Then came that sad 23rd of May, the eve of the Ascension, when three martyrs went calmly to their death beneath the shadow of the old palace, amidst the insults of an infuriated crowd, and Arno's yellow waters received their ashes. [Footnote: Capponi, chap. ii. p. 253.]
After the death of Savonarola the party had many defaulters; but Baccio, the Delia Robbias, Credi, Cronaca, and many other artists, were faithful, and even showed their grief by abandoning for a time the arts they loved. "It almost seemed as if with him they had lost the sacred flame from which their fervid imagination drew life and aliment." [Footnote: Marchese, San Marco, lib. iii. p. 261.]
While all these events had been taking place, Baccio had worked as often as his perturbed spirit would allow, at a great fresco of the Last Judgment, in a chapel of the cemetery of S. Maria Nuova. A certain Gerozzi, di Monna Venna Dini, gave him the commission, and as far as he had gone, the painter had given entire satisfaction. This fresco, his first as far as is known, shows Baccio's style as fully as his later ones. We have here his great harmony of form, and intense suggestiveness in composition. The infinity of heaven is emblematised in circles of saints and cherubim around the enthroned Christ. The cross, a link between heaven and earth, is borne by a trinity of angels; S. Michael, as the avenging spirit, stands a powerful figure in the foreground dividing the saved from the lost; the whole composition forming a heavenward cross on an earthly foundation. There are no caves and holes of torture with muscular bodies writhing within them; but in the despairing figures passing away on the right, some with heads bowed on clasped hands, others lifting up faces and arms in a vain cry for mercy, what suggestions there are of infinite remorse!—more dignified far than the distorted sufferers in the torture pits of previous masters. These are just indicated by two demons, and a subterranean fire behind the unblest souls. Miss Owen, [Footnote: Art Schools of Christendom, edited by Prof. Ruskin.] speaking Mr. Ruskin's sentiments, calls this a great falling off from Giotto and Orcagna's conceptions; but though theirs may be more powerful and terrible, a greater suggestion of Christian religion is here.
They, and later, Michelangelo, flung Dante's great struggling soul in tangible forms upon the walls, and embodied his poem, awful, grand, and earnest, with all the human passion intensified into human suffering. Fra Bartolommeo shows the Christian spirit; his faces look beyond the present judgment, and, instead of wrath, mercy is the predominating idea. It is like the difference in spirit between the Old Testament and the New.
The painter's reverence of Fra Angelico, and estimation of the divinity of art, is shown by Fra Angelico being placed among the saints of heaven on the right of the Saviour.
Leonardo's instructions for shading off a light sky will occur to any one who studies the finely gradated tints mingling with the clouds around the celestial group. But grand as the fresco is, and interesting as it must have been to the artist at this time, when thoughts of Savonarola mingled with every stroke, he felt he was not fulfilling his true mission in the world. Drawn more and more to the convent, hallowed to him by the memory of the martyr-friar, he was also more attuned to thoughts of retirement by family bereavements—one young brother, Piero, only being left to him out of the whole circle. The reluctance to leave this youth alone may have deferred for a time his taking the monastic vows; but having placed him under the guardianship of Santi Pagnini, a Dominican, he consigned the Last Judgment to Mariotto to finish, and leaving his worldly goods to his brother, took the habit in the convent of S. Domenico, at Prato, on July 26th, 1500, two years after first making the resolution. His year of probation over, he took the final vows and became Fra Bartolommeo.
A document in S. Marco proves that he was possessed of worldly goods when he entered, [Footnote: Rosini, Storia della Pittura, chap xxvii.] among which were the house of his father in S. Pier Gattolini, and the podere at Brozzi. Having once given himself up to monasticism, Fra Bartolommeo would offer no half-service, his brushes were left behind with all other worldly things, and here closes Baccio della Porta's first artistic career.
His sun was set only to rise again to greater brilliance in the future as Fra Bartolommeo, a name famous for ever in the annals of art.