In the arch of the hospice the painter has represented two Dominicans welcoming Christ, to remind the brethren that to offer hospitality to the poor and the pilgrims, was the same as receiving Christ.

The Redeemer with his hat hanging behind His shoulders leans on His pilgrim's staff; one of the brethren presses His left hand, and taking Him by the right arm invites Him to rest. The heads of the two devotees are full of character and expression, and on their faces beam the joy and love they feel for their unexpected guest. The second monk who clasps the Saviour's arm with both hands as though he can scarcely believe his own eyes, is drawn with such natural feeling that nothing greater can be desired or attained.

Equally beautiful is the pilgrim Christ with His long beard and curls flowing on His shoulders; the whole scene in fact is given with great nobility and exquisite grace.



In the chapter-house of the convent Fra Angelico repeated the scene of the Crucifixion. Vasari writes of it thus: "Fra Giovanni was so greatly beloved for his admirable qualities by Cosimo de' Medici, that the latter had no sooner completed the church and convent of San Marco, than he caused the good father to paint the whole story of the Crucifixion of Jesus Christ on one of the walls of the chapter-house. In this work figures of all those saints who have been heads and founders of religious bodies, are mourning and bewailing at the foot of the cross on one side; and on the other, St. Mark the Evangelist beside the Mother of the Son of God, who has fainted at sight of the crucified Saviour. Around the Virgin are the Maries, who are sorrowing with and supporting her; they are accompanied by the saints Cosimo and Damian.

"Beneath this work, in a frieze above the dado the master executed a figure of St. Dominic standing at the foot of a tree; on the branches of which are medallions, wherein are all the popes, cardinals, bishops, saints, and masters in theology who had belonged to Fra Giovanni's Order of the Preaching Friars, down to his own day."[44]

In this masterly work Fra Angelico pours out with full hands the most vivid and intense feelings of his soul, and if he does not attain to grand dramatic power, he at least succeeds in depicting with rare ingenuity the varied expressions of sorrow, despair, hope and faith which animate each person, and in giving natural and life-like character and attitude to the various heads.

The group of the fainting Virgin may possibly seem conventional, but what sweet piety is in the feeling of the other figures! St. Dominic, devoutly kneeling, inclines his head (cleverly foreshortened and marvellously expressed) and extends his arms to the Redeemer; St. Zenobi (or St. Ambrose the archbishop) standing upright, points with his right to the Saviour; St. Jerome, in hermit's dress, bends forward and clasps his hands in prayer; St. Augustine holds his pen in one hand, his book and pastoral staff in the other; St. Francis brings his hand to his brow in an attitude of melancholy indefinable sadness. The Saints Benedict, Bernard and Romuald follow, then St. Thomas Aquinas with a most beautiful head full of life and character (it must certainly be a portrait, so life-like is the expression), next St. Peter Martyr with his hands on his breast; and lastly in the foreground an unknown monk (Padre Marchese thinks it is St. John Gualbert) who weeps, with his left hand over his eyes.[45]



On the left of the fresco, near the swooning Virgin, stands St. John Baptist pointing to the Saviour; St. Mark kneeling shows his gospel; St. Laurence clasps his hands on his breast; and St. Cosmo wrings his hands as he contemplates the Cross; while St. Damian turns, covering his eyes, and weeping the mournful loss of the Lord.

In the ornamentation of the simulated frame which surrounds the fresco, are hexagonal spaces containing half figures of prophets with labels, containing texts referring to the passion of Christ; and below them on the right, the Erythrean Sibyl. In the lower part of the frieze, are ten rounds, containing portraits of the most illustrious members of the Dominican Order. In the centre St. Dominic, on the left Pope Innocent V., Cardinal Ugone, Father Paulo the Florentine, the Archbishop St. Antonino (this must surely have been added later), the blessed ones Giordano of Saxony, Niccolo, Remigius the Florentine and Buoninsegna the martyr. On the right are the blessed brethren John Dominici, Peter of the Marshes, Albertus Magnus, St. Raymond, Chiaro of Sesto, St. Vincent Ferreri and Bernard the martyr.

Retouches and restorations are not wanting in this picture, the drapery has been repainted in several parts and the background has been smudged with that reddish colour, which, in altering the tone of the whole fresco, has injured the limpidity of colour and original refinement of harmony.

The chronicles of the convent of San Marco record another Crucifixion by Fra Angelico in the refectory of the monks, "probably," writes Padre Marchese, "a replica of that which he had already painted in the Fiesolan convent." This now no longer exists, it appears to have been destroyed to make space for Sogliani's great fresco of St. Dominic at table with his brethren, when they were supplied with bread by angels. But in the cells and dormitories of the Florentine convent Fra Angelico scattered lovely proofs of his genius and sentiment, pouring out on them with rare talent the most exquisite grace of his brush, and tenderest thoughts of his soul. From the "Annunciation" to the various scenes from the life of Christ; from the "Virgin among the saints," in the corridor, to the decoration of the room which Cosimo had built for himself in his favourite convent, all breathe such sweet poesy in the grace and simplicity of the varied scenes, that one cannot look at them unmoved.

Facing the entrance of the upper corridor of the cloister he painted the Angel bringing the glad tidings to the Virgin. We have already noted in regard to this subject as created by him at Cortona, how the representation finds its greater development here, where the artist succeeds better in rendering the feeling of veneration on the part of the heavenly messenger, and the submissive humility of the Virgin.

The same subject is repeated in a cell (No. 3), but in this design, which breathes the same sentiment of sweetness and piety, St. Dominic in reverent attitude is looking on.



On the wall at the left of the entrance is a Crucifixion, with St. Dominic on his knees, embracing the cross, the figures are about half life size, the design similar to that which we have already seen in the cloister, but showing less ability. Nor are these the only Crucifixions which our artist painted. He has reproduced the subject in several cells, always varying either the attitude of the Saviour, or the persons who adore Him, but the serene attitude of the Son of God is unalterable. Without exaggerated contractions or violent action He remains fixed on the cross, His head bowed in mute contemplation of the figures below Him. These, on the contrary, are the prey of sorrow and despair, they cover their faces, or weep distractedly at His feet.



Some of these frescoes of the Crucifixion with St. Dominic kneeling below, may be classed as decidedly by other hands, the execution being weak, the drawing incorrect, and the sentiment inefficiently expressed. These variants are doubtless attributable to the assistants he employed in their execution.

In the fresco representing the Noli me tangere Angelico gives us a work full of freshness and life, idealized in Giottesque style. The figure of Christ is majestic, as with a sign He withdraws Himself from the kneeling Magdalene, who supplicatingly extends her arms towards Him.



Most lovely are the composition and feeling of the figures in the "Nativity," where the Virgin and St. Joseph with joined hands kneel in adoration of the Babe stretched on a heap of straw on the ground. A little above, on the right stands St. Dominic, and behind the Virgin on the left a female saint kneels, her hands clasped in prayer. In the background beneath a humble shed are the bull and the ass, and four adoring angels above.



