The Story of Assisi Part 9

The arch at the end of the nave is painted to represent a series of niches, in each of which stands the figure of a saint, all are much repainted, as are the medallions of St. Peter and St. Paul by the door. The Descent of the Holy Spirit is greatly ruined, and in the Ascension the _intonaco_ has peeled off, showing the bricks, so that the apostles have the appearance of looking over a wall.

The ceiling is frescoed in three different places by other masters, whose names have not come down to us. Between the transepts and nave the four Evangelists, seated outside the gates of towns, are so utterly ruined and blackened by time and damp that it is barely worth craning one's neck to look at them.[71] But the four medallions of Christ, the Madonna, St. John the Baptist and St. Francis, which ornament the centre of the nave, are among the most beautiful things in the church, and quite perfect as decoration. At each corner of the spandrels stands an angel upon a globe, with wings uplifted, delicate in outline and brilliantly coloured, while the whole is bordered by the most exquisite design of blossoms and green foliage rising out of slender vases, which mingle with cupids, angels, winged horses and rabbits on a dull red ground. It must have been painted by one who had learned his art from the same source whence the decorative painters of Pompeii drew their inspiration.

It is not an easy thing to fit entire figures seated on large marble thrones into triangular s.p.a.ces, and so the artist found, who in the groined ceiling nearest the door had to paint the Doctors of the Church, Sts. Jerome, Gregory, Ambrose and Augustin, dictating their epistles to busy clerks. But there is much that is charming in them, though as decoration they partly fail, and a resemblance may be found to the frescoes of Isaac and his sons, which seem to have influenced Giotto in his paintings of old men.

Vasari's enthusiasm was roused when he looked upon these endless paintings, and he tells us that: "This work, truly grand and rich, and admirably well executed, must, I conceive, in those times have astonished the world, the more so that painting had for so long been sunk in such obscurity: and to me, who saw it once more in 1563, it appeared most beautiful, as I thought how Cimabue, in such darkness could have discovered so much light."

It would be well, before leaving, to look at the windows of the Upper Church, which are among the oldest in Italy, and, according to Herr Burckhardt, the most beautiful. As of most things connected with San Francesco, little is known about them; Vasari says they were designed by the painters of the frescoes; an opinion partly held by Herr Thode, who sees a great resemblance to the style of Cimabue in the right-hand window of the choir (the centre one is modern) with scenes from the lives of Abraham, David and Christ, of most beautiful colour and design. The left window, belonging to the same period, contains nave scenes from the Old Testament, amongst which (the sixth from the top of the left half) is Jonah emerging from a blue-green whale the colour of the waves, and possessed of large white eyes.

Those of the transepts of the same date are even finer and more beautifully coloured. Medallions of geometrical patterns of exquisite design and hue ornament the left-hand window of the north transept, while that on the right contains scenes from the Old Testament and the life of Christ; in both of these, according to Herr Thode, the influence of Cimabue is apparent.

The left window of the south transept contains seven scenes from the Creation and seven from the lives of Adam and Eve, who (in the last two divisions of the right half) are being driven out of Eden, and, spade in hand, are working at the foot of a tree. The eight saints of the right window, seated majestically on gothic thrones ornamented with spires, and dressed in rose-coloured, red and green garments, have certainly the appearance of being, as Herr Thode suggests, of a style even anterior to Cimabue.

Half of the bay window on the left, looking towards the altar, is the work of the Umbrian school of the time of Fiorenzo di Lorenzo (there is a Madonna in a blue mantle, and St. Onofrio clothed in vine-leaves), while the left half, with medallions composed of very small pieces of gla.s.s representing scenes from the early life of Christ, are perhaps the most beautiful, and certainly the oldest, in the church, and can even be compared to the stained gla.s.s of French cathedrals. The third window (the second has suffered considerably, and what is left of the original belongs to the fifteenth century) has been a good deal restored, but the large angels with blue and purple wings standing in an arch, behind which a little town is seen, are very fine, and below them is a curious small figure of St. Francis floating in front of a colossal Christ, belonging also to the fifteenth century.

Very beautiful are the two saints beneath gothic arches in the last window, and the priests in their rose-coloured stoles, the bishops in crimson and gold, and the other figures of warriors and saints.

The right half of the bay window near the door upon the opposite side, belonging also to the Umbrian school, contains some charming scenes from the life of St. Anthony, while on the left are incidents of the life of St. Francis. The whole is remarkable for delicate rose colours, greens and pale blues, and a total absence of the strong deep tones of the older and finer windows; but they are very beautiful of their kind, like patches of pale sunshine in the church.

