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Mino's Madonna at Fiesole: the relief turned and cut so as to look out of the chapel into the church, so that the Virgin's head, receiving the light like a glory on the pure, polished forehead, casts a nimbus of shadow round itself, while the saints are sucked into the background, their accessories only, staff and gridiron, allowed to assert themselves by a sharp shadow; a marvellous vision of white heavenly roses, their pointed buds and sharp spines flourishing on martyrs' blood and incense, grown into the close lips and long eyes, the virginal body and thin hands of Mary.
According to Vasari, the Ugo tomb was considered to be Mino's finest achievement, and he deliberately made the Madonna and Child as like the types of his beloved Desiderio as he could. It was finished in 1481, and Mino died in 1484, from a chill following over-exertion in moving heavy stones.
In the little church of S. Ambrogio we have seen a tablet to the memory of Mino, who lies there, not far from the grave of Verrocchio, whom he most nearly approached in feeling, although their ideal type of woman differed in everything save the slenderness of the fingers. The Bargello has both busts and reliefs by him, all distinguished and sensitive and marked by Mino's profound refinement.
Mnaïs, Ægle, Melibœa, avenge your sister!" At this appeal, one and all, lifting their thorny whips, fell to scourging him so savagely that Fra Mino's body was soon one wound from head to toe. Now and again they would stop to cough and spit, only to begin afresh, plying their whips more vigorously than ever. Only sheer weariness induced them to leave off.
Everything about it is beautiful, as the photograph which I give in this volume will help the reader to believe: proportions, figures, and tracery; but I still consider Mino's monument to Ugo in the Badia the finest Florentine example of the gentler memorial style, as contrasted with the severe Michelangelesque manner.
Filippino Lippi Buffalmacco Mino da Fiesole The Dante quarter Dante and Beatrice Monna Tessa Gemma Donati Dante in exile Dante memorials in Florence The Torre della Castagna The Borgo degli Albizzi and the old palaces S. Ambrogio Mino's tabernacle Wayside masterpieces S. Egidio. Opposite the Bargello is a church with a very beautiful doorway designed by Benedetto da Rovezzano.
Mino's bust of Bishop Salutati in the cathedral church of Fiesole is a powerful portrait, no less distinguished for vigorous individuality than consummate workmanship. The waxlike finish of the finely chiselled marble alone betrays that delicacy which with Mino verged on insipidity. The same faculty of character delineation is seen in three profiles, now in the Bargello Museum, attributed to Mino.
I believe she is one of Donatello's sowing; but the critics are divided, I cannot trace Verocchio's bluntened lineaments in her, nor Mino's peaksomeness, nor anything of Desiderio. She's not very pretty, but she's like a summer flower, say, a campanula; and that is why I love to watch her and talk to her in this grandfatherly fashion. Bettina, I say to her, are you, I wonder, twelve years old yet?
The sculptor Mino da Fiesole, whom we shall shortly see again, at the Bargello, in portrait busts and Madonna reliefs, is at his best here, in the superb monument to Count Ugo, who founded, with his mother, the Benedictine Abbey of which the Badia is the relic. Here all Mino's sweet thoughts, gaiety and charm are apparent, together with the perfection of radiant workmanship.
'Yes, said Hermione, easily assenting. Then, looking down at the cat, she resumed her old, mocking, humorous sing-song. 'Ti imparano fare brutte cose, brutte cose She lifted the Mino's white chin on her forefinger, slowly. The young cat looked round with a supremely forbearing air, avoided seeing anything, withdrew his chin, and began to wash his face with his paw.
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