In the "Transfiguration on Mount Tabor" the figure of the ascending Christ with outstretched arms and noble features is one of Fra Angelico's best works, but the attitudes of the Apostles are conventional; the kneeling figure on the left with hands upraised to express confusion and surprise at the resurrection, is too mannered, and by its pose and action disturbs the serene harmony of the picture.



In the "Institution of the Holy Sacrament," Fra Angelico, in true Giottesque style, represented the Apostles at the mystic feast, and Christ giving them the consecrated wafer, while He holds the chalice in His left hand. Here the figures of the disciples admirably express varied feelings of devotion and joy in receiving the divine food from the hand of the Master. But the fresco which surpasses all, in nobility of line and simple grandeur of conception, is the "Coronation of the Virgin." Christ and the Virgin are seated in glory above the light clouds, the Son places the celestial crown on the head of the Mother who humbly bows her whole form towards Him, with hands crossed on her bosom. Her face is irradiated by an ineffable and heavenly smile, the supreme expression of happiness; the drapery of both is white and delicate, enveloping the limbs with well defined folds. The figures without being ineffectual, indeed they are even forcible, yet appear aerial apparitions, and veritable visions of divinity. Six saints in ecstasy assist at the triumph, St. Thomas Aquinas, St. Paul, St. Dominic, St. Francis, St. Peter Martyr and St. Benedict, three on the right and three on the left, in a semicircular composition, all in attitudes of contemplative ecstasy.



The frescoes of the Maries at the Sepulchre, may also be considered one of our artist's masterpieces. The risen Christ emerges to half His figure from the clouds which envelop Him, while the holy women contemplate the empty sepulchre, and the angel seated in it points out the miracle which has happened. Other scenes worthy of notice are the "Presentation in the Temple," "Christ in Hades," and the "Buffeting of the Saviour," and "The Prayer in the Garden."



In one of the last cells, the "Crucifixion" is reproduced in a new manner, which represents Christ having ascended the ladder and offering Himself to death: His Mother faints at his feet in the arms of Mary Magdalene. Marchese asserts that this composition was inspired by a legend of St. Mary Magdalene in the language of the 14th century. "And I thought that Messer Gesu, ascended the cross by a ladder voluntarily, offering His hands and feet. A centurion who was afterwards saved saw the deed, and like a wise man he said within himself, oh, what a marvel is here! that this prophet appears to willingly place himself on the Cross, neither murmuring nor resisting! And while he stood admiring, Messer Gesu had ascended sufficiently high, and turning on the ladder opened His kingly arms, and extended His hands to those who were waiting to nail them."[46]



Lastly in the room which Cosimo de' Medici had prepared for his own use in the convent and where he often talked with the Prior Fra Antonino, Fra Angelico painted an "Adoration of the Magi." As Pope Eugene IV. slept in this room when he came to Florence in 1442 to assist at the consecration of the church, it is probable that this Adoration allusive to the Epiphany, at which time the consecration took place, was painted at that epoch.

The fresco, rich in figures and beauty, is executed with real mastery. The personages of the royal cortege vary in type and character, in expression and sentiment, showing the great pains our artist had taken in the painting of this important work, which now, unhappily restored and injured, only allows us to guess at the wonderful beauty with which it was once filled.

We see his own hand more completely in the fresco in the corridor representing the Virgin enthroned, with the child seated on her knee and several saints at the sides. On the right are St. Paul, St. Thomas Aquinas, St. Laurence, and St. Peter Martyr; on the left St. Mark, St. Cosmo and St. Damian, and St. Dominic, holding an open book where it is written: Caritatem habete; humilitatem servate; paupertatem voluntariam possidete. Maledictionem Dei et meam imprecor possessiones inducenti in meo Ordine.

This painting, one of the most perfect in the convent, is one of Angelico's best, and shows what a high degree of ability he had reached. The gentle head of the Virgin bends down to look at her Son with the golden curls, whose face with sparkling eyes breathes an infantile grace. The execution is accurate, the figures well designed, full of character, nobility and life; the delicacy of tone, just balance of composition and freshness of colouring, are mingled with the most profound sentiment and intimate knowledge of truth.

Rio thinks this fresco was done while Fra Angelico was in Tuscany after 1450; his adieu, as it were, to his brethren; a last legacy to that devout household with whom he had shared joys and sorrows, and from which he was about to be separated. There is nothing to refute this; but it appears to us that he who had painted the great Crucifixion of the chapter-house might well have done at the same time this fresco. It is a compendium of all his technical qualities and feeling, and demonstrates how little by little he succeeded, while still preserving his own spirit, in reaching the real in art, and giving it life in a manner all his own. But in comparing the pictures of the chapel of Pope Nicholas V. in Rome, with this fresco, we cannot avoid noticing in those a greater freedom of composition and grouping of the figures, a greater majesty of design, a truth and depth of observation, not recognisable in any of his earlier works, nor even in the large Crucifixion, which is justly considered one of the pious monk's best works.



IN THE GALLERY OF ANCIENT AND MODERN ART.



The enthusiasm aroused by Fra Angelico's pictures, caused a vivid desire amongst the various religious orders of the city, to possess some work of his; Dominicans, Vallombrosians, Chartreuse monks, and the Camaldolese of Santa Maria degli Angeli, vied with each other, and all in turn obtained some of his admirable creations.

Among the panels painted by Fra Giovanni for the Florentine churches and convents, the one which excels all for intensity of sentiment and sincerity of expression is the "Deposition from the Cross," once in the Sacristy of Santa Trinita, and now in the Ancient and Modern Gallery, a panel "in which," writes Vasari, "he put so much care that we may class it among the best things he ever did."

The disciples with loving reverence let down from the Cross, which occupies the centre of the composition, the body of the Saviour. His face, drooping on the left shoulder, breathes a sorrowful calm, and divine serenity which death itself could not destroy. The nude is intelligently rendered, in nobility of form, softness of line, and transparency and morbidity of colouring. On the left stands a group of women; St. Mary Magdalene kisses the feet of Christ; the Virgin contemplates Him in a trance of sadness; on the right the disciples discuss the melancholy drama among themselves, while below, a kneeling saint holds his right hand to his breast and extends the left in a sorrowful wonder. In the background is a hilly landscape with the Holy City on the left, and Mount Calvary which the artist "with poetic and devout conceit," writes Marchese, "has drawn adorned with grass and flowers, as though to denote that at the touch of the feet and precious blood of Jesus Christ, the bare heights were reclad in rich and verdant beauty. Although marred by restoration—for the eye is offended by the inharmonious contrast of tints, the effect of unskilful retouching,—we may consider this painting as one of the most beautiful works which Fra Angelico has left us. Grandeur and simplicity are marvellously blended with freshness of colour, and correctness of design with most intense expression and pure sentiment."

