A SAINT.
[1]Vasari, Sansoni's edition, II, p. 520.
[1]Vasari, Sansoni's edition, II, p. 520.
[2]BuckhardtundBode,Cicerone.
[2]BuckhardtundBode,Cicerone.
[3]Storia della Pittura, II, p. 360.
[3]Storia della Pittura, II, p. 360.
[4]Guido was Fra Angelico's baptismal name in the world.
[4]Guido was Fra Angelico's baptismal name in the world.
[5]Marchese,Memorie dei più insigni pittori, scultori e architetti domenicani, I, p. 267. Bologna, Romagnoli 1878.
[5]Marchese,Memorie dei più insigni pittori, scultori e architetti domenicani, I, p. 267. Bologna, Romagnoli 1878.
[6]Cavalcaselle,Storia della Pittura, II, p. 234.
[6]Cavalcaselle,Storia della Pittura, II, p. 234.
[7]Vasari,Vita di Masaccio, II, p. 299.
[7]Vasari,Vita di Masaccio, II, p. 299.
[8]Museo civico. Sala 6, n. 7.
[8]Museo civico. Sala 6, n. 7.
[9]Cartier,Vie de Fra Angelico. Paris, 1857, p. 356.
[9]Cartier,Vie de Fra Angelico. Paris, 1857, p. 356.
[10]Vasari, II, p. 518.
[10]Vasari, II, p. 518.
[11]Vasari, II, p. 528, note i. The translations from Vasari are from Bohn's edition.
[11]Vasari, II, p. 528, note i. The translations from Vasari are from Bohn's edition.
[12]Ibid., II, p. 528.
[12]Ibid., II, p. 528.
[13]Vasari, II, p. 505.
[13]Vasari, II, p. 505.
[14]Vasari, vol. II, p. 512.
[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 GabrielWho kneels before her in humility,And saith: "Fear not, pure Virgin, I from heavenA messenger from God omnipotentCome down to bring glad tidings unto thee,For he hath chosen thee for his blest spouse."He saith again: "In heaven it is decreedThou shalt be mother of the Son of God,Therefore the Father me, his angel, sendsTo swift fulfil his sacred will and law.And down from him the highest Lord to bringThis benediction unto which thou'rt called."The angel's heaven-sent words were so inflamedWith sacred love's own virtue did they burnThey 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 archèd cellShe 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 purityWas still inviolate, was born the ChristWhile 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 damoselOne this Annunciation he should gaze.From an anonymous "Laud" reprinted byGalletti, n. CCLXVIII, p. 121.
[15]Translation:
I raise my eyes, sweet Mary I behold,With book in hand; an angel form is near.It is the shining angel GabrielWho kneels before her in humility,And saith: "Fear not, pure Virgin, I from heavenA messenger from God omnipotentCome down to bring glad tidings unto thee,For he hath chosen thee for his blest spouse."He saith again: "In heaven it is decreedThou shalt be mother of the Son of God,Therefore the Father me, his angel, sendsTo swift fulfil his sacred will and law.And down from him the highest Lord to bringThis benediction unto which thou'rt called."The angel's heaven-sent words were so inflamedWith sacred love's own virtue did they burnThey 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 archèd cellShe 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 purityWas still inviolate, was born the ChristWhile 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 damoselOne this Annunciation he should gaze.
I raise my eyes, sweet Mary I behold,With book in hand; an angel form is near.
It is the shining angel GabrielWho kneels before her in humility,And saith: "Fear not, pure Virgin, I from heavenA messenger from God omnipotentCome down to bring glad tidings unto thee,For he hath chosen thee for his blest spouse."
He saith again: "In heaven it is decreedThou shalt be mother of the Son of God,Therefore the Father me, his angel, sendsTo swift fulfil his sacred will and law.And down from him the highest Lord to bringThis benediction unto which thou'rt called."
The angel's heaven-sent words were so inflamedWith sacred love's own virtue did they burnThey 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 archèd cellShe 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 purityWas still inviolate, was born the ChristWhile 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 damoselOne this Annunciation he should gaze.
