LITMIR.BIZ

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would not fail them. In short, this never to be sufficiently extolled father was most humble and modest in all his works and his discourse, and facile and devout in his pictures; and the Saints that he painted have more the air and likeness of Saints than those of any other man. It was his custom never to retouch or improve any of his pictures, but to leave them ever in the state to which he had first brought them; believing, so he used to say, that this was the will of God. Some say that Fra Giovanni would never have taken his brushes in his hand without first offering a prayer. He never painted a Crucifix without the tears streaming down his cheeks; wherefore in the countenances and attitudes of his figures one can recognize the goodness, nobility, and sincerity of his mind towards the Christian religion.

       FRA GIOVANNI DA FIESOLE (FRA ANGELICO): THE ANNUNCIATION (Cortona: Gesù Gallery. Panel) View larger image

      He died in 1455 at the age of sixty-eight, and left disciples in Benozzo, a Florentine, who ever imitated his manner, and Zanobi Strozzi, who painted pictures and panels throughout all Florence for the houses of citizens, and particularly a panel that is now in the tramezzo[8] of S. Maria Novella, beside that by Fra Giovanni, and one in S. Benedetto, a monastery of the Monks of Camaldoli without the Porta a Pinti, now in ruins. The latter panel is at present in the little Church of S. Michele in the Monastery of the Angeli, before one enters the principal church, set up against the wall on the right as one approaches the altar. There is also a panel in the Chapel of the Nasi in S. Lucia, and another in S. Romeo; and in the guardaroba of the Duke there is the portrait of Giovanni di Bicci de' Medici, with that of Bartolommeo Valori, in one and the same picture by the hand of the same man. Another disciple of Fra Giovanni was Gentile da Fabriano, as was also Domenico di Michelino, who painted the panel for the altar of S. Zanobi in S. Apollinare at Florence, and many other pictures.

      Fra Giovanni was buried by his fellow-friars in the Minerva in Rome, near the lateral door beside the sacristy, in a round tomb of marble, with himself, portrayed from nature, lying thereon. The following epitaph may be read, carved in the marble:

      NON MIHI SIT LAUDI, QUOD ERAM VELUT ALTER APELLES,

       SED QUOD LUCRA TUIS OMNIA, CHRISTE, DABAM;

       ALTERA NAM TERRIS OPERA EXTANT, ALTERA CŒLO.

       URBS ME JOANNEM FLOS TULIT ETRURIÆ.

      In S. Maria del Fiore are two very large books illuminated divinely well by the hand of Fra Giovanni, which are held in great veneration and richly adorned, nor are they ever seen save on days of the highest solemnity.

      A celebrated and famous illuminator at the same time as Fra Giovanni was one Attavante, a Florentine, of whom I know no other name. This man, among many other works, illuminated a Silius Italicus, which is now in S. Giovanni e Polo in Venice; of which work I will not withhold certain particulars, both because they are worthy of the attention of craftsmen, and because, to my knowledge, no other work by this master is to be found; nor should I know even of this one, had it not been for the affection borne to these noble arts by the Very Reverend Maestro Cosimo Bartoli, a gentleman of Florence, who gave me information about it, to the end that the talent of Attavante might not remain, as it were, buried out of sight.

