Curiosities of Christian History Prior to the Reformation

by James Paterson

THE NUNS CRITICISING THEIR ARTIST’S WORKS (1342).

The same great Florentine painter, Buffalmacco, about 1340 was employed by the nuns of Faenza to paint a sacred historical picture for them, and they were greatly pleased with every part of the details, except only that they thought the faces rather too pale and wan. Buonamico, hearing this, and knowing that the abbess had the very best Vernaccia wine that could be found in Florence, and which was indeed reserved by them for the use of the Mass, declared to the nuns that this defect could be remedied only by mixing the colours with good Vernaccia, and that when the cheeks were touched with colours thus tempered, they would become rosy and lifelike enough. The good sisters, who believed all he said, on hearing of this kept him amply supplied with the very best Vernaccia during all the time that his labours lasted, and while cheerfully swallowing this nectar he found on his palette colour enough to give as much rosiness as the ladies desired. It was related, however, that the painter was once surprised by the nuns while drinking the wine; but when he heard one of them saying to another, “See now, he is drinking it himself,” he instantly took care adroitly to throw part of the contents out of his mouth on the picture, whereby the nuns were fully assured as to their mistake.

BROTHER ARTISTS RIVALLING EACH OTHER (1400).

Filippo Brunelleschi and Donato were both sculptors at Florence about the year 1400. Donato had completed a crucifix for the church of Santa Croce in Florence, to be placed beneath the picture of Taddeo Gaddi, which represented the girl restored to life by St. Francis. Filippo, on being shown the crucifix, and being asked by his friend what he thought of it, replied that Donato had placed a clown on the cross, and not a Christ, whose form was of perfect beauty. Donato testily replied, “Take wood then and make one yourself.” Filippo, who did not allow himself to be irritated, felt that there was some truth in the retort, and resolved to set about the making of a crucifix himself, such as he thought ought to have been produced. He did this secretly, and it was (as may now be seen in the chapel of Count Bardi) an admirable work. Some time afterwards Donato was engaged to come and dine with him, and they had bought a lot of eggs and delicacies, which Donato was carrying homeward in an apron, when he was told to go forward to the house with these, and his friend would follow. On entering, Donato’s eye caught sight of Filippo’s crucifix, of which he had never heard anything, and was so amazed and ravished with it that all the eggs and dainties fell at once to the ground, as his eyes became riveted on beauties such as he himself could never attain to in the disposition of the legs, body, and arms. He at once confessed it was a miracle of art. And the two rivals were good friends for ever after. Filippo was also a skilful and ingenious architect and engineer, and was recommended to the Pope by Cosmo de Medici as a man of such immense capacity that he would have confidence enough to turn the world back on its axis, a compliment which made the Pope stare at Filippo, who was small and insignificant in appearance. Count Sforza said that if every state had a man like Filippo, they might all live in peace without the use of arms.

A PAINTER AFFRONTING A FALLEN ANGEL (1408).

The painter Spinello Aretino was in 1408 engaged by the monks of St. Agnolo, in Arezzo, to paint the wall of their church near the high altar, and the subject was to be the “Fall of the Angels.” In the air appeared St. Michael in combat with the old serpent of seven heads and ten horns, while beneath and in the centre of the picture was Lucifer, already changed into a most hideous and devilish form. So anxious was the artist to make Lucifer frightful and horrible, that one night in his sleep Lucifer appeared to him and demanded to know where the painter had ever seen him look so ugly as that, and why he permitted his pencil to put so mortifying an affront as this upon him. The artist awoke in such extremity of horror that he was unable to speak, and he shook and trembled so violently that his wife thought he was dying. The shock proved to be so great that he never recovered the effects of it, remaining in a most desponding mood, and he gradually sank till he died in a very short time thereafter. It is also related of Lodovico Caracci, that when he had taken down the scaffold on which he had painted the arch above the altar of Bologna Cathedral, he noticed the foot of an angel bending before the Virgin crooked. He wanted to set up the scaffold again, and died of grief at this mischance.

ANGELICO’S DEVOTION TO SACRED ART (1455).

Fra Giovanni Angelico da Fiesole, usually called Angelico, who died in 1455, was both a painter and a devoted Churchman. Though born to plenty, and having a strong turn for art, he entered the order of preaching friars at the age of twenty, and began painting the Virgin and Christ and saints. Cosmo de Medici saw his merits, and engaged him to paint the Crucifixion for the church of San Marco at Florence, and he filled the lower ground with all the saints who were founders of religious bodies. Vasari said his picture of Gabriel making the Annunciation to the Virgin was considered so beautiful that the spectator could scarcely believe it to be the work of man, but that it must have been executed in Paradise. But his masterpiece was thought to be the coronation of the Virgin, surrounded by angels, saints, and holy personages. Vasari said the heads and figures were so varied in expression and attitude that people had infinite pleasure in looking on them, and all admitted that even the saints themselves in heaven could not look otherwise than in this picture, and that no other than the angels themselves could produce such figures of elevated beauty, dignity, and devotion. The Pope invited him to execute various works at Rome, and was so charmed with the simplicity and modesty of the artist that he offered him a high appointment in the Church, as he was a friar and qualified; but the artist declined it and recommended a poor friend, to whom this office was kindly given. Angelico, in the estimation of his contemporaries, lived a life of pure holiness. He laboured continually at his paintings, but would do nothing that was not connected with things holy. He despised riches and had no anger in his composition. He used to say that the only true riches was contentment with little. He said he sought no dignity, and all he cared for was to escape hell and draw near to Paradise. He said that he who practised the art of painting should live without cares or anxious thoughts, and he who would do the work of Christ should perpetually remain with Christ. His pictures of saints excelled those of all other artists. He said he never took up his pencil without first offering a prayer. He never painted a crucifix without tears streaming from his eyes. Some friendly hand painted his own portrait on the outside of his tomb in the church of the Minerva at Rome.

BRONZES FOR THE GATES OF PARADISE (GHIBERTI, 1455).

Lorenzo Ghiberti, a famous Florentine sculptor, who excelled in casting his sculpture in metals, had acquired so great a reputation that the city authorities gave him a commission about 1439 to decorate the chief door of San Giovanni with bronzes representing scenes or histories from the Old Testament. The door when finished met with unbounded praise from all quarters. When Michael Angelo was asked what he thought of it he said, “They are so beautiful that they might fittingly stand at the gates of Paradise!” This artist put his own portrait as well as that of his father on one part of the decorations of the border of the door. Lorenzo had shown his genius at the age of twenty, when he won the prize for which the first artists competed—namely, a bronze representing the sacrifice of Isaac by his father Abraham. Other bronzes representing separate subjects followed. For this great work he was liberally paid, and its admirable execution led to many lucrative commissions of a like kind.