Three weeks ago on a quiet Friday morning before much of the population of Florence (or its many tourists) seemed to be awake, my husband and I walked into Dominican Convent of San Marco where the monk and world-renowned painter Fra Angelico [now Blessed] would spend his years praying and painting. A little history about this beautiful convent located in the heart of Florence: In 1437 Cosimo il Vecchio de’ Medici decided to rebuild the entire convent , at the suggestion of Antonino Pierozzi the Vicar-General. The work was entrusted to Michelozzo, and the decoration of the walls was carried out between 1439 and 1444 by Giovanni of Fiesole, later known as Fra Angelico, and his assistants, including Benozzo Gozzoli. The church was consecrated in 1443 in the presence of Pope Eugenius IV.
Fra Angelico decorated the cells on the first floor, and other spaces in the convent, with frescoes charged with profound spiritual and ascetical meaning; he began with the lunettes above the doorways in the Cloister of St. Antoninus, which Michelozzo had built before 1440. As we walked into the main space in the Museum/Convent on the first floor, we turned the corner and were greeted with a fresco that made me literally gasp- the Crucifixion. Of course, like all of us, I have seen many beautiful depictions of Our Lord's Passion and Death, but never one like this. It took my breath away because Fra Angelico included not only all of the Apostles, above the rendering, but at the feet of Christ and with Our Lady who is depicted as fainting, he includes numerous saints - people like you and I who strove for holiness and attained it. Below that are windows of various prophets found throughout the Old Testament.
I am not one to cry in public, but I was so moved, that is precisely what I did. I felt an intense presence of God, and the core mystery and sorrow of His Passion and Death for our sins. It was as if the painting were communicating the deepest mysteries of Christ and His ultimate sacrifice and inviting us in as participants, not just observers. I was transported to the scene on Calvary. I was there. This intense feeling of sorrow and presence remained with me, as we finally continued to view the cells of the monks on the upper floors. The first fresco to greet us at the top of the stairs was the famous Annunciation, as Our Lady with full docility and surrender kneels before the invitation of the Archangel Gabriel to become the Mother of the Savior. A deep sense of joy replaced the emotional depths of sorrow I felt stirring so deeply within me until that point in time. Looking at these walls, it was incredible to think of the detailed work and intense talent that was involved with creating these frescoes directly on the walls. These two frescoes and several more within the open spaces of the complex and the church itself were created for aids to communal meditation and contemplation. Other such communal paintings included St. Dominic with Crucifix and Madonna of the Shadows. I would affirm that this goal of aiding deep meditation and prayer was astoundingly successful.
As we continued, the individual cells of the monks were laid out to the north, east and south of the Annunciation in long hallway passages. Although small in size, each monk's simple cell consisted of another beautiful fresco depicting a mystery of the life, passion, death or resurrection of Christ, or a mystery of Our Lady. These were to be used for private meditation and to move the monks deeper into the mysteries of God's truth, love, and mercy. As prior, one can only imagine with what love Fra Angelico created these for his brother monks. Especially aweing and moving for me were the depictions of the Transfiguration in Cell 6, the Mocking of Christ in Cell 7, and the Coronation of the Virgin in Cell 9. One can only imagine what fruit was borne for these religious men who daily awoke to their particular fresco and were able to gaze upon it and enter into the depths of its essence and mystery.
The Transfiguration
The Mocking of Christ
The Coronation of the Virgin
This experience made such an impact on me that I felt called to re-institute my daily meditation of Jesus' Passion and Death. This emotional experience also confirmed for me that I am often drawn to a form of Augustinian prayer in my meditation time, which means that I use a form of lectio divina [Scriptural or other spiritual reading] or gaze upon such beautiful works of art or icons and then transpose myself into the scene or relate it to today's world and situation. By experiencing Fra Angelico's inclusion of so many everyday people in his convent, as well as beloved saints in his paintings who were depicted as present during the entire Paschal mystery, my soul was really moved and pierced. His method of bringing these images and Biblical scenes and traditions to life became more palpable and relevant to me in a sense, when I was spiritually transported below the Cross holding Blessed Mother while weeping, or kneeling in Adoration at the Birth of Christ, His Transfiguration, or in honor of Our Lady's Coronation. I can affirm that Fra Angelico successfully used his God-given gifts to help others raise their hearts to God and enter into the deep abyss of Jesus' Sacred Humanity, and Our Lady's virtue and docility, and his works continue to do so to this day. What a grace and blessing to enjoy such gifts after more than 500 years of existence!
Lord Jesus Christ, Son of God... Have mercy on me a sinner.
Bl. Fra Angelico...Pray for us.