      In the said book, then, the figure of Silius has on the head a helmet with a crest of gold and a chaplet of laurel; he is wearing a blue cuirass picked out with gold in the ancient manner, while he is holding a book in his right hand, and the left he has on a short sword. Over the cuirass he has a red chlamys, fastened in front with a knot, and fringed with gold, which hangs down from his shoulders. The inside of this chlamys is seen to be of changing colours and embroidered with gold. His buskins are yellow, and he is standing on his right foot in a niche. The next figure in this work represents Scipio Africanus. He is wearing a yellow cuirass, and his sword-belt and sleeves, which are blue in colour, are all embroidered with gold. On his head he has a helmet with two little wings and a fish by way of crest. The young man's countenance is fair and very beautiful; and he is raising his right arm proudly, holding in that hand a naked sword, while in the left hand he has the scabbard, which is red and embroidered with gold. The hose are green in colour and plain; and the chlamys, which is blue, has a red lining with a fringe of gold all round, and it is fastened at the throat, leaving the front quite open, and falling behind with beautiful grace. This young man, who stands in a niche of mixed green and grey marble, with blue buskins embroidered with gold, is looking with indescribable fierceness at Hannibal, who faces him on the opposite page of the book. This figure of Hannibal is that of a man about thirty-six years of age; he is frowning, with two furrows in his brow expressive of impatience and anger, and he, too, is looking fixedly at Scipio. On his head he has a yellow helmet, with a green and yellow dragon for crest and a serpent for chaplet. He is standing on his left foot and raising his right arm, with which he holds the shaft of an ancient javelin, or rather, of a little partisan. His cuirass is blue, his sword-belt partly blue and partly yellow, his sleeves of changing blue and red, and his buskins yellow. His chlamys, of changing red and yellow, is fastened on the right shoulder and lined with green; and, holding his left hand on his sword, he is standing in a niche of varicoloured marbles, yellow, white, and changing. On another page is Pope Nicholas V, portrayed from the life, with a mantle of changing purple and red and all embroidered with gold. He is without a beard and in full profile, and he is looking towards the beginning of the book, which is opposite to him; and he is pointing to it with his right hand, as though in a marvel. The niche is green, white, and red. Then in the border there are certain little half-length figures in an ornament composed of ovals and circles, and other things of that kind, together with an infinite number of little birds and children, so well wrought that nothing more could be desired. Close to this, in like manner, are Hanno the Carthaginian, Hasdrubal, Laelius, Massinissa, C. Salinator, Nero, Sempronius, M. Marcellus, Q. Fabius, the other Scipio, and Vibius. At the end of the book there is seen a Mars in an antique chariot drawn by two reddish horses. On his head he has a helmet of red and gold, with two little wings; on his left arm he has an antique shield, which he holds before him, and in his right hand a naked sword. He is standing on his left foot only, holding the other in the air. He has a cuirass in the antique manner, all red and gold, as are his hose and his buskins. His chlamys is blue without, and within all green and embroidered with gold. The chariot is covered with red cloth embroidered with gold, with a border of ermine all round; and it stands in a verdant and flowery champaign country, surrounded by cliffs and rocks; while landscapes and cities are seen in the distance, with a sky of a most marvellous blue. On the opposite page is a young Neptune, whose clothing is in the shape of a long shirt, embroidered all round with the colour formed from terretta verde. The flesh-colour is very pale. In his right hand he is holding a little trident, and with his left he is raising his dress. He is standing with both feet on the chariot, which has a covering of red, embroidered with gold and fringed all round with sable. This chariot has four wheels, like that of Mars, but it is drawn by four dolphins, and accompanied by three sea-nymphs, two boys, and a great number of fishes, all wrought with a water-colour similar to the terretta, and very beautiful in expression. After these is seen Carthage in despair, in the form of a woman standing upright with dishevelled hair. Her upper garment is green, and it is open from the waist downwards, being lined with red cloth embroidered in gold; and through this opening there may be seen another garment, delicate and of changing purple and white colour. The sleeves are red and gold, with certain puffs and floating folds made by the upper garment, and she is stretching out her left hand towards Rome, who is opposite to her, as though saying, "What is thy wish? I have my answer ready;" and in her right hand she holds a naked sword, with an air of frenzy. Her buskins are blue, and she is standing on a rock in the middle of the sea, surrounded by a very beautiful sky. Rome is a maiden as beautiful as it is possible for man to imagine, with dishevelled hair and certain tresses wrought with infinite grace. Her clothing is pure red, with only an embroidered border at the foot; the lining of her robe is yellow, and the garment beneath, which is seen through the opening, is of changing purple and white. Her buskins are green; in her right hand she has a sceptre, in her left a globe; and she, too, is standing on a rock, in the midst of a sky that could not be more beautiful than it is. Now, although I have striven to the best of my power to show with what great art these figures were wrought by Attavante, let no one believe that I have said more than a very small part of what might be said about their beauty,

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