The landscape in the background shows the usual defects of perspective, but the mountains shade off delicately against the distant blue of the sky, the plain is illuminated with infinite flowerets, and a rich verdure clothes the summit of the sacred hill. In the pilasters of the frame are small figures of Saints, some of the best and finest that Fra Angelico ever painted, and in the gables above the three arches Lorenzo Monaco has represented the "Noli me tangere," the "Resurrection," and the "Maries at the Sepulchre."

Here the question naturally arises: Why should Lorenzo Monaco have limited his work solely to the three little scenes in the gables of the frame, while Fra Angelico has given us the beautiful little figures of the pilasters which show all his peculiar grace and refinement? Why did an artist capable of producing those admirable saints, leave to Fra Lorenzo Monaco the office (all the worse if he had been, as some say, his master) of finishing the work with only those three insignificant little scenes? And can we suppose that Fra Lorenzo Monaco, already at the apex of his fame, should accept, and, still more strange, be content with a secondary part in Fra Giovanni's work?

The answer is more simple than it at first appears. There is no doubt that the scenes in the Gothic gables are the work of the Camaldolese monk, and as we cannot logically infer that they were specially painted by him for Fra Angelico's picture, we must suppose, and indeed firmly believe them to have been added at a later time. In fact, the form of the foliated Gothic decoration lacks character and does not harmonize with the pilasters which clearly show, too, a subsequent adaptation of the frame. The finials of the pilasters do not match the style of the gables, in fact it is clear that the Gothic ornamentation, taken from some painting by Lorenzo Monaco, was at a more recent date adapted to Fra Angelico's altar-piece.

Fra Giovanni painted a panel picture of the "Dead Christ" for the "Compagnia del Tempio" in Florence; this is now in the Ancient and Modern Gallery, having been placed there in 1786, after the suppression of that Company.



Rio supposes that the enthusiasm aroused by the great Deposition in Santa Trinita, tempted the Company to covet the possession of a similar one.[47]

Only two figures, however, are common to the two paintings: one is the St. Simeon kneeling in the left corner who, in this second picture, is represented as a younger man than in the first; the other is a figure a little behind him, which is a reproduction of that one in the large Deposition with a hood on his head, who is speaking to the disciple below him, as he entrust to him the body of the Saviour;—a figure which Milanesi believes to be a portrait of the architect Michelozzo.

If this be indeed Fra Angelico's friend the Florentine architect, we may admit Cartier's assertion that this panel is a sequel of the larger Descent from the Cross, and may have been painted at the same time.[48] But these are things which we dare not affirm with any certainty, as we entertain doubts regarding the greater or less authenticity of writers on the subject of Michelozzo's portrait.

Besides many figures of saints, the painter has introduced those of St. Dominic and the Beata Villana, because the Company of the Temple had ancient rights over the relics of this good woman which are preserved in the Dominican church of Santa Maria Novella. The other figures, though expressing divers feelings of sorrow and lively sympathy, have nothing in common with the famous Deposition either in character or technique and the picture does not reach the usual perfection.

Even the type of the Christ differs remarkably in the two paintings, so much so that no comparison can be instituted, or resemblance found between them; moreover, the panel of the Temple Company is badly spoilt by restoration, and the colouring is so altered that it is almost black in some parts.

"In the Chapel of the SS. Annunziata at Florence which Piero di Cosimo de' Medici caused to be built, Fra Angelico painted the doors of the presses where the silver plate is kept, with little figures executed with great diligence."[49] They represent the life and death of Christ in 35 small scenes, which are now in the Ancient and Modern Gallery.

Padre Marchese writes: "I believe it was in Fiesole that he painted many of those little panels, which may now be seen in the Gallery of the Florentine Academy of Design, and perhaps also the doors of the presses for the silver vessels in the chapel of the SS. Annunziata at Florence. In his first edition Vasari had enumerated them among his early works, which may have seemed probable, as Fra Angelico's first steps in art were in illuminating and painting small stories."[50]

But as it was only in 1448 that Piero de' Medici, to show his devotion to the Virgin of the Annunciation, obtained from the monks the patronage of that altar with the intention of adorning it with a splendour worthy of the dignity of Her to whom it was dedicated,[51] we cannot suppose that Fra Angelico painted the door of its treasure presses before that time.

Rio also dates at the epoch of the monk's sojourn in Tuscany towards 1450, the great unfinished painting now in the Academy of the Belle Arti, which has been regarded as one of Fra Angelico's first works. We know as a fact that in 1450 he was prior of the convent at Fiesole, and may believe that he stayed some time in Tuscany, before returning to Rome to finish the chapel of Pope Nicholas V.[52] But Rio adds that "besides the date of the building of the chapel, the fact that the portrait of Michelozzo represents him as older in this work than in the Deposition," suggests for this cyclic composition an approximative date, very far from that assigned to it previously.[53]

We must not forget, however, that several doubts arise as to the identity of the person representing Michelozzo.

Vasari recognises him in that old Nicodemus with a hood, who lowers the Christ from the cross in the Deposition, while Milanesi, asserting that Nicodemus has a saint's aureole not a cowl, holds that the portrait of Michelozzo is to be seen in the figure with a black hood who speaks with the disciple beneath him as he gives the body of the Lord into his hands. Certainly Milanesi has good reason to doubt Vasari's assertion, as Nicodemus has no hood: moreover Vasari himself in his second edition of the Lives (1568) assigns as the architect's likeness that very figure with a cowl who is speaking to the disciple. Therefore we must admit that the Aretian Historian was mistaken either in his indication of the figure, or in the reproduction of it as a headpiece to his Life of Michelozzo.

In any case, a similar figure to that in the "Deposition," and with the same head-gear, again appears a little older in the fresco of the convent of San Marco representing the "Adoration of the Magi"; also in another picture of the "Presentation in the Temple"; and in the little square with a "Flight into Egypt", on one of the doors of SS. Annunziata.



If Michelozzo be really portrayed here, we must conclude that the Deposition was painted long before 1442, and the press doors about the same time, or a little later; but the student must take into account the curious fact that in the "Deposition" the disciple who talks to the man with a cowl above him, has also a certain resemblance to the supposed Michelozzo, and that Nicodemus reappears as St. John Baptist on the left of the large altar-piece painted for the church of San Marco, as well as in the picture of the dead Christ, and also as the kneeling King who kisses the feet of the Babe in the fresco of the "Adoration of the Magi."

Therefore, without giving great importance to the question of the true portrait of Michelozzo, we find that these heads, whether of Nicodemus or the hooded disciple, are represented in various pictures by our artist, modified by age, so that from them we may establish the succession of the different works, i. e. first the "Dead Christ" of the Company of the Temple, next the picture at San Marco (1438), then the "Deposition," and lastly the fresco in San Marco, and the little "Annunciation." Thus all these works would certainly date during Fra Angelico's stay in Florence.

