"Well! sakes alive! live and larn," exclaimed Aunt Pilcher, "but it's enough to make a body think they never knowed anythin' when they find oat some things!"
Translated from Le Contemporain.
A PORTRAIT OF FRA ANGELICO.
BY EDMOND LAFONDE.
At dawn of a summer's day in the year of grace 1453, a Dominican monk set out from his convent of Santa Maria sopra Minerva, at Rome. He was an old man, but the brightness of youth still shown in his aged countenance, attributable, perhaps, to the shadowless sanctity of his life, and the purity of a soul which had never known wrinkles. He walked slowly in his dress of white woolen covered with a black scapular, his shaven head bared to the sun, his eyes cast down, and his hands employed in rolling the beads of the Rosary of St. Dominic. He traversed the square of the Pantheon, and was going to cross the bridge of St. Angelo, when, in passing the prison of the Tor di Nona, he saw coming out of it a funeral cortége; a condemned person, led to death in the usual place of execution, the piazza della Bocca Verità. A man nearly forty years of age, of noble and proud figure, but seemingly worn out by vice or grief; his costume curious, and wholly oriental; clothed in red silk, with a turban ornamented with gold and ermine. A Franciscan accompanied him, but endeavored in vain to direct his thoughts to heaven, and make him kiss the crucifix, from which he turned away his lips in discussed. The crowd that followed, becoming infuriated, exhorted him to penitence, crying out, "Amico, pensa a salvar l'anima." "My friend, think of saving thy soul."
As soon as the Franciscans saw a brother priest, he called to him, saying: "Ah! Fra Giovanni, in the name of the holy friendship which united our two glorious patriarchs, St. Dominic and St. Francis, come to my aid. You see this unhappy man. He is one of the Greeks just come from Italy, since the taking of Constantinople. His name is Argyropoulos. He has murdered a Roman woman; is doomed to die, and will not reconcile himself with God. He is not merely schismatical, but pagan. Try if you can be more successful than I." At a sign from the chief of the guard the cortége stopped—for in Rome, since the earliest age, pontifical justice does not wish to kill the soul, and makes every effort to save it while sacrificing the guilty body. Fra Giovanni tried to speak to the Greek, but was met with repulse and blasphemy. With tears rolling down his cheeks he whispered a few words to the Franciscan, who, elevating his voice, thus addressed the chief of the guard: "This son of St. Dominic," he said, "is Fra Giovanni of Fiesole, the favorite painter of his holiness. He is going to the Vatican, and will ask the Holy Father a delay of one day, in order to try once more to induce the sinner to repent." The people applauded, and the captain of the guard declared himself willing to assume the responsibility of suspending the execution while awaiting a new order from the sovereign pontiff. The condemned man, who remained apparently immovable during this debate, was re-conducted into the prison of Tor di Nona, where still later were to be enclosed the guilty family of Cenci, and the Franciscan entered with him. The crowd remained a long time before the door, losing none of its interest or curiosity. Fra Giovanni again pursued his way to the Vatican, his soul, so calm ordinarily, deeply agitated and troubled by the unfortunate event. Arrived at the square of St. Peter, he kneeled by the obelisk which contains a piece of the true cross; then passing the guards, who were daily accustomed to see him, entered without difficulty into the pontifical palace. He repaired immediately to the new chapel, which Pope Nicholas V. had just finished, and charged him to decorate; for it is time to say that Fra Giovanni was the painter-monk of Fiesole, whose purity of genius and sanctity of life had surnamed him Beato (blessed) or Fra Angelico (the angelical brother), under which latter name he is most generally known, and which is equally appropriate to his beauty of soul and to his works. The great Pope Nicholas V., who had known him at Florence, and watched the budding of these marvellous products of his pencil in the convent of St. Mark, had just called him to Rome, where Eugene IV. had already bid him come, to enthrone in his own person Christian art in the Vatican. Nicholas V. had built in his palace a small chapel, in which he desired the painter-monk to retrace for him the story of St. Lawrence and St. Stephen, reuniting them in the same poetical commemoration; as had been the custom of the faithful to invoke them, since their bones had lain united outside the walls in the ancient basilica of St. Lawrence. This chapel being very small is lighted by a single arched window; happily it has been preserved, and is one of the sanctuaries where the friends of Christian art love to make a pilgrimage. Below the window is now placed the altar which formerly faced it. On the three other sides Fra Angelico has painted two series of compositions, one above the other; in the arches of the upper part is represented, in six compartments, the history of St. Stephen, and in the lower that of St. Lawrence. On entering the chapel Fra Angelico fell on his knees to pray God to guide his pencil, then commenced to paint the scene where St. Stephen was led to martyrdom. He there represented an enraged Jew, who conducts the saint outside of Jerusalem, while others pushed and pursued him with stones in their hands. While painting the violence of the Jews Fra Angelico [{673}] thought deeply of the Greek whose execution he had arrested, and awaited with pious impatience the arrival of the Pope, who never failed daily to visit the works of his favorite painter. The Dominican interrupted his work now and then to rest, reposing his mind with prayer and singing occasionally a stanza of Dante, who was then for mystical painters an unfailing source of religious inspiration. He recited the exquisite passage where Dante paints the glorious martyrdom of St. Stephen:
"Poi vidi genti accese in fuoco d'ira
Con pietre un giovinetto ancider, forte
Gridando a se pur; Martira, martira, ect."
"Then I saw an excited and angry crowd, stoning and forcing onward a young man, with loud cries of 'Kill him, kill him!' And him I saw bent to the earth by the weight of death, but with eyes uplifted and turned to heaven; in the midst of the terrible struggle praying the sovereign God to forgive his enemies, with an expression so beautiful as to command pity and respect."