Fra Angelico

by I. B. Supino

Fra Angelico painted in the roof of the chapel a "Christ in Judgment," surrounded by a "glory" of angels. Sixteen saints and prophets are seated on clouds with the motto: Prophetarum laudabilis numerus. The Saviour in a circle of light raises His right hand on high, while the left supports a globe on His knees. On both sides are groups of angels in varied attitudes of adoration. The prophets stand out in pyramidal groups on a background of gold, and are either reading or meditating with religious calm. Rosini judges the Christ to be the work of Benozzo Gozzoli, because it seems inferior to the prophets, which show a grander treatment and better execution. "I think," he writes, "that the prophets alone belong to Fra Angelico; the Christ in glory, and the remainder to Benozzo and the others. I am led to this not only by their different style, but the heads of the prophets, although they are disposed one above the other, as the space demands, show the more dignified style, and perfect execution of the Florentine monk. That perfection ought to be seen also in the Christ, which seems to me to be a little inferior to them."[61]

But even while admitting that the features of the Saviour have in some parts the characteristics of Benozzo's style, we must not forget that he derived from his master both his good and bad points, and from the latter especially originated those peculiar defects, which are greatly emphasized in Benozzo's works. Hence it is natural that something of the scholar's manner should appear in that face, but it is no proof that he has worked at it. On the contrary it is enough to prove the impossibility of ascribing this figure to him, to glance at the head of Christ in Benozzo's fresco in the church of St. Francis at Montefalco, representing the meeting of St. Francis and St. Dominic. High up on the left the Saviour raises His right hand and the Virgin kneels at His feet. Now all the figures are absolutely wanting in dignity and character, especially the downcast head of Christ, with its projecting forehead and receding chin, which is absolutely vulgar. Here Benozzo has not even distantly remembered any of his master's noble representations of the Saviour. Therefore not only had he no part in that figure at Orvieto, but neither could he have done the prophets, for they are far superior to the Christ. Finally, it is not probable that Fra Angelico, with the feeling which inspired his work, should entrust to an assistant the execution of such an important figure as the Christ.

Even though the figure of the Christ is not to be compared to the finest of the prophets, yet we find in the countenance the same characteristics as the other heads display. True, it looks worse than it really is, for a crack in the roof has damaged the mouth and beard, and the fresco has besides suffered in the restorer's hands.

It is a known fact, that a few months after Fra Angelico left, it was necessary to repair the roof of the chapel in which he had worked, on account of the rain that percolated there, to the great detriment of the paintings.

However this may be, it is certain that the heads of the prophets have sweetness of expression and nobility of character, and all the figures are remarkable for their fine form, dignified attitudes, free and simple draperies, combined with bright and vivid colouring. These qualities are not so visible in the compartment of our Lord and the adoring angels, which may with more certainty be attributed to Benozzo.

Fra Angelico returned to Rome on the 28th of September in that year (1447) and never went back to Orvieto, but his reasons for breaking his contract and leaving a work incomplete are not explained.

Perhaps he perceived the difficulties of the composition and was arrested by the terrifying dread—which his character and feeling would have magnified—of painting a Last Judgment in such grand proportions. Or he may have had an intuition, that his work would never be worthy of that famous building, especially as he was called on to depict the punishments of hell and the various feelings of sorrow, passion and despair in the damned souls, sentiments so foreign to his own nature. Or possibly the desire to finish the paintings entrusted to him in Rome by the new Pontiff Nicholas V., induced him to break his contract. In the absence of more precise records it is difficult to establish the truth.

Certain it is that Fra Angelico left Orvieto for Rome and that he painted there a "Studio" or Chapel for Nicholas V., for which the payment is entered in a register dated 1449, but "after this year," writes Müntz, "we find no more traces of the illustrious Dominican, in the books of the secret treasury."[62]

On January 10th 1452 Fra Angelico is again at Fiesole as prior of his convent, and in the same year the rulers of the Commune of Prato employed the good offices of Archbishop Antonino to induce Fra Angelico to paint the principal chapel of their church; but he refused, and the commission was given to Filippo Lippi.