The Story of Assisi

by Lina Duff Gordon

"It was here, in the Upper Church of Assisi," says Mr Roger Fry, "that the Italian genius first attained to self-expression in the language of monumental painting, a language which no other European nation, except the Greeks, has ever mastered." But the question as to who were the predecessors of Giotto, and when exactly they came, can never, we think, be answered; for the time is not far off when these splendid ruins of early art will have totally faded away, or, what is infinitely worse, be covered with still thicker layers of paint than the "restorer" has already laid upon them.

LOOKING THROUGH THE DOORS OF THE UPPER CHURCH TOWARDS THE PORTA S. GIACOMO AND THE CASTLE

Vasari finds no difficulty about the matter, declaring, to his own satisfaction and for the instruction of future generations, that every fresco in the apse and transepts, together with the series relating to the history of the Jews and the life of Christ, are by Cimabue. But then Cimabue was a Tuscan, and Vasari, the painter of Tuscan Arezzo, was determined to give as much glory to his fatherland as he could. We too would give all possible honour to Cimabue, but are bound to follow the opinion of later critics, who less prejudiced and hasty in their criticisms than Vasari, see the work of many hands in all these frescoes; so we have gathered together a few notes concerning them from various authorities to help the traveller to form his own ideas upon the subject. The theme is too endless to attempt in a small space to give more than a very brief summary of the chief facts.

Frescoes of the Choir and Transepts.—These may be divided into two distinct classes, those of the north transept, which are older and inferior to those of the south transept and choir. Herr Thode attributes their difference to the fact that while all are the work of Cimabue, the frescoes in the north transept were painted when he was quite young, while the rest belong to a later period, when he had attained his full powers. The Crucifixion of the north transept, one of the most ruined, reminds us somewhat of works by Margaritone which may be studied, without much pleasure, in most Italian galleries. The figures standing round the Cross are short, with small heads and large hands, and not even in the fainting Madonna is there the slightest charm. In the Martyrdom of St. Peter, on the next wall, it is curious to note the similarity of treatment to Giotto's fresco at Rome of the same subject. The Saint, head downwards upon the Cross without any group of people would have made but a dull composition; so both artists added an obelisk on either side to relieve the monotony of line.

Then follows the scene of Simon Magus being borne upwards by demons with bat-like wings; and upon the next wall, beneath the triforium, is represented the death of Ananias and Sapphira, and St. Peter curing the lame before the Temple, where the figures are certainly more majestic and, according to Herr Thode, distinctly show the hand of Cimabue.

Behind the papal throne are medallions of the friend and patron of St. Francis, Gregory IX, and of Innocent IV, who consecrated the Basilica. The frescoes represent the life of the Virgin, but they are all too faded to be enjoyed, save that of the Coronation on the right wall, just above the choir stalls; the Virgin is seated upon a wooden throne with Christ by her side and a group of apostles and spectators beneath. There is a striking resemblance in the drawing and form of the standing figures to those in the Crucifixion of the south transept. This, though very ruined and blackened in parts, showing no other trace of colour than a faint film of golden yellow, has still the power to make us feel that once, long ago, it was a fine work, worthy of a great master. Weeping angels fly above the Cross, some with outstretched hands, while others veil their eyes from the sight of the suffering Saviour; the Magdalen, her arms thrown up above her head, is seen in strong relief against the sky, and contrasting with this dramatic gesture, is the figure of the Virgin, erect and still, her hand clasped in that of St. John. The whole conception is dignified, replete with dramatic feeling of the nobler kind, and has been thought worthy, by Herr Thode, to be put down as the finest of Cimabue's creations.

The remaining frescoes deal with scenes from the Apocalypse, but they are so ruined that it is a thankless task for any, except the student, to try and distinguish each separately. Indeed after a minute examination of so many ruined works of art, a certain sadness and weariness is felt, but if the pilgrim has time to rest awhile in a quiet corner of the stalls and look at choir and transepts solely for their colour, he will gain for himself many beautiful memories not easily forgotten. It is a vision of youthful saints, of men with lances hurrying down a rocky mountain side, of angels trumpeting to the four ends of the earth, and out of this medley of shadowy forms in fading frescoes, like sunlight breaking through a mist with golden light, loom the mighty angels of Cimabue. Their heads are crowned by a heavy mass of auburn hair, their wings slightly lifted, as though they were on earth but for a short space, and they seem as remote from mortals as the Sphynx herself in their dignity and calm repose. To Cimabue belongs the conception of such grave and strangely beautiful creations, winged messengers of strength, who come midway between the stiff Byzantine figures, and the swift-moving angels of Giotto and the cherub children forms of later Umbrian and Venetian schools.

The Nave.—All writers upon the subject agree that here the frescoes show no trace of Cimabue's style, but are from the hand of his contemporaries and pupils, who worked together in unfolding the history of the Jews and the world's redemption. If it is impossible to hint even at the names of these artists, the most hurried traveller must notice the different character which marks the legend of the New Testament from that of the Old, where the work of talented copyists of classical works of art differ from that of others who kept nearer to the style of Cimabue, instilling into it more or less life, as their individual powers permitted. Herein lies much of the history of early Italian art, but the few remaining frescoes, especially on the left wall, have been so terribly over-painted that the work of the critic is rendered well-nigh hopeless.