Fra Angelico à Santa Maria Novella

Auteur: Mary Shelley 1842-1843 en wikicode

Mary Shelley et ses compagnons réussissent, non sans mal, à se faire ouvrir un local où sont conservées des reliquaires peints par Fra Angelico. Sa description ne correspond toutefois pas aux quatre reliquaires aujourd'hui connus (https://fraangelicoinstitute.com/2018/06/12/fra-angelicos-four-reliquaries-for-the-church-of-santa-maria-novella-part-4-of-the-heaven-on-earth-exhibition/).

The Beato Fra Angelico surpasses all his contemporaries in the celestial sweetness he infuses into the countenances of his saints and angels. We may believe ourselves regarding the blessed in the kingdom of heaven, as we look at these creations of a mind cradled in love, charity, and devotion. Fra Giovanni, of Fiesole, known as the blessed Fra Angelico, presents in his life the very type of a Christian ecclesiastic. He gave himself wholly up to piety and good works. His humility was such, that when Pope Nicholas V. desired to make him Archbishop of Florence, he represented to his Holiness that he did not feel himself formed to govern the many, and implored him to name another more worthy in his stead. “It appears, from this holy man,” says Vasari, “that the monks of his time did not desire to obtain those burthensome honours which they did not think that they could worthily fulfil, and were ready to yield them to others whom they judged more capable—as did this truly angelic father, who spent his life in the service of God, and in benefiting the world and his neighbour; and what more can be desired by man than by living holily to attain the kingdom of heaven, and acting worthily to acquire eternal fame on earth.” Fra Angelico was no lazy priest—besides his works elsewhere, Florence abounds with lovely images whose serene and blessed faces breathe the virtues of their author. The delicacy and softness for which he is remarkable never degenerates into insipidity. His pure taste made him conceive the highest beauty, his faith gave him a foretaste of beatitude, and he adorned with these attributes the beings whom alone he consented to represent, the saints and angels of Paradise.[1]

We had a curious scene in the sacristy of the church of Santa Maria Novella, whither we went to hunt for one of the works of this angelic artist; the reliquaries mentioned by M. Rio; consisting of two tablets painted with a series of miniatures, representing the Life of Jesus Christ; the Last Judgment, in which the beatitude of the elect appears in all its living ecstasy, and St. Thomas Aquinas and Albert the Great, surrounded by their disciples. For a long time the keys could not be found of the closet in which these reliquaries were deposited; and a most active hunt after them was made. At length they came to light, and the tablets were brought out. The Dominican, who took every pains to find them for us, had lately arrived from Rome, and had never seen them. His almost childish delight, as he regarded the inexpressible loveliness of these exquisite miniatures, was highly amusing. Whenever you have to do with an Italian, you do not encounter the doltish ignorance of an English clown, nor the dogged sullenness of a German. He takes pleasure in your pleasure, and interests himself in the objects which are exciting your interest, in a manner at once gratifying to us and honourable to himself.

References

  1. “The compunction of man’s heart—its aspirations towards God—the rapt ecstacy—a foretaste of celestial beatitude—all that class of profound and exalted emotions which no artist can represent without having previously experienced them, formed, as it were, the mysterious circle which the genius of Fra Angelico delighted to follow, and when ended, he recommenced with renewed delight.”—La Poesie Chretienne.