The next two windows betray a more ancient style in the fine figures of the apostles (their heads, alas, are modern), and in the scenes from their lives, which are of a deeper tone than the former one; but even more beautiful is the last window, which does not seem to have been restored within the last three centuries, and where the colours standing out from a creamy background are very lovely. The two large and grand figures of two apostles are believed by Herr Thode to be from drawings by Cimabue.

Both Francesco di Terranuova and Valentino da Udine were employed to repair all the windows about 1476, large sums being expended, princ.i.p.ally by the Popes who never ceased to patronise the franciscan Basilica. A most comical appearance is given by the distressing additions made in our own time of modern heads upon bodies of the thirteenth or fourteenth century. Until very lately an exquisite rose window was to be seen over the eastern door, now replaced by white gla.s.s; one would like to know how it so mysteriously disappeared and where it now is.

No pains had been spared to make San Francesco as lovely in every detail as the brain of man could devise, and it is most remarkable how the frescoes belong to the general idea of the building as though every artist had thought as much of this unity as of the individual perfection of his work. The beautiful papal throne in the choir, of white marble encrusted in mosaic with its frieze of strange animals in low relief, its arms supported by red marble lions, is almost a replica of the Soldan's throne in Giotto's fresco, and was designed by Fuccio Fiorentino in 1347, when the architecture that Giotto delighted in was still the recognised style in Italy.[72] The marble and mosaic altar is of the same date, and the octagonal pulpit of sculptured stone, with saints in small tabernacles, spiral columns and designs of leaves slightly tinted, supposed also to be by Fuccio, is placed at the corner of the wall of the nave looking as if it had grown there.

The columns supporting the arched gallery round the church have each been painted to represent mauve and rose-coloured marbles, and there is not a single s.p.a.ce in all the building which has not been decorated to harmonise with the frescoes, giving a perfect sense of infinite completeness and beauty, to which time has added by mellowing everything into a pale orange colour--the colour of a.s.sisi.

FOOTNOTES:

[68] It is difficult to say how free a hand the artists were allowed when called in to execute work for any church, but probably, in the case of San Francesco, they were obliged to ill.u.s.trate precisely the scenes and events chosen by the friars, who in the case of the saint's legend would be very severe judges, requiring quite the best that the artist could produce.

[69] Later doc.u.ments of the convent speak of a crucifix painted in 1236 by Giunta Pisano with a portrait of Brother Elias "taken from life" and the following inscription:

Frater Elias fieri fecit Jesu Christe pie Misere pecantis Helie Giunta Pisa.n.u.s me pinxit. A.D.M. MCCx.x.xVI.

It hung from a beam in the Upper Church until 1624 when it suddenly disappeared, and it seems to have inspired Padre Angeli (author of the "Collis Paradisi") with the theory that Giunta Pisano was the first to paint in San Francesco, ascribing to him, as some have continued to do, the frescoes in the choir and transept of the Upper Church. Messrs Crowe and Cavacaselle say, on what authority it is impossible to discover, that the middle aisle of the Lower Church "seems to have been painted between 1225 and 1250," ignoring the fact that Pope Gregory only laid the foundation stone of the Basilica in 1228.

Without trying to find such early dates for the history of art at a.s.sisi, it appears to us quite wonderful enough that some fifty or sixty years after the ceremony of the consecration in 1253, Cimabue and his contemporaries--Giotto and his Tuscan followers--had completed their work in both churches.

[70] _Right_ transept is always synonymous with _South_ transept, but in this case, as San Francesco is built with the altar facing to the west because it was necessary to have the entrance away from the precipitous side of the hill, the _Right_ transept looks to the _North_, the _Left_ to the _South_, and we have thought it easier to keep to the actual position of the church in describing the different frescoes. Herr Thode in his book has done this, but it may be well to observe that Messrs Crowe and Cavacaselle refer to the transepts and chapels as if they faced the parts of the compa.s.s in the usual way.

[71] To facilitate seeing the paintings of the ceiling, both here and in the Lower Church, it would be well to use a hand-gla.s.s, a simple and most effectual addition to the comfort of the traveller.

[72] Mr Ruskin says that the gable of the bishop's throne is "of the exact period when the mosaic workers of the thirteenth century at Rome adopted rudely the masonry of the north. Briefly this is a Greek temple pediment, in which, doubtful of their power to carve figures beautiful enough, they cut a trefoiled hold for ornament, and bordered the edge with a harlequinade of mosaic. They then call to their aid the Greek sea waves, and let the surf of the aegean climb along the slopes, and toss itself at the top into a fleur-de-lys."

