Though constrained to repeat to excess the usual subjects, too traditionally drawn, "he often," as Burckhardt writes, "understood how to avoid in the features of his saintly personages that aspect of abstract impersonality, which had hitherto marked them, and to animate them with delicate and individual life. He succeeded in giving a new character to the time-honoured types used in preceding artistic representations. To prove this it is sufficient to cite the St. John Baptist—one of Fra Angelico's finest creations.
He modifies the traditional type of Christ according to his own faith and feeling. Deriving it from Giotto, with improvements gathered from Orcagna, he excels both masters, impressing on it a divine character, and giving to the face of the Man God a sweet gentleness which is truly sublime. These qualities reach the highest grade in the "Coronation of the Virgin" at the Convent of San Marco, and in the picture at Pisa[8] where the Saviour is represented standing upright, in the act of blessing with his right hand, while in the uplifted left he holds a golden cup.
He is represented full face, in all his majesty, his features of an exquisite sweetness and nobility,—a grand figure, which has all the seduction of a vision, such as our Dominican alone could conceive and design.
As he could, in a manner no one had ever done before, give to the figure of the living Christ the expression of infinite goodness, ready for sacrifice; so in his Crucifixions, instead of following the example of his contemporaries, who depicted Christ already dead, with marks of sorrow on His features, and contorted by the spasm of a violent death; he represented Him living, calm and serene, conscious of the sacrifice He completed, and full of joy in dying for man's salvation.
The type of the Virgin, too, though its characteristic construction of features, and short and receding chin, are derived from the Sienese masters, especially from Lorenzetti, in Fra Angelico responds to an artistic idealization chosen by him as approaching more the divinity of her person. The flowing robes of the Virgin show her long and refined hands, but beneath that mantle he draws no feminine figure nor can one even guess at it. All the power of the artist is concentrated in her face
umile in tanta gloria, (humble in such great glory)
on which the artist has impressed such candour, and so lively an expression of ineffable grace, that one is involuntarily moved to devotion.
The divine child with its golden curls, full and sunny face, wide open and sparkling eyes, is in the pictures at Cortona and Perugia depicted with rosy fingers in the act of blessing; in the "Madonna della Stella" He embraces His mother so closely that He almost hides Himself in her bosom; in the great azure-surrounded tabernacle of the Linen Guild, He is smiling; while in the fresco of the corridor at San Marco, He has an ingenuous wondering gaze as He holds forth His little hand,—an expression so natural that it shows a happy grafting of ideal representation, on a conscientious and close study of the real.
Full of character, too, are the heads of his old people, with flowing beards and severe aspect, and those of his saints and martyrs, which were evidently either young novices of the convent, contemporary brethren, or elder companions in the faith, portrayed with sapient and ingenuous realism. But the figures which most brilliantly display his genius, are those diaphanous angels, robed in flowing tunics, resplendent with gold, and of infinite variety. While admiring that multitude of celestial creatures, who praise, sing and dance around the radiant Madonnas, how can we doubt that they have visited his cell, and that he has lived with them in a fraternal and sweet familiarity?[9]