But to return to the doors of the presses in the SS. Annunziata, it is true, as Rio writes, that instead of being a series of subjects for future frescoes or altar-pieces, the "stories" seem a hasty resume, often too hasty, of works already painted in the convent of San Marco or other places. Some of them are noticeable for firmness of design and vigour of colouring, others instead are unworthy of the master and evidently show another hand.



To give this great work its due appreciation we must take it as a whole, as the profound genius of Fra Angelico had conceived it. Wishing to give it the unity of a dramatic poem, he placed at the beginning and at the end, like a prologue and an epilogue, two symbolic figures, in the last of which the seven branched candlestick serves as a support to the Old and New Testaments.[54]

We may enumerate among the best scenes the "Flight into Egypt," the "Slaughter of the Innocents," the "Betrayal of Judas," the "Dead Christ," and the "Resurrection of Lazarus," all composed in Giottesque style: but, when we think of the progress of Fra Angelico in art as shown in the frescoes in San Marco, and his best panel paintings, we cannot avoid noticing a certain want of vigour in these presses.



Having become accustomed to the grander methods of fresco painting, in which his talent and ability found greater scope for expression,—even though not attaining to the ease and force of some of his contemporaries and followers,—Fra Angelico must have now found himself at the disadvantage, natural to one who, after moving free in wider space, is suddenly cramped into narrower confines. This explains why we find in some of these small panels, greater conventionality in the representation of scenes and action, and less ease and correctness of execution. We might add also, that many of them, where these defects are especially evident, may be ascribed to other hands, less clever than his own, those of his assistants who were called in to expedite the work and assist the artist.



Rio believes that two of Angelico's paintings, one of which was once in the Dominican monastery of San Vincenzo d' Annalena, and the other in that of the Frati dell'Osservanza in Mugello, but now both at the Belle Arti, were executed later than the frescoes in the Vatican, to which they offer an extraordinary resemblance, not perceivable in the artist's earlier works.[55]



We cannot, however, accept the assertion of the French critic. These two pictures, though utterly different in character and type, too forcibly recall his previous works. And as according to the same author the altar-piece of the monks [55] of the Mugello resembles the other in colouring, technique, the freer style of drapery, the type of the Virgin and character of the figures, we might reasonably conclude that both paintings belong to the period of his residence at Fiesole or Florence, i. e. previous to his departure for Rome in 1445.



We are even less inclined to endorse the opinion of Rio in regard to the date of the painting from the Annalena Convent. The internal organization of the convent was only regulated by a bull of Pope Nicholas V. after 1450, so there is probably no connection between the internal establishment of the convent and the Commission for the picture.

The convent (it is well to remember) was founded in 1453, but the religious intentions of Anna Elena Malatesta met with no slight resistance, and it was not till 1455, that Pope Calixtus III. conceded her permission to "build in her house a public oratory in which mass should be celebrated and the divine Offices performed." We cannot then admit that the picture was specially painted for the convent named[56] after that saintly lady. When one reflects that Anna Elena Malatesta, foundress of the monastery, was educated in the house of Attilio di Vieri de' Medici, and was by Cosimo Pater Patriae married to Baldaccio of Anghiari, it is not unlikely that the picture had been a commission from Cosimo, and that when Annalena was left a widow, and took the vows in 1441, it was offered by him to the convent, to which the sad widow had consecrated all her care. It is the more probable, that it was painted for the Medici, because the two patron saints of their house are represented in it.

SS. Cosmo and Damian only appear in the pictures painted by Fra Angelico in Florence, probably in recognition of the benefits bestowed by Cosimo on the monks of San Marco; moreover, we do not think the work could have been done at Fiesole after the first visit to Rome in 1452, because the figures, weak in chiaroscuro, are still treated as if they were enlarged miniatures, and do not show the character of his later works. On the other hand the picture of the Osservanza in Mugello displays the whole power of the artist, and may be compared, as Rio says, to the panel at San Marco both in the character of the figures and the larger style of treatment.

Vasari cites other works which have unfortunately been dispersed or destroyed, among which were an altar-piece in the Certosa at Florence, representing the "Virgin and Child," with some angels below, and at the sides St. Laurence, St. Zenobi, and St. Benedict; the "Coronation of the Madonna," once in the lunette of the Acciajoli chapel: another with the "Virgin and two saints," painted "con azzurri oltramarini bellissimi," (with beautiful ultramarine blues): and the pictures in the dividing wall of Santa Maria Novella opposite the choir. The "Annunciation," which according to Vasari was in the church of San Francesco at San Miniato, and which Milanesi believes to be in the Museum of Madrid, is instead now in the National Gallery at London. It is a diptych, in one panel the archangel Gabriel, with golden wings outspread, crossing his hands on his breast bows before the Virgin, who in the other panel leans forward to listen to his blessed word. The scene is in a cloister, from the arches of which a field of flowers is seen, and in the distant horizon the outlines of the Apennine mountains. A great lily blossoms beside the Virgin, the two capitals of the columns of the cloister have the Albizzi arms carved on them.

"This good Father painted so many pictures for the houses of the citizens of Florence, that one wonders how one man could so perfectly execute even in many years all that he has done." So writes Vasari, and indeed a complete list of his paintings still existing in Italy and elsewhere would be too long; those we have illustrated will, however, suffice to give a good idea of his artistic genius, and the sentiment with which this gentle artist could represent the marvellous visions of a soul in love with heaven!



IV.

FRA ANGELICO AT ROME AND ORVIETO.

[1445-1455.]



These many and various labours—writes Vasari—"having rendered the name of Fra Giovanni illustrious throughout all Italy, he was invited to Rome by Pope Nicholas V., who caused him to adorn the chapel of the palace, where the pontiff is accustomed to hear mass, with a "Deposition from the Cross," and with certain events from the life of San Lorenzo, which are admirable."[57]

But Vasari errs in giving to Nicholas V. the merit of having called Fra Angelico to Rome; he is also mistaken in affirming that the artist was offered the archbishopric of Florence, and on his modest refusal Sant' Antonino was proposed to the Pope: "and because Fra Giovanni appearing to the Pope to be, as he really was, a person of most holy life, gentle and modest, the archbishopric of Florence having then become vacant, he judged him worthy of that preferment."[58]

It was instead Pope Eugene IV., who wishing to embellish the Vatican with pictures, invited Fra Angelico to Rome in 1445, having admired his sanctity of life, and talent in art when in Florence. That Pope died the following year, but in his successor Nicholas V., Fra Angelico found another sincere admirer and friend, and he remained in Rome to finish the works he had begun. He painted two chapels in the Vatican, the one of the Sacrament for Eugene IV., the other for Pope Nicholas V., whose name it still bears. The former was pulled down by Pope Paul III. to improve the staircase.