CHAPTER VI

_The Paintings of Giotto and his School in the Lower Church_

"... Cimabue thought To lord it over painting's field; and now The cry is Giotto's, and his name eclipsed."

DANTE, _Purgatory_, xi., Cary's translation.

The work of Cimabue, grand and n.o.ble as it is, yet gives the impression of belonging to remote times, between which and that of Giotto, his pupil, a great gulf is set. In both churches at a.s.sisi we pa.s.s from the early efforts of an awakening age to the work of one, who, if not the first to see the light, was the first to discover the true principles of art, to give it life, and to found a school whence a long series of painters came to carry on for generations the lessons he had taught. Cimabue did wonders for the century in which he lived; of Giotto, even granting that his drawing was sometimes faulty, and the types of faces he painted were not always beautiful, it would be an insult to express such condescending praise; and even a hasty study of his frescoes in San Francesco must soon explain the everlasting sway he holds, now, as in those first years when his work seemed little short of miraculous to the wondering Florentines.

[Ill.u.s.tration: PLAN OF THE LOWER CHURCH AND MONASTERY OF SAN FRANCESCO AT a.s.sISI]

Some fourteen miles to the north of Florence, among the hills of the Mugello, lies the scattered hamlet of Vespignano where Giotto Bondone was born of a poor peasant family in the year 1265. Even at an early age, Vasari says, the boy was remarkable for the vivacity and quick intelligence which endeared him not only to his parents, but to all who knew him in the village and country round. He pa.s.sed his childhood among them, knowing nothing of the city just across the hills, but learning much, during the long days while he wandered forth to tend his father's sheep, which was helpful to him in after years to preserve his straightforward outlook upon life and the strength and freshness of a nature that loved the sunburnt valleys and the freedom of the shepherd's existence.

When Giotto was ten years old it happened that Cimabue, on his way from Florence to Vespignano upon a matter of business, found him seated by the roadside, his flock gathered near, busily employed in drawing the outline of a sheep from life upon a smooth piece of rock.

Struck by the boy's industry in the pursuit of art and his evident cleverness, Cimabue hastened to obtain the father's consent to adopt and make an artist of him. Leaving the old life in the peasant's cottage for ever, Giotto now turned south along new roads, and with Cimabue by his side, saw for the first time the city of Florence, beautiful as she lay upon the banks of the Arno in a setting of wooded hills.

The progress he made under Cimabue's guidance, who taught him all he knew, was marvellous indeed. At ten years of age a shepherd tracing idle fancies on the stones, then for a few years an apprentice in a Florentine workshop grinding colours with the others for his master's big Madonnas; while ten years later he had already gained the t.i.tle of Master and was a famous painter, courted by popes and kings, and leaving masterpieces upon the walls of churches throughout Italy, that people of all times and countries have come and paused awhile to see.

Let us suppose it was the air of Florence, which, according to Vasari, "generates a desire for glory and honour and gives a natural quickness to the perceptions of men," that made Giotto a perfect Florentine, alert, witty, and ever ready with a caustic repartee to anyone who bandied words with him. But though other influences were at work around him, and new images crowded upon his active brain, he kept undimmed the vision of his mountain valley, of the fields, of the days spent in his native village, and, with the eyes of a shepherd he continued to look on all the incidents of human life; he saw the grandeur, the tragedy, the weaknesses, aye, and the humour too, in everything that surrounded him, setting it all down in his frescoes in his own simple and original way. In a few words Mr Ruskin has touched upon the keynotes of Giotto's character when he says: ... "his mind was one of the most healthy, kind and active that ever informed a human frame. His love of beauty was entirely free from weakness; his love of truth untinged by severity; his industry constant without impatience; his workmanship accurate without formalism; his temper serene and yet playful; his imagination exhaustive without extravagance; and his faith firm without superst.i.tion. I do not know, in the annals of art, such another example of happy, practical, unerring, and benevolent power."

Such was the man who came to a.s.sisi to take up the work left uncompleted by Cimabue and his contemporaries. Giotto was then almost unknown, not having executed any of those great works upon which his fame now rests, and it is not unlikely that the recommendation by Cimabue of his promising pupil to the friars of San Francesco led to his being called there when barely twenty years of age.[73] Opinions differ as to which were his first works and whether he began in the Lower or in the Upper Church, and as there are absolutely no doc.u.ments relating to the subject, and Vasari is of no help in the matter of dates or precise details, the only way to come to any conclusion is to group these frescoes according to their style. We do not wish to force any arbitrary opinions on this matter, and have simply placed Giotto's work in the order that it seems to us more likely to have been executed. Those who disagree have only to transpose the chapters as they think fit. The chief thing is to enjoy the frescoes and speculate as little as possible on all the contradictory volumes written about them.

