Fra Angelico (Blessed John of Fiesole): From an apostolic letter motu proprio of Pope John Paul II

 

Fra Angelico (Blessed John of Fiesole): From an apostolic letter motu proprio of Pope John Paul II

 

“Whoever does the work of Christ, ought always to stay close to Christ." This was a motto constantly repeated by Brother John of Fiesole; who was called Beato Angelico because of the highest integrity of his life and the almost divine beauty of his paintings, particularly those of  Blessed Virgin Mary.

While he was still a youth, he was attracted to the religious life, and asked to be received into a stricter discipline in the Order of Friar Preachers (called the Observance), which had been established in the priority at Fiesole. He diligently took up all of the duties imposed by the brethren or superiors. It was the fame of his outstanding art work, particularly his painting, that spread far and wide. Therefore, commissions for his work became more frequent and urgent.

Pope Eugenius IV called him to Rome. While brother John painting the Basilica of Saint Peter's and the Vatican palace, Eugenius IV took the most opportunity not only to admire the virtue of this outstanding artist, but even more than that, the piety of this religious, his observance the Rule, his humility, and his memorable spirit that made many people own.

Nicholas V had an exceptional opinion about brother John. For he honored and reverenced this man alone, because of the integrity of his life and the excellence of his morals." Therefore, he commissioned him to decorate his private chapel. When brother John had finished it, it almost seemed a prayer expressed with painted color.

At Rome, in the priory of Santa Maria sopra Minerva, he closed eyes in death after a life that produced famous art, but even more exemplified religious and benevolent virtues. For the opinion of all was he was a "man of complete modesty and religious life." Furthermore. also blossomed with many virtues. He was meek, and honorable religious genius." Beyond these things, "he was a man distinguished for his sanctity." Even more, Vasari, who collected many stories about unblemished life in the city of Florence, was persuaded of that graceful heavenly character which one can see even in his sacred paintings. I not paint on any other subject, and his paintings were the product of that greatest harmony between his holy life and his creative virtue.

Brother John, therefore, by placing his rare natural gifts at the service of art, stands both to acquire and to confer on the people of God immense spiritual and pastoral benefit, by which they might travel easily to God. According to the Second Vatican Council, this is particularly fitting for sacred art, as we read in the Constitution on the Sacred Liturgy: "Very rightly the fine arts are considered to rank among the noblest expressions of human genius. This judgment applies especially to religious art and to its highest achievement, which is sacred art. By their very nature both of the latter are related to God's boundless beauty, for this the reality that these human efforts are trying to express in some way. 'To the extent that these works aim exclusively at turning our thoughts to God persuasively and devoutly, they are dedicated to God and to his greater honor and glory."

Truly, Brother John, a man altogether exceptional for his spiritual life and art, has always attracted our attention. We, therefore, believe that the time has come when he should be given the particular attention of the Church of God, although his heavenly art has not ceased to speak to us now.