"In this work," says Vasari, "which was an excellent one, Fra Giovanni had in his own admirable manner painted stories in fresco from the life of Christ, and had introduced many portraits of eminent persons then living. These portraits would most probably have been lost to us, had not Paulo Jovius caused the following among them to be preserved for his Museum: Pope Nicholas V., the Emperor Frederick, who had at that time arrived in Italy; Fra Antonino, who afterwards became Archbishop of Florence; Biondo da Forli, and Ferdinand of Arragon."[59]

It is probable that after having finished the chapel of the Sacrament, and before the new commission was given by Nicholas V., Fra Angelico—by means of Don Francesco di Barone of Perugia, a Benedictine monk and celebrated master of glass painting—entered into negotiation with the Operai and Consuls of the Duomo at Orvieto, to paint the chapel of the Madonna di San Brizio. But before he accepted the commission he gave them to understand that he could only go to Orvieto in the months of June, July and August, when he did not wish to remain in Rome.

"He demanded 200 gold ducats a year, together with all expenses of board and lodging, colours and scaffolding; besides seven ducats a month for his assistant, and two for his boy. The contract was signed on these conditions by Messer Enrico Monaldeschi, the principal citizen—almost the tyrant—of Orvieto, who always took a personal part in the most important events of the city. Fra Angelico took with him Benozzo di Lese, Giovanni di Antonio da Firenze, and Iacomo di Poli, with whose assistance he commenced the painting in the large lunettes on June 15th 1447. Pietro di Niccola of Orvieto was also employed. They painted together for three months and a half, but Fra Angelico did not return the following year.

"As the summer of 1449 drew near, the overseers, who were left with only Pietro Baroni, a proved artist, endeavoured to persuade Fra Angelico to go back again, and join Baroni, saying that if he failed them, they would prefer to postpone the work, as they looked more to the beauty than the expense, as they always had been accustomed to do. When every hope of obtaining Fra Angelico was lost, they gave Benozzo Gozzoli a trial to continue Fra Giovanni's frescoes,"[60] but the effect was not happy.



Fra Angelico painted in the roof of the chapel a "Christ in Judgment," surrounded by a "glory" of angels. Sixteen saints and prophets are seated on clouds with the motto: Prophetarum laudabilis numerus. The Saviour in a circle of light raises His right hand on high, while the left supports a globe on His knees. On both sides are groups of angels in varied attitudes of adoration. The prophets stand out in pyramidal groups on a background of gold, and are either reading or meditating with religious calm. Rosini judges the Christ to be the work of Benozzo Gozzoli, because it seems inferior to the prophets, which show a grander treatment and better execution. "I think," he writes, "that the prophets alone belong to Fra Angelico; the Christ in glory, and the remainder to Benozzo and the others. I am led to this not only by their different style, but the heads of the prophets, although they are disposed one above the other, as the space demands, show the more dignified style, and perfect execution of the Florentine monk. That perfection ought to be seen also in the Christ, which seems to me to be a little inferior to them."[61]

But even while admitting that the features of the Saviour have in some parts the characteristics of Benozzo's style, we must not forget that he derived from his master both his good and bad points, and from the latter especially originated those peculiar defects, which are greatly emphasized in Benozzo's works. Hence it is natural that something of the scholar's manner should appear in that face, but it is no proof that he has worked at it. On the contrary it is enough to prove the impossibility of ascribing this figure to him, to glance at the head of Christ in Benozzo's fresco in the church of St. Francis at Montefalco, representing the meeting of St. Francis and St. Dominic. High up on the left the Saviour raises His right hand and the Virgin kneels at His feet. Now all the figures are absolutely wanting in dignity and character, especially the downcast head of Christ, with its projecting forehead and receding chin, which is absolutely vulgar. Here Benozzo has not even distantly remembered any of his master's noble representations of the Saviour. Therefore not only had he no part in that figure at Orvieto, but neither could he have done the prophets, for they are far superior to the Christ. Finally, it is not probable that Fra Angelico, with the feeling which inspired his work, should entrust to an assistant the execution of such an important figure as the Christ.

Even though the figure of the Christ is not to be compared to the finest of the prophets, yet we find in the countenance the same characteristics as the other heads display. True, it looks worse than it really is, for a crack in the roof has damaged the mouth and beard, and the fresco has besides suffered in the restorer's hands.

It is a known fact, that a few months after Fra Angelico left, it was necessary to repair the roof of the chapel in which he had worked, on account of the rain that percolated there, to the great detriment of the paintings.

However this may be, it is certain that the heads of the prophets have sweetness of expression and nobility of character, and all the figures are remarkable for their fine form, dignified attitudes, free and simple draperies, combined with bright and vivid colouring. These qualities are not so visible in the compartment of our Lord and the adoring angels, which may with more certainty be attributed to Benozzo.

Fra Angelico returned to Rome on the 28th of September in that year (1447) and never went back to Orvieto, but his reasons for breaking his contract and leaving a work incomplete are not explained.

Perhaps he perceived the difficulties of the composition and was arrested by the terrifying dread—which his character and feeling would have magnified—of painting a Last Judgment in such grand proportions. Or he may have had an intuition, that his work would never be worthy of that famous building, especially as he was called on to depict the punishments of hell and the various feelings of sorrow, passion and despair in the damned souls, sentiments so foreign to his own nature. Or possibly the desire to finish the paintings entrusted to him in Rome by the new Pontiff Nicholas V., induced him to break his contract. In the absence of more precise records it is difficult to establish the truth.

Certain it is that Fra Angelico left Orvieto for Rome and that he painted there a "Studio" or Chapel for Nicholas V., for which the payment is entered in a register dated 1449, but "after this year," writes Muentz, "we find no more traces of the illustrious Dominican, in the books of the secret treasury."[62]

On January 10th 1452 Fra Angelico is again at Fiesole as prior of his convent, and in the same year the rulers of the Commune of Prato employed the good offices of Archbishop Antonino to induce Fra Angelico to paint the principal chapel of their church; but he refused, and the commission was given to Filippo Lippi.

The fact that the name of the Dominican artist has not been found in the registers of the Vatican Treasury after 1449, need not necessarily be taken as a proof that he was not working in the Chapel of Nicholas V. at a later date. Indeed, as he went no more to Orvieto, and would not undertake to paint the Choir of the Prato Cathedral, it seems probable that he should have gone back to Rome to finish his work there.

The chapel which preserves these precious frescoes by Angelico may be considered one of the most famous monuments of Italian art.

On three of the walls, he has represented in two lines of frescoes the Vocation, the Apostleship, and the Martyrdom of St. Stephen and St. Laurence. On the first side St. Stephen receives the Communion from St. Peter, and distributes alms to the poor: on the second are his preaching and justification before the high priest: in the third his lapidation. Below on the first wall is the consecration of St. Laurence, and his almsgiving to the poor and maimed; second, his imprisonment and the conversion of the jailer; and lastly his martyrdom.