From an anonymous "Laud" reprinted byGalletti, n. CCLXVIII, p. 121.
[16]Op. cit., I, p. 293.
[16]Op. cit., I, p. 293.
[17]Vie de Fra Angelico, p. 243.
[17]Vie de Fra Angelico, p. 243.
[18]Year 1894, p. 370.
[18]Year 1894, p. 370.
[19]Vol. II, p. 510.
[19]Vol. II, p. 510.
[20]Vol. I, p. 297.
[20]Vol. I, p. 297.
[21]Vasari, II, p. 510, note 1.
[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.
[22]Pictures in the National Gallery, with descriptive text written by C. L.Eastlake. No. I, p. 10.
[23]Vasari, II, p. 510.
[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 Señor Don Federigo de Madrazo.—Catalogue of the Museum of Prado,Don Pedro de Madrazo1889, p. 19.
[24]This valuable painting was ceded by the monks of the "Scalzi" to the Museum of Madrid in 1861 at the suggestion of Señor Don Federigo de Madrazo.—Catalogue of the Museum of Prado,Don Pedro de Madrazo1889, p. 19.
[25]Vasari, II, p. 510 and 511.
[25]Vasari, II, p. 510 and 511.
[26]Müntz,Histoire de l'art pendant la Renaissance—Les Primitifs— p. 653 and 658.
[26]Müntz,Histoire de l'art pendant la Renaissance—Les Primitifs— p. 653 and 658.
[27]Op. cit., I, p. 308.
[27]Op. cit., I, p. 308.
[28]La Sculpture Florentine, Alinari, 1897, p. 152.
[28]La Sculpture Florentine, Alinari, 1897, p. 152.
[29]Vasari, II, p. 515.
[29]Vasari, II, p. 515.
[30]Par., Canto XXXI (Carey'stranslation).
[30]Par., Canto XXXI (Carey'stranslation).
[31]Par., Canto XXX (Carey'stranslation).
[31]Par., Canto XXX (Carey'stranslation).
[32]Thecaròlawas 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.)
[32]Thecaròlawas 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 liesWhere love divine eternal shines,And holy Saintscarolasweave,Their souls inflamed with sacred love.The Saints in that bright joyous ring,With Angels fair of all degrees,Before the Bridegroom graceful moveAnd weave the dance of sacred love.Those heavenly courts are full of grace,With love immeasurable filled,All in the dance angelic moveInspired 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 moveWhere everything o'erflows with love.The garlands made of blossoms fair,Shine brighter than the purest gold,The pearly daisies glisten thereEmblazoning the heavenly love.
[33]Translation:
In Paradise that garden liesWhere love divine eternal shines,And holy Saintscarolasweave,Their souls inflamed with sacred love.The Saints in that bright joyous ring,With Angels fair of all degrees,Before the Bridegroom graceful moveAnd weave the dance of sacred love.Those heavenly courts are full of grace,With love immeasurable filled,All in the dance angelic moveInspired 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 moveWhere everything o'erflows with love.The garlands made of blossoms fair,Shine brighter than the purest gold,The pearly daisies glisten thereEmblazoning the heavenly love.
In Paradise that garden liesWhere love divine eternal shines,And holy Saintscarolasweave,Their souls inflamed with sacred love.
The Saints in that bright joyous ring,With Angels fair of all degrees,Before the Bridegroom graceful moveAnd weave the dance of sacred love.
Those heavenly courts are full of grace,With love immeasurable filled,All in the dance angelic moveInspired 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 moveWhere everything o'erflows with love.
The garlands made of blossoms fair,Shine brighter than the purest gold,The pearly daisies glisten thereEmblazoning the heavenly love.
[34]Venturi,Le Gallerie Italiane.La Galleria Nazionale di Roma, vol. II, p. 89.
[34]Venturi,Le Gallerie Italiane.La Galleria Nazionale di Roma, vol. II, p. 89.
