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Page 43 - brotherhood of San Dominico quitted their convent in Fiesole and went to find a new home in Florence. With the turn of the year they left a temporary resting-place in San Giorgio Oltr* Arno and went into the ruined monastery of San Marco* This house appears to have belonged to the brotherhood of San
Page 37 - PLATE V.—THE CORONATION OF THE VIRGIN This is a detail of a famous picture in San Marco. It is a fresco in a cell of the South Corridor. Christ is seen crowning the Virgin, the clouds surrounding them are rainbow tinted, and below the rainbow six saints are ranged in a semi-circle.
Page 16 - ease. The technical achievement, the gradual but steady improvement in dealing with composition and masses of colour, the extraordinary change from the stiff early figures to the supple ones of the later years, the splendid growth of the artistic sense, from all these things the
Page 26 - Florence, where John XXIII. paid him obeisance, and the Dominican friars returned to their hillside home beyond the city, that was then, according to the historian Bisticci, "in a most blissful state, abounding in excellent men in every faculty, and full of admirable citizens.
Page 17 - luxury and the praise of the world at large the Dominican dismissed with fine indifference, believing that his reward would come when his task was ended, and the work of his hands should praise him in the gates. "Here," his orthodox latter-day admirers say, "is the man of noble convictions and pure life, who stood for all that was best
Page 41 - transition. As he grew older and more confident of his powers, Fra Angelico seems to have freed himself from some of the restrictions that beset an artist who is also a religious. He, too, learned to glorify the human form.
Page 72 - all a wonder and a great desire;" Ghiberti, to whom Florence owes the gates of the Baptistery ; Michelozzo, who built the Medici Palace and the Convent of San Marco, and was associated with Luca
Page 77 - movement was continued and developed by Verrocchio and Da Vinci on the one side, and by Perugino and Raphael on the other. Then again Fra Angelico made a definite movement towards portrait painting, by giving the likeness of some of his friends and patrons to saints and martyrs. This was yet another of the daring innovations that marked the opening of the