The design is free and firm, yet keeping true to the character of the artist. The execution is more accurate and equal; although less realistic than that of Masaccio, yet he succeeds in giving his figures a greater grace and softer expression, indeed, the sentiment with which he imbues his figures, was never reached by any other artist, and that sentiment is here more admirably expressed than in any other of his works.



Whether St. Stephen be kneeling in wrapt devotion to take the chalice, or with the love of divine charity giving money to the woman, while the little child gives him its hand; whether touching his thumb he seems to explain some religious question, while some women seated there hang on his words, exchange their impressions, or ecstatically clasp their hands in sign of admiration or faith; whether he speak before the Great Council, or is conducted at last torture, supporting it with faith and resignation;—his noble figure always inspires a feeling of profound piety, of serene calm and personal devotion.

Although the representation of buildings is still too fantastic, the perspective is not neglected as in some other works. In the "Ordination of St. Stephen," the design of the interior of the church is in good architectural style, but the canopy above the altar is so low in proportion to the figure of St. Peter, that if he were to rise to his full height he could not stand at the altar; in another the open space in which St. Stephen is preaching has a fortress on the right, and a palace of very doubtful character in the background. The details of ornamentation, however, are very carefully designed, the motives of the decoration being refined and elegant. The pilasters with their pretty candelabra and capitals rich with sculpture, combine so harmoniously with the purer architectural forms, as to produce a most pleasing effect and show the result of his studies among the numberless remains of ancient Rome.



The St. Laurence series is not less beautiful. It is marvellous that Fra Angelico could express motives so analogous to the former set of frescoes without repeating himself. Sixtus II., drawn with the lineaments of Nicholas V., consecrates to the diaconal office St. Laurence, who reverently kneeling extends both hands to receive the sacramental cup. Around them are some fine figures of ecclesiastics, who, robed in magnificent vestments, assist at the ceremony, together with deacons and acolytes, who hold the book and censer. There is, it is true, a great sameness in the heads, which suggests that most of them were studied from the same model.

In another fresco, the Pope consigns the treasures of the church to the saint, while a monk turns brusquely round at the noise made at the door by two soldiers who come to conduct St. Laurence to martyrdom. But where Fra Angelico has best succeeded in fully rendering his sentiment, is in the painting which represents the distribution of alms. Angelico evidently delights in the thought of the inner satisfaction of the saint, and the happiness of the recipients; and the sincere and serene joy transfused in the countenances of the different figures is expressed with unusual ability and extraordinary truth to nature.

He has enlivened the severity of the scene by the episode of two children, who are laughingly struggling over a piece of money received. Infantile grace and content breathe in their features, though slightly disturbed by the doubt which of them will remain possessor of the precious gift.

The two last frescoes are very attractive and equally admirable. One represents the condemnation of St. Laurence, the other his martyrdom. The study of classic art is still more manifest in these than in the others, for not only the architecture, but even the niches which contain statues are imitated from the antique.

In the "Condemnation" the Emperor Decius wears a cuirass with a toga over it fastened on the right shoulder, as in the ancient imperial busts. His sceptre is terminated by a little idol, and above his throne is the Roman eagle with outspread wings, in a garland of bay leaves: in the other fresco the statues appear to be reproductions of ancient Roman monuments. But unfortunately this last picture has been so injured and restored that we cannot fully appreciate its value.



The execution of these pictures is really remarkable. Fra Angelico, as we have said, without losing his fundamental qualities, has acquired and here reveals new qualities; the four Evangelists among the clouds on a background of blue, dotted with golden stars, are noble and full of character; the figures of the saints on the simulated pilasters, and at the corners of each side of the chapel, might be classed among Fra Angelico's best. Who does not remember above the rest the fine and noble figure of St. Bonaventure, with his flowing white beard, thoughtful eyes, and an aspect of goodness and seriousness combined that is quite enchanting? What other figure, however beautiful, can show such just proportions, solid form, and majestic design, such a strong character and expression as this? The saint's thoughtful gaze is turned to the left, his mouth lightly indicating a smile, or rather the sweet expression of innate goodness, the marvellously drawn hands support an open book which rests on his side. Here Fra Angelico reveals his skill in all its fulness; and when we reflect on his advanced age, we can only remain in admiring surprise before the freshness of his creative power, and the force of his execution.

We have documental evidence that Benozzo Gozzoli assisted his master in these frescoes, and doubtless we may attribute to him the fine decorations, where roses bud amidst flowers and foliage of every kind, and garlands are resting on pretty little children's heads, or are festooned on medallions bearing the tiara, and crossed keys of Nicholas V.; but we cannot give him the merit of having beautified the scenes of the "Preaching of St. Stephen," or "St. Laurence distributing alms."[63]



We admit the probability that Benozzo may have executed some of the figures, but there is a difference between this and supposing that he had any conspicuous part in the compositions, especially in the St. Laurence series, which we cannot believe. If the whole scene were indeed by Benozzo, would not the difference of hand between master and scholar be more strikingly evident? And the more so, as the scholar had not yet reached mastery of technique, and his early frescoes show a certain crudeness, want of harmony and incorrectness of design, which far remove them from the proved technical ability of his master. Nor can we believe that he timidly followed the lines traced on the walls by Fra Angelico, for even in that case something peculiar to himself must have been clearly perceptible in them. Now this, to speak frankly, is not evident.

None of the women assisting at the preaching of St. Stephen recall the characteristic type of those which Benozzo painted in the frescoes at Montefalco. The saint's listeners have regular features, and remind one of the various female figures in the San Marco frescoes ("Resurrection of Christ" and "Prayer on the Mount of Olives"). Benozzo's handling is less solid, his outlines are hard and sharp, colouring crude and chiaroscuro weak; in the stories of St. Laurence we find instead, and in a very high degree, the solidity and correctness which we have admired in Fra Angelico's Florentine paintings.

It suffices to recall the "Adoration of the Magi," in San Marco, one of his last works before leaving for Rome, and the beautiful prophets at Orvieto; in both these pictures we meet with the same types and figures as in the Roman frescoes, especially in those representing "St. Peter ordaining St. Stephen," "St. Laurence distributing alms," and "St. Stephen before the high priest." Without then following up doubtful suppositions, it does not seem admissible that Fra Angelico, old as he was, should have ceded to his pupil either the direction, or the greater part of works of such importance, which it was greatly to his interest to finish with the utmost care and perfection.

Cavalcaselle remarks that the severity of the Orvietans who would not let Benozzo finish the work which Fra Angelico had left incomplete, is inexplicable; but we must remember that though Benozzo imitated his master's style, the inferiority of his talent was always apparent in the common types, false anatomy, and mistaken proportions of his figures. "He does not equal the master who guided him in his first years, but he follows his style as much as he can, with less talent."[64]

It was not therefore Benozzo's work which enlarged the master's style, but in the Vatican frescoes the master clearly [64] shows the effort he has himself made to render the action of his figures more grand, his painting more solid, figures more characteristic and the episodes with which his admirable compositions are enriched more fundamentally truthful.

