Page:The Atlantic Monthly Volume 1.djvu/30

22 their creator as a dramatic genius of a higher order than any of his contemporaries.

The Madonna of Cimabue, which hangs at the end of the south transept, resembles the one in the Academy. In place of the powerful saints' heads, is a group of angels of much grace and purity, supporting a shrine. This picture is considered a bolder and more untrammelled composition than the other. It is the world-renowned masterpiece of the thirteenth century, which all Florence turned out in procession to honor when it left the painter's hands; and which even Charles of Anjou, dripping in blood, and stalking through the scenes of that great tragedy whose catastrophe was the Sicilian vespers, paused on his way to admire.

In this church, which the admirers of Brunelleschi must study, are two small, but most exquisite masterpieces of Lippo Lippi. All the works of this most profligate of friars are tender and holy beyond description. They have also that distinguishing charm of the Florentine school of the fifteenth century, naïveté,—a fresh, gentle, and loving appreciation of the beautiful and the natural. It is evident that the Fra went through the world with his eyes open, looking for beauty wherever it was visible; and in his works, at least, there is no lingering trace of Byzantinism. A scholar of Masaccio, of a far inferior mind both to Masaccio and Maselino, and without the force of hand of either, he is still, more than both together, the founder of the natural school of Florence.

One of his pictures is in this church,—a Madonna with the child on her lap. The Christ is leaning forward and playing with a cross which the infant Saint John holds in his hand. Nothing can be more suggestive or touching than this prophetic infantile movement. Although the color of the picture is rather feeble and washy, as frequently may be observed of Lippo's paintings, the whole expression is bathed in purity and piety. Yet the Fra was such an incorrigible mauvais sujet, that when he was employed to decorate the palazzo of Cosmo Vecchio, the Pater Patriæ was obliged to lock up his artist in the chamber which he was painting. The holy man was not easily impounded, however; for he cut his bedclothes into strips, let himself into the street from an upper-story window, and departed on his usual adventures; so that it was weeks before Cosmo could hear of his painter again.

SANTA FILOMENA.