_Right Transept._--According to Messrs. Crowe and Cavalcaselle these frescoes are by Giotto, and Mr Bernhard Berenson is of the opinion that they belong to his early period, and were executed by him before the franciscans knew what his powers were, and whether they could entrust to him the more difficult task of ill.u.s.trating the legend of St. Francis. The subjects are taken from the early life of Christ which had been depicted many times in preceding centuries, but although Giotto attempted no very elaborate or original manner of treatment, his style was rapidly developing, and we have in some of the scenes little traits of nature which only belong to him. On the outside of the Chapel del Sacramento, over the arch, he painted the Annunciation with such charm, dignity and harmony of outline that it would be difficult to find a more perfect conception of religious feeling even among the pictures of Angelico. Unfortunately it can only be seen in the early afternoon when the light comes in through the windows of S. Giovanni; the Madonna rising with queenly grace and the angel hastening forward with his message then stand out from their dark background like living people, and show how, from the first, Giotto attained the power of giving vitality to his figures. His Madonna is not like a graven image to be worshipped from afar; she is essentially the earthly mother of the Saviour, and Giotto, while treating her story with dignity and a certain sense of remoteness, tells it by the simplest means, endowing her with the maternal tenderness of a young peasant girl whom we meet upon the roads carrying her child to lay beneath the shadow of a tree while she goes to her work in the fields close by.

[Ill.u.s.tration: CHOIR AND TRANSEPTS OF THE LOWER CHURCH]

The Visitation (on the same wall as Cimabue's Madonna) is one of those frescoes that we remember like a scene we have witnessed, so naturally does the Virgin move forward, followed by a group of handmaidens, and hold out her arms to greet Elizabeth who is bending with such reverence to salute her cousin. They stand at the entrance of a dainty house inlaid with mosaic which is set among the bare rocks with only a stunted tree here and there. But Giotto does not forget to place a flowering plant in the balcony just as the peasants have always done in his mountain home.

It is interesting to compare the next fresco of the Nativity with the same subject in the Upper Church, treated by a follower of Cimabue where the same idea is depicted, but with what a difference. Though two episodes are placed in one picture, Giotto succeeds in giving a harmonious composition, which, if a little stiff and over symmetrical, is full of charm and beauty. The angels singing to the new-born Infant and those apprising the shepherds of the news hover like a flight of birds above the barn. They are in truth the winged spirits of the air, "birds of G.o.d" Dante calls them, and thus Giotto paints them. As though to accentuate the sadness and poverty of Christ's birthplace, the barn, all open and exposed to the night breezes, is laid in a lonely landscape with a high rock rising behind it. Beyond in the valley, a leafless tree grows upon the bank of a calm stream where the heavenly light from the angels is seen to play like moonbeams in its waters.

Messrs. Crowe and Cavalcaselle hold that the Visit of the Magi was "never painted with more feeling, more naturally or beautifully composed than here"; and Giotto must have felt he could add little to the perfection of the scene when in later years he painted the same subject at Padua. All interest is centred on the Child, who, bending forward from the Virgin's arms, lays a tiny hand in blessing upon the head of the aged king. Curiously enough St. Joseph has been forgotten, and instead an angel stands upon either side to receive the offerings of the Magi.

But to us the Purification seems even more beautiful in sentiment, composition and the perfection of religious feeling. Giotto was the first to conceive the idea of the Infant Jesus turning from Simeon towards the Virgin Mary as if anxious to come back to her, while she holds out her arms to invite him with a nave att.i.tude of gentle motherhood.