[35]SeeGazette de Beaux Arts, 1888.W. Bode,La Renaissance au Musée de Berlin; IV.Les Peintres Florentins du XVme siècle, p. 473.
[35]SeeGazette de Beaux Arts, 1888.W. Bode,La Renaissance au Musée de Berlin; IV.Les Peintres Florentins du XVme siècle, 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. SeeVasari,Gentile da Fabriano e Pisanello. Firenze, Sansoni, 1897, p. x.
[36]Cavalcaselle,Storia della Pittura, II, p. 369, note 2. Venturi thinks that the picture approaches more to the art of Gentile da Fabriano. SeeVasari,Gentile da Fabriano e Pisanello. Firenze, Sansoni, 1897, p. x.
[37]Vasari, II,Vita di Michelozzo, p. 440.
[37]Vasari, II,Vita di Michelozzo, p. 440.
[38]Richa,Le Chiese Fiorentine, VII, p. 117.
[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.
[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.
[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.
[41]Vasari, II, p. 441.
[42]Vol. II, p. 508.
[42]Vol. II, p. 508.
[43]Katalog der Gemälde-Sammlung der kgl. älteren Pinakothek in München.Mit einer historischen Einleitung von Dr.Franz von Reber.
[43]Katalog der Gemälde-Sammlung der kgl. älteren Pinakothek in München.Mit einer historischen Einleitung von Dr.Franz von Reber.
[44]Vol. II, p. 507.
[44]Vol. II, p. 507.
[45]SeeVasari, II, p. 508, andMarchese, op. cit., I, p. 326 and following.
[45]SeeVasari, II, p. 508, andMarchese, op. cit., I, p. 326 and following.
[46]Marchese,San Marco illustrato, p. 40.
[46]Marchese,San Marco illustrato, p. 40.
[47]Rio, op. cit., II. p. 314.
[47]Rio, op. cit., II. p. 314.
[48]Cartier,Vie de Fra Angelico, p. 231.
[48]Cartier,Vie de Fra Angelico, p. 231.
[49]Vasari, II, p. 511.
[49]Vasari, II, p. 511.
[50]Marchese, op. cit., I, p. 295.
[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.
[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.
[52]Vasari, II, p. 531, note 2.
[53]Rio,De l'art chrétien, p. 368. "Michelozzo paraît avoir, dans ce tableau, de quarante-cinq à cinquante ans. Or, on suppose qu'il était né vers 1396, ce qui placerait l'exécution de ce tableau très-peu de temps avant le départ de l'artiste pour Rome, en 1445," p. 312, notei.
[53]Rio,De l'art chrétien, p. 368. "Michelozzo paraît avoir, dans ce tableau, de quarante-cinq à cinquante ans. Or, on suppose qu'il était né vers 1396, ce qui placerait l'exécution de ce tableau très-peu de temps avant le départ de l'artiste pour Rome, en 1445," p. 312, notei.
[54]Rio, op. cit., II, p. 318 et seq.
[54]Rio, op. cit., II, p. 318 et seq.
[55]Rio, op. cit, II, p. 315.
[55]Rio, op. cit, II, p. 315.
[56]Richa,Le Chiese Fiorentine, X, pp. 137-138.
[56]Richa,Le Chiese Fiorentine, X, pp. 137-138.
[57]Vasari, II, p. 516.
[57]Vasari, II, p. 516.
[58]Vasari, II, p. 517.
[58]Vasari, II, p. 517.
[59]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.
[60]Luigi Fumi,Il duomo d'Orvieto e i suoi restauri. Roma, Tipografia Cooperativa, p. 370.
[61]Storia della Pittura Italiana, III, p. 83.
[61]Storia della Pittura Italiana, III, p. 83.
[62]Müntz,Les Arts à la cour des Papes. Première partie, p. 92.
[62]Müntz,Les Arts à la cour des Papes. Première partie, p. 92.
[63]Pératé,Les Papes et les Arts. Paris, Didot, 1895, p. 72.Müntz,Histoire de l'Art pendant la Renaissance, I, p. 664, andM. Faucon,L'[OE]uvre de Fra Angelico à Romein the NewspaperL'Art, 1883, XXXV, pp. 141-147 and 167-175.
