, St. Vincent Ferreri and Bernard the martyr.
Retouches and restorations are not wanting in this picture, the drapery has been repainted in several parts and the background has been smudged with that reddish colour, which, in altering the tone of the whole fresco, has injured the limpidity of colour and original refinement of harmony.
The chronicles of the convent of San Marco record another Crucifixion by Fra Angelico in the refectory of the monks, "probably," writes Padre Marchese, "a replica of that which he had already painted in the Fiesolan convent." This now no longer exists, it appears to have been destroyed to make space for Sogliani's great fresco of St. Dominic at table with his brethren, when they were supplied with bread by angels. But in the cells and dormitories of the Florentine convent Fra Angelico scattered lovely proofs of his genius and sentiment, pouring out on them with rare talent the most exquisite grace of his brush, and tenderest thoughts of his soul. From the "Annunciation" to the various scenes from the life of Christ; from the "Virgin among the saints," in the corridor, to the decoration of the room which Cosimo had built for himself in his favourite convent, all breathe such sweet poesy in the grace and simplicity of the varied scenes, that one cannot look at them unmoved.
Facing the entrance of the upper corridor of the cloister he painted the Angel bringing the glad tidings to the Virgin. We have already noted in regard to this subject as created by him at Cortona, how the representation finds its greater development here, where the artist succeeds better in rendering the feeling of veneration on the part of the heavenly messenger, and the submissive humility of the Virgin.
The same subject is repeated in a cell (No. 3), but in this design, which breathes the same sentiment of sweetness and piety, St. Dominic in reverent attitude is looking on.