These paintings prove that he had reached his greatest artistic development; although always retaining his innate character he concedes to the new requirements of art as much of his temperament and sentiment, as he can conscientiously yield. Thus his works display a continuous improvement, each new stage in the long road of his artistic career, represents a fresh conquest, a new and remarkable progress. His pupils and collaborators limited themselves to aiding him, and rendering his work lighter in parts of secondary importance, but he needed no other help to be, and always remain, worthy of the high company in which he finds himself in the Vatican.

In the Sixtine Chapel, near the quiet creations of the artists of the Renaissance, the power and awful force of Michelangelo stand out; in the "Stanze" Raphael has left an everlasting wealth of artistic treasures; and in the Chapel of Nicholas V. Fra Angelico with ingenuous expression and the purest and most sincere religious feeling, painted his master-piece.

But notwithstanding the great difference between the former giants of art, and our saintly artist, he is quite worthy of their glorious company.

The sweet gentleness of his character was all that hindered him from a more exact and deep study of reality, but it was precisely by means of this character that he succeeded, as no one else could do, in expressing the elevated ideas of his serene and calm soul, profound inspiration and naive freshness of faith.

In 1455 after a life entirely dedicated to art, Fra Giovanni, at the age of 68 years, died in Rome, having well earned the grateful veneration of posterity. The austere virtues of his soul gained him the title of Beato (blessed) and for the lovely lines traced by his brush, he was called Angelico. A marble monument was erected over his tomb in the church of the Minerva, with his effigy and the following inscription, said to have been dictated by Pope Nicholas V. himself:

HIC JACET VEN. PICTOR FR. JO. DE FLOR. ORD. P. M C C C C L V Non mihi sit laudi, quod eram velut alter Apelles, Sed quod lucra tuis omnia, Christe, dabam; Altera nam terris opera extant, altera coelo; Urbs me Joannem Flos tulit Etruriae.

"Give me not praise for being almost a second Apelles, but because I gave to thy poor, O Christ, all my earnings. Thus part of my work remains on earth and part in heaven. My home was in that city, which is the Flower of Etruria."



[FOOTNOTES]

[1] Vasari, Sansoni's edition, II, p. 520.

[2] Buckhardt und Boue, Cicerone.

[3] Storia della Pittura, II, p. 360.

[4] Guido was Fra Angelico's baptismal name in the world.

[5] Marchese, Memorie dei piu insigni pittori, scultori e architetti domenicani, I, p. 267. Bologna, Romagnoli 1878.

[6] Cavalcaselle, Storia della Pittura, II, p. 234.

[7] Vasari, Vita di Masaccio, II, p. 299.

[8] Museo civico. Sala 6, n. 7.

[9] Cartier, Vie de Fra Angelico. Paris, 1857, p. 356.

[10] Vasari, II, p. 518.

[11] Vasari, II, p. 528, note i. The translations from Vasari are from Bohn's edition.

[12] Ibid., II, p. 528.

[13] Vasari, II, p. 505.

[14] Vasari, vol. II, p. 512.

[15] Translation:

I raise my eyes, sweet Mary I behold, With book in hand; an angel form is near.

It is the shining angel Gabriel Who kneels before her in humility, And saith: "Fear not, pure Virgin, I from heaven A messenger from God omnipotent Come down to bring glad tidings unto thee, For he hath chosen thee for his blest spouse."

He saith again: "In heaven it is decreed Thou shalt be mother of the Son of God, Therefore the Father me, his angel, sends To swift fulfil his sacred will and law. And down from him the highest Lord to bring This benediction unto which thou'rt called."

The angel's heaven-sent words were so inflamed With sacred love's own virtue did they burn They truly seemed to fall from God above. With holy joy her beating heart was full: "Behold," she said, "the handmaid of the Lord, Be it to me according to his word."

But as she sat within her arched cell She wondered greatly how this thing should be: "For I know not, nor speak with any man," To Gabriel she timidly responds. Then quoth he: "Mary Hail! thou favoured art, And full of grace, the Lord is with thee now."

And then came down the spirit of the Lord, A ray of golden light shone round about, It pierced her breast, that fruitful heaven-sent ray, And from her womb, whose virgin purity Was still inviolate, was born the Christ While she a mother, was pure Virgin still.

Oh! lovers true, come hither unto her: Madonna she of grace and beauty fair, The earth and air but live for her sweet sake, The queen of heaven, and pillar of the world: He who would see the lovely damosel One this Annunciation he should gaze.

From an anonymous "Laud" reprinted by Galletti, n. CCLXVIII, p. 121.

[16] Op. cit., I, p. 293.

[17] Vie de Fra Angelico, p. 243.

[18] Year 1894, p. 370.

[19] Vol. II, p. 510.

[20] Vol. I, p. 297.

[21] Vasari, II, p. 510, note 1.

[22] Pictures in the National Gallery, with descriptive text written by C. L. Eastlake. No. I, p. 10.

[23] Vasari, II, p. 510.

[24] This valuable painting was ceded by the monks of the "Scalzi" to the Museum of Madrid in 1861 at the suggestion of Senor Don Federigo de Madrazo.—Catalogue of the Museum of Prado, Don Pedro de Madrazo 1889, p. 19.

[25] Vasari, II, p. 510 and 511.

[26] Muentz, Histoire de l'art pendant la Renaissance—Les Primitifs—p. 653 and 658.

[27] Op. cit., I, p. 308.

[28] La Sculpture Florentine, Alinari, 1897, p. 152.

[29] Vasari, II, p. 515.

[30] Par., Canto XXXI (Carey's translation).

[31] Par., Canto XXX (Carey's translation).

[32] The carola was a kind of sacred dance, in which the dancers holding hands move in a circle, singing as they go. It was supposed to be the dance of Paradise.—(Translator's note.)

[33] Translation:

In Paradise that garden lies Where love divine eternal shines, And holy Saints carolas weave, Their souls inflamed with sacred love.

The Saints in that bright joyous ring, With Angels fair of all degrees, Before the Bridegroom graceful move And weave the dance of sacred love.

Those heavenly courts are full of grace, With love immeasurable filled, All in the dance angelic move Inspired by their sweet Saviour's love.

Their robes of linen pure are made, White, roseate, and of mingled hues; Fair garlands on their heads they wear, Fit crowns to crown them priests of love.

No head is there ungarlanded, And youthful beams each joyous face; In that bright court refreshed they move Where everything o'erflows with love.

The garlands made of blossoms fair, Shine brighter than the purest gold, The pearly daisies glisten there Emblazoning the heavenly love.

[34] Venturi, Le Gallerie Italiane. La Galleria Nazionale di Roma, vol. II, p. 89.

