Art is where you find it.
In a tiny meditation room—of what was formerly a monastery—within the San Marco Museum, located in Florence, Italy, is a fresco painted by the renowned Fra Angelico (1395-1455). It shows Christ seated upon a chair, which is raised upon a stone dais, and Mary Magdalene and Saint John, seated upon a step at Christ's feet. It is one of several examinations of particular works of art in a book by Ben Street, titled "How to Enjoy Art," subtitled "A Guide for Everyone" (2021).
Incidentally, the female figure can be identified as Mary Magdalene because it is painted red. Red is the identifying iconography of Mary Magdalene, as blue is for The Mother of God. It is by iconography that the meaning of Christian art is deconstructed. As the room occupied by the fresco is intended for a solitary viewer, the iconographic syntax of the composition of the image speaks not with the authoritative voice of The Mass, but with that of a confessor.
As such, it might be inferred that Fra Angelico intended the image not to speak at all—but to be silent. The painting listens. It hears the viewer's innermost thoughts. These thoughts are represented inconographically by disembodied head and hands, as if floating in mid-air, about the head of the Christ. The impression upon the viewer would be Surreal, but for the historical anachronism. It has the effect of representing what cannot be seen: thoughts.
All Christian denominations concur that Christ had his moment of doubt—call that moment what you will. Returning to the image, the disembodied head and hands (one holds a rod threateningly), do not give the impression of being kindly disposed. Accordingly, the Christ figure appears unperturbed. The image is traditionally titled "The Mocking of Christ." This, too, may be deduced by the viewer from the iconography.
The room number of the fresco, formerly a monastic cell, is not given. The fresco is in pristine condition—unlike, for instance the "Last Supper" of Leonardo da Vinci, which has suffered corruption and repair almost beyond all recognition over the centuries. The "Mocking of Christ" is without a doubt blessed. To view the image in its intended place a visitor must ask a San Marco Museum docent for directions, and likely to be led to it by hand.
Lofty spirituality is expressed by the fresco, as is its placement in the building's plan. The precise and hermetic spirituality of the Renaissance is reflected throughout the building's—which has its own unique history. The image provided by Ben Street shows the painting in its original context—where it was created and meant to be seen. Both the fresco and the cell's window are in the shape of a Roman arch, giving rise to an uplifting feeling.
Through the arched window can be seen the window of another cell, opposite the first cell. The opposite window, as it happens, is not in the form of a Roman arch. The variation relieves the strong, visual geometry of the ensemble. This variety is fortuitous. It lends a human touch which, as likely as not, was not unintended. The non-teleological accounting for the building's spirituality is justified by its Humanism—the distinctive philosophy of The Renaissance.
One-of-a-kind works of art can be viewed at: https://www.saatchiart.com/account/artworks/1840403