From charming frescoes like these we come to the grand and powerful scene of the Crucifixion. Every figure tells a different tale of sorrow; of tender pity, as in the group of women round the fainting Virgin; of wonder that Christ should be allowed to suffer, as in the gesture of the woman with arms thrown back and St. John who wrings his hands almost fiercely; of sympathy expressed by the Magdalene, as she kisses the pierced feet; and of hope and prayer, in the kneeling figures of St. Francis and his brethren. Even more vehement in their grief are the angels, who rending their garments fly away with arms stretched out as if unable to bear the sight of so much pain. How rapidly they turn and circle in the air; they are not borne along by the winds, but trusting to their wings they rise with the swift, sure flight of a swallow.[74]

Upon the opposite wall the early life of the Virgin is continued with the Flight into Egypt, which bears a strong resemblance to the fresco at Padua. There is the same sense that St. Joseph, his bundle slung on a stick over his shoulder like a pilgrim, is really walking along and in a moment must disappear from sight; a palm tree bends sideways to the breeze, and above two angels seem to cleave the air as they hurriedly lead on the travellers to exile and safety. Only the Virgin sits calm and unruffled. In the Ma.s.sacre of the Innocents Giotto has happily not painted the full horror of the scene, but has aimed rather at suggesting the tragedy than at giving its actual representation.

Very beautiful are the women to the left mourning for their dead children. One rocks her child in her arms and tries to awaken him with her kisses, whilst another raises her hands in despair as she gazes upon the dead child upon her knees.

The Return of the Holy Family from Egypt, though only showing a group of houses within surrounding walls and a gateway and a group of people, suggests better than a more complicated composition would have done the scene of a home-coming after long absence.

The Preaching of the Child in the Temple completes the series, and like the one at Padua, it is the least interesting of Giotto's paintings.

There are three other frescoes in the Transept which most people, with reason, attribute to Giotto, representing miracles of St. Francis.

The first refers to a child of the Spini family of Florence who fell from a tower of the Palazzo Spini (now Feroni), and was being carried to the grave, when the intercession of St. Francis was invoked and he appeared among them to restore the child to life. Part of the fresco has been lost owing to the ruthless way in which the walls were cut into for the purpose of erecting an organ--a barbarous act difficult to understand. But the princ.i.p.al group of people are seen outside an exquisite basilica of marble and mosaic, and each figure can be studied with pleasure as they have not been mutilated by the "restorer's" usual layers of thick paint. Seldom has Giotto painted lovelier women than those kneeling in the foreground, their profiles of delicate and pure outline recalling a border of white flowers. Near them is a figure bearing so strong a resemblance to Dante, that we would fain believe that Giotto meant to represent the type of a true Florentine in a portrait of the poet. Above the staircase is a fine picture of St. Francis resting his hand upon the shoulder of a crowned skeleton "in which," says Messrs. Crowe and Cavalcaselle, "a much deeper study of anatomy is revealed than has ever been conceded to Giotto." The oval face of the saint, with clear brown colouring, is very beautiful, strongly resembling the St. Francis in glory in the fresco above the high altar. By him also is the half-length figure of Christ in the vaulting of the window.

Although the two remaining frescoes deal with the death and resurrection of a child, they probably have nothing to do with the Spini miracle; the one where the dead child is lying in the arms of two men has unfortunately been so repainted as to take all character away from the faces, and we can only admire the general grouping, the fine gestures of the weeping women, and the grand modelling of the figures. Only a great artist could make one feel, by such simple means, the strain of the dead weight upon the men's arms. The man to the left (the second from the one holding his finger to his chin) is believed to be the portrait of Giotto; if it is, the painter has not flattered himself, and we can believe Dante's tale that he was remarkably ugly, and had six hideous children. On the other side of the arch the legend continues; a procession of white-robed monks and sorrowing friends approach the house to which the child has been taken, but in the meantime St. Francis has called him back to life, and a man, evidently in great excitement over the miracle, is hurrying down the steps to announce what has occurred. The story is so well and simply told that, although we have failed to find any account of it, it is easy to understand the sequence of the two frescoes, and the events they relate.

_Allegories by Giotto in the ceiling over the High Altar._--The task was now given to Giotto to depict by the medium of allegory the three virtues of the franciscan order and St. Francis in glory. These virtues, the rocks upon which the franciscan order was so securely founded, had been preached by St. Francis to the people of Italy with the extraordinary results we have seen, and now Giotto came to take up the theme and, by means of his immortal art, perpetuate it as long as the great basilica lasts, and pilgrims come to pray and read upon the walls, in a language even the unlettered can understand, the lessons taught by the Umbrian preacher seven centuries ago. Apart from the fact of his genius, it was a fortunate thing that he should have been chosen for the task. A man of weaker and more impressionable temperament might have been led into such exaggerations of feeling and sentiment as we find in the Lorenzetti frescoes of the transept.

Giotto came not many years after the Flagellants, roaming in hordes through the land calling for mercy and beating their half-naked bodies with leathern thongs, had spread a spirit of fanaticism which threatened to destroy the healthy influence of the teaching of St.