drawback or reservation. His color is, in its sphere and to its purpose, as perfect as human work may be: wrought to radiance beyond that of the ruby and opal, its inartificialness prevents it from arresting the attention it is intended only to direct; were it composed with more science it would become vulgar from the loss of its unconsciousness; if richer, it must have parted with its purity, if deeper, with its joyfulness, if more subdued, with its sincerity. Passages are, indeed, sometimes unsuccessful; but it is to be judged in its rapture, and forgiven in its fall: he who works by law and system may be blamed when he sinks below the line above which he proposes no elevation, but to him whose eyes are on a mark far off, and whose efforts are impulsive, and to the utmost of his strength, we may not unkindly count the slips of his sometime descent into the valley of humiliation.
89. The concluding notice of Angelico is true and interesting, though rendered obscure by useless recurrence to the favorite theory.
"Such are the surviving works of a painter, who has recently been as unduly extolled as he had for three centuries past been unduly depreciated,—depreciated, through the amalgamation during those centuries of the principle of which he was the representative with baser, or at least less precious matter—extolled, through the recurrence to that principle, in its pure, unsophisticated essence, in the present —in a word, to the simple Imaginative Christianity of the middle ages, as opposed to the complex Reasoning Christianity of recent times. Creeds therefore are at issue, and no exclusive partisan, neither Catholic nor Protestant in the absolute sense of the terms, can fairly appreciate Fra Angelico. Nevertheless, to those who regard society as progressive through the gradual development of the component elements of human nature, and who believe that Providence has accommodated the mind of man, individually, to the perception of half-truths only, in order to create that antagonism from which Truth is generated in the abstract, and by which the progression is effected, his rank and position in art are clear and definite. All that Spirit could achieve by herself, anterior to that struggle with Intellect and Sense which she must in all cases pass through in order to work out her destiny, was accomplished by him. Last and most gifted of a long and imaginative race—the heir of their experience, with collateral advantages which they possessed not—and flourishing at the moment when the transition was actually taking place from the youth to the early manhood of Europe; he gave full, unreserved, and enthusiastic expression to that Love and Hope which had winged the Faith of Christendom in her flight towards heaven for fourteen centuries,—to those yearnings of the Heart and the Imagination which ever precede, in Universal as well as Individual development, the severer and more chastened intelligence of Reason."—Vol. iii., pp. 188-190.
90. We must again repeat that if our author wishes to be truly serviceable to the schools of England, he must express himself in terms requiring less laborious translation. Clearing the above statement of its mysticism and metaphor, it amounts only to this,—that Fra Angelico was a man of (humanly speaking) perfect piety—humility, charity, and faith—that he never employed his art but as a means of expressing his love to God and man, and with the view, single, simple, and straightforward, of glory to the Creator, and good to the Creature. Every quality or subject of art by which these ends were not to be attained, or to be attained secondarily only, he rejected; from all study of art, as such, he withdrew; whatever might merely please the eye, or interest the intellect, he despised, and refused; he used his colors and lines, as David his harp, after a kingly fashion, for purposes of praise and not of science. To this grace and gift of holiness were added, those of a fervent imagination, vivid invention, keen sense of loveliness in lines and colors, unwearied energy, and to all these gifts the crowning one of quietness of life and mind, while yet his convent-cell was at first within view, and afterwards in the center, of a city which had lead of all the world in Intellect, and in whose streets he might see daily and hourly the noblest setting of manly features. It would perhaps be well to wait until we find another man thus actuated, thus endowed, and thus circumstanced, before we speak of "unduly extolling" the works of Fra Angelico.
91. His artistical attainments, as might be conjectured, are nothing more than the development, through practice, of his natural powers in accordance with his sacred instincts. His power of expression by bodily gesture is greater even than Giotto's, wherever he could feel or comprehend the passion to be expressed; but so inherent in him was his holy tranquillity of mind, that he could not by any exertion, even for a moment, conceive either agitation, doubt, or fear—and all the actions proceeding from such passions, or, à fortiori, from any yet more criminal, are absurdly and powerlessly portrayed by him; while contrariwise, every gesture, consistent with emotion pure and saintly, is rendered with an intensity of truth to which there is no existing parallel; the expression being carried out into every bend of the hand, every undulation of the arm, shoulder, and neck, every fold of the dress and every wave of the hair. His drawing of movement is subject to the same influence; vulgar or vicious motion he cannot represent; his running, falling, or struggling figures are drawn with childish incapability; but give him for his scene the pavement of heaven, or pastures of Paradise, and for his subject the "inoffensive pace" of glorified souls, or the spiritual speed of Angels, and Michael Angelo alone can contend with him in majesty,—in grace and musical continuousness of motion, no one. The inspiration was in some degree caught by his pupil Benozzo, but thenceforward forever lost. The angels of Perugino appear to be let down by cords and moved by wires; that of Titian, in the sacrifice of Isaac, kicks like an awkward swimmer; Raphael's Moses and Elias of the Transfiguration are cramped at the knees; and the flight of Domenichino's angels is a sprawl paralyzed. The authority of Tintoret over movement is, on the other hand, too unlimited; the descent of his angels is the swoop of a whirlwind or the fall of a thunderbolt; his mortal impulses are oftener impetuous than pathetic, and majestic more than melodious.
92. But it is difficult by words to convey to the reader unacquainted with Angelico's works, any idea of the thoughtful variety of his rendering of movement—Earnest haste of girded faith in the Flight into Egypt, the haste of obedience, not of fear; and unweariedness, but through spiritual support, and not in human strength—Swift obedience of passive earth to the call of its Creator, in the Resurrection of Lazarus—March of meditative gladness in the following of the Apostles down the Mount of Olives—Rush of adoration breaking through the chains and shadows of death, in the Spirits in Prison. Pacing of mighty angels above the Firmament, poised on their upright wings, half opened, broad, bright, quiet, like eastern clouds before the sun is up;—or going forth, with timbrels and with dances, of souls more than conquerors, beside the shore of the last great Red Sea, the sea of glass mingled with fire, hand knit with hand, and voice with voice, the joyful winds of heaven following the measure of their motion, and the flowers of the new earth looking on, like stars pausing in their courses.
93. And yet all this is but the lowest part and narrowest reach of Angelico's conceptions. Joy and gentleness, patience and power, he could indicate by gesture—but Devotion could be told by the countenance only. There seems to have been always a stern limit by which the thoughts of other men were stayed; the religion that was painted even by Perugino, Francia, and Bellini, was finite in its spirit—the religion of earthly beings, checked, not indeed by the corruption, but by the veil and the sorrow of clay. But with Fra Angelico the glory of the countenance reaches to actual transfiguration; eyes that see no more darkly, incapable of all tears, foreheads flaming, like Belshazzar's marble wall, with the writing of the Father's name upon them, lips tremulous with love, and crimson with the light of the coals of the altar—and all this loveliness, thus enthusiastic and ineffable, yet sealed with the stability which the coming and going of ages as countless as sea-sand cannot dim nor weary, and bathed by an ever flowing river of holy thought, with God for its source, God for its shore, and God for its ocean.
94. We speak in no inconsiderate enthusiasm. We feel assured that to any person of just feeling who devotes sufficient time to the examination of these works, all terms of description must seem derogatory. Where such ends as these have been reached, it ill becomes us to speak of minor deficiencies as either to be blamed or regretted: it cannot be determined how far even what we deprecate may be accessory to our delight, nor by what intricate involution what we deplore may be connected with what we love. Every good that nature herself bestows, or accomplishes, is given with a counterpoise, or gained at a sacrifice; nor is