[63]Pératé,Les Papes et les Arts. Paris, Didot, 1895, p. 72.Müntz,Histoire de l'Art pendant la Renaissance, I, p. 664, andM. Faucon,L'[OE]uvre de Fra Angelico à Romein the NewspaperL'Art, 1883, XXXV, pp. 141-147 and 167-175.
[64]CroweandCavalcaselle,A new history of painting in Italy. London, Murray, 1864, II, p. 500.
[64]CroweandCavalcaselle,A new history of painting in Italy. London, Murray, 1864, II, p. 500.
AN ANGEL.
The Annunciation (Convent of San Marco, Florence)
Angels of the "Last Judgment"
History of St. Dominic's Life
The Resurrection of Cardinal De' Ceccani's Nephew
Death of St. Dominic
The Annunciation (Church of Gesù, Cortona)
The Marriage of the Virgin (Cortona)
The Marriage of the Virgin (Uffizi Gallery, Florence)
The Visitation
Adoration of the Magi
Adoration of the Magi (Uffizi Gallery, Florence)
The Death of the Virgin (Cortona)
The Death of the Virgin (Uffizi Gallery, Florence)
Virgin and Child with Saints (Church of San Domenico, Cortona)
Madonna and Child (Pinacoteca, Perugia)
Birth, Preaching and Miracles of St. Nicholas (Vatican, Rome)
The Death of St. Nicholas (Pinacoteca, Perugia)
Virgin of the Annunciation (Pinacoteca, Perugia)
View of the Convent of San Domenico near Fiesole
Coronation of the Virgin (San Marco, Florence)
Madonna della Stella (of the Star) (San Marco, Florence)
The Annunciation and the Adoration of the Magi (San Marco, Florence)
Predella (National Gallery, London)
The Coronation of the Virgin (Museum of the Louvre, Paris)
The Coronation of the Virgin (Uffizi Gallery, Florence)
The Last Judgment (Ancient and Modern Gallery, Florence)
The Dance of the Blessed (Details from the Last Judgment)
The Last Judgment (Rome, National Gallery)
The Last Judgment (Berlin Museum)
The Virgin of the Linen Weavers' Guild (Uffizi Gallery, Florence)
Angels with musical instruments from the Tabernacle of the Linen Weavers Guild
St. Mark
St. John Baptist
The Cloister of San Marco
Madonna and Child with Angels and Saints (Ancient and Modern Gallery, (Florence)
Christ on the Cross
St. Peter martyr
Christ issuing from the sepulchre
Christ in pilgrim's dress
The Crucifixion (San Marco, Florence)
The Annunciation
"Noli me tangere"
The Transfiguration
The Risen Christ
The Institution of the Holy Sacrament
The Presentation in the Temple
Coronation of the Virgin
The Prayer in the Garden
Adoration of the Magi
The Crucifixion
The Virgin enthroned amidst Saints
St. Dominic, from the fresco of "Christ at the Pretorium"
The Descent from the Cross (Ancient and Modern Gallery)
View of Florence
The dead Christ
Flight into Egypt
Christ betrayed by Judas
The Resurrection of Lazarus
The Slaughter of the Innocents
Entombment of Christ
Coronation of the Virgin
The symbolic Wheel
The Madonna and Child with Saints (Annalena Convent)
The Madonna and Child with Angels and Saints (From the Convent of the Osservanza)
The Last Supper
Christ in Judgment (Orvieto, Cathedral)
The Prophets (Orvieto, Cathedral)
The Preaching and Justification of St. Stephen (Vatican, Rome)
St. Laurence ordained deacon (Vatican, Rome)
Sixtus II. consigns the church treasures to St. Laurence (Vatican, Rome)
The distribution of alms (Vatican, Rome)
St. Bonaventure (Vatican, Rome)
Judgment of St. Laurence (Vatican, Rome)
SANCTUS DOMINICUS.