Bartolome Esteban Murillo painted this large canvas titled Angels' Kitchen for the Franciscan Monastery of San Francisco el Grande in 1646. It might be the three-part story of Brother Francisco Perez, a Greek monk who worked as a kitchen assistant for thirty years.
The painting is essentially about Francisco's prayer - that it was of such an intensity and filled with such a love of God that he entered into ecstatic states symbolized by the depth of light in which the brother is suspended and the animation of his habit. A warm, alive and light-some prayer! Indeed, perhaps we see in the little paper beneath him on the floor, left behind, the composed, pre-fabricated prayers he was required simply to recite.
The painting is essentially about Francisco's prayer - that it was of such an intensity and filled with such a love of God that he entered into ecstatic states symbolized by the depth of light in which the brother is suspended and the animation of his habit. A warm, alive and light-some prayer! Indeed, perhaps we see in the little paper beneath him on the floor, left behind, the composed, pre-fabricated prayers he was required simply to recite.
On the left we see Francisco's Father Superior who has brought a couple of outsiders to either admire the scene or perhaps to check-out what's going on in the kitchen. In other words, maybe the superior has brought in a doctor to be sure Brother Francisco is alright in the head! The clergy are usually not quick to delight in mystical events - witness Father Peyramale at Lourdes who hassled young Bernadette who claimed to have seen a lady of light in the grotto of Massabielle. Or the bishop who scoffed at Juan Diego who reported a heavenly lady with a request at the top of Tepeyac.
No matter, as these things come from heaven they endure beyond the objections, hesitations and fears of the clergy in charge. But while Francisco is flying in his prayer he's also falling behind in his kitchen responsibilities. The bell will ring and the friars will assemble for dinner and there'll be no food. But heaven is grateful for Francisco's love and so heavenly help arrives to put dinner on the table.
In the center we see two very prominent angels with colored wings and tunics. One is clearly the chef-in-charge, perhaps giving directions to the other angel who seems to have just arrived. To the right is a whole kitchen staff of angels: one in the back is tending the oven, another is stirring the pot, another is putting out the soup bowls and a little group of putti is scouring out a large and shiny copper pan.
Murillo was only about thirty years of age when he painted this joyful scene. He introduces us to his skill in the painting of still life vegetables, a glazed pitcher and bowl, a large metal pot, an earthenware jug.
But to be sure, the painting isn't just about little Brother Francisco. Murillo wants us to know that God is a God of delight, joy and even humor. It's easy to forget this today, isn't it? And God, whose love for us is compulsive, hopes for a return from us. And each day, however obscure and routine, is filled with the presence of heaven. And wonder is close at hand. But we must look and listen with inner senses and even anticipate God's delights.