[35] See Gazette de Beaux Arts, 1888. W. Bode, La Renaissance au Musee de Berlin; IV. Les Peintres Florentins du XVme siecle, p. 473.

[36] Cavalcaselle, Storia della Pittura, II, p. 369, note 2. Venturi thinks that the picture approaches more to the art of Gentile da Fabriano. See Vasari, Gentile da Fabriano e Pisanello. Firenze, Sansoni, 1897, p. x.

[37] Vasari, II, Vita di Michelozzo, p. 440.

[38] Richa, Le Chiese Fiorentine, VII, p. 117.

[39] Vol. II, p. 440. In October 1438 the monks demanded a subsidy to rebuild the dormitory which had been destroyed by fire. Gaye, I, p. 553.

[40] Vol. II, p. 441. Some chroniclers attribute the design of the convent to Brunelleschi, and the direction and execution of the work to Michelozzi. The building was probably completed in 1443.

[41] Vasari, II, p. 441.

[42] Vol. II, p. 508.

[43] Katalog der Gemaelde-Sammlung der kgl. aelteren Pinakothek in Muenchen. Mit einer historischen Einleitung von Dr. Franz von Reber.

[44] Vol. II, p. 507.

[45] See Vasari, II, p. 508, and Marchese, op. cit., I, p. 326 and following.

[46] Marchese, San Marco illustrato, p. 40.

[47] Rio, op. cit., II. p. 314.

[48] Cartier, Vie de Fra Angelico, p. 231.

[49] Vasari, II, p. 511.

[50] Marchese, op. cit., I, p. 295.

[51] Il Santuario della SS. Annunziata di Firenze, Guida storica illustrativa, compilata da un religioso dei servi di Maria. Firenze, Ricci, 1876, p. 87.

[52] Vasari, II, p. 531, note 2.

[53] Rio, De l'art chretien, p. 368. "Michelozzo parait avoir, dans ce tableau, de quarante-cinq a cinquante ans. Or, on suppose qu'il etait ne vers 1396, ce qui placerait l'execution de ce tableau tres-peu de temps avant le depart de l'artiste pour Rome, en 1445," p. 312, note i.

[54] Rio, op. cit., II, p. 318 et seq.

[55] Rio, op. cit, II, p. 315.

[56] Richa, Le Chiese Fiorentine, X, pp. 137-138.

[57] Vasari, II, p. 516.

[58] Vasari, II, p. 517.

[59] Vasari, II, p. 517.

[60] Luigi Fumi, Il duomo d' Orvieto e i suoi restauri. Roma, Tipografia Cooperativa, p. 370.

[61] Storia della Pittura Italiana, III, p. 83.

[62] Muentz, Les Arts a la cour des Papes. Premiere partie, p. 92.

[63] Perate, Les Papes et les Arts. Paris, Didot, 1895, p. 72. Muentz, Histoire de l'Art pendant la Renaissance, I, p. 664, and M. Faucon, L'OEuvre de Fra Angelico a Rome in the Newspaper L'Art, 1883, XXXV, pp. 141-147 and 167-175.

[64] Crowe and Cavalcaselle, A new history of painting in Italy. London, Murray, 1864, II, p. 500.



INDEX TO THE ILLUSTRATIONS.

The Annunciation (Convent of San Marco, Florence) Frontispiece

Angels of the "Last Judgment" Page 5 and 28

History of St. Dominic's Life 32

The Resurrection of Cardinal De' Ceccani's Nephew 33

Death of St. Dominic 34

The Annunciation (Church of Gesu, Cortona) 35

The Marriage of the Virgin (Cortona) 41

The Marriage of the Virgin (Uffizi Gallery, Florence) 41

The Visitation 42

Adoration of the Magi 43

Adoration of the Magi (Uffizi Gallery, Florence) 44

The Death of the Virgin (Cortona) 45

The Death of the Virgin (Uffizi Gallery, Florence) 45

Virgin and Child with Saints (Church of San Domenico, Cortona) 47

Madonna and Child (Pinacoteca, Perugia) 49

Birth, Preaching and Miracles of St. Nicholas (Vatican, Rome) 51

The Death of St. Nicholas (Pinacoteca, Perugia) 52

Virgin of the Annunciation (Pinacoteca, Perugia) 54

View of the Convent of San Domenico near Fiesole 57

Coronation of the Virgin (San Marco, Florence) 59

Madonna della Stella (of the Star) (San Marco, Florence) 61

The Annunciation and the Adoration of the Magi (San Marco, Florence) 63

Predella (National Gallery, London) 69

The Coronation of the Virgin (Museum of the Louvre, Paris) To face page 72

The Coronation of the Virgin (Uffizi Gallery, Florence) To face page 75

The Last Judgment (Ancient and Modern Gallery, Florence) To face page 77

The Dance of the Blessed (Details from the Last Judgment) To face page 81

The Last Judgment (Rome, National Gallery) 84

The Last Judgment (Berlin Museum) 85

The Virgin of the Linen Weavers' Guild (Uffizi Gallery, Florence) 87

Angels with musical instruments from the Tabernacle of the Linen Weavers' Guild 88 and 89

St. Mark 90

St. John Baptist 90

The Cloister of San Marco 97

Madonna and Child with Angels and Saints (Ancient and Modern Gallery, Florence) 101

Christ on the Cross 105

St. Peter martyr 108

Christ issuing from the sepulchre 109

Christ in pilgrim's dress 111

The Crucifixion (San Marco, Florence) To face page 112

The Annunciation 116

"Noli me tangere" 117

The Transfiguration 118

The Risen Christ 119

The Institution of the Holy Sacrament 120

The Presentation in the Temple 121

Coronation of the Virgin 122

The Prayer in the Garden 123

Adoration of the Magi 124

The Crucifixion 125

The Virgin enthroned amidst Saints 126

St. Dominic, from the fresco of "Christ at the Pretorium" 129

The Descent from the Cross (Ancient and Modern Gallery) To face page 133

View of Florence 133

The dead Christ 137

Flight into Egypt 142

Christ betrayed by Judas 144

The Resurrection of Lazarus 144

The Slaughter of the Innocents 145

Entombment of Christ 145

Coronation of the Virgin 146

The symbolic Wheel 147

The Madonna and Child with Saints (Annalena Convent) 148

The Madonna and Child with Angels and Saints (From the Convent of the Osservanza) 149

The Last Supper 153

Christ in Judgment (Orvieto, Cathedral) 157

The Prophets (Orvieto, Cathedral) 161

The Preaching and Justification of St. Stephen (Vatican, Rome) 167

St. Laurence ordained deacon (Vatican, Rome) To face page 167

Sixtus II. consigns the church treasures to St. Laurence (Vatican, Rome) To face page 169

The distribution of alms (Vatican, Rome) To face page 171

St. Bonaventure (Vatican, Rome) 171

Judgment of St. Laurence (Vatican, Rome) To face page 173

THE END