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Updated: June 14, 2025
But even as he spoke a message was brought to him from the good abbess of the convent of Santa Margherita, begging him to come and paint an altarpiece for the sisters' chapel. 'Ah, well, what must be, must be, he said to Fra Diamante, who stood smiling by. 'I will do what I can to please these holy women, but after that no more.
A quite different note is struck in the grave little composition belonging to an altarpiece of early date in which two infant angels support the body of Christ on the edge of the tomb. Nothing is permitted to interrupt the simplicity of this pathetic group. In the much more passionate rendering of a similar subject the Piet
From 1418 to 1436 he was back at Fiesole; in 1436 he was transferred to the Dominican convent of S. Marco in Florence, and in 1438 undertook to paint the altarpiece for the choir, followed by many other works; he may have studied about this time the renowned frescoes in the Brancacci chapel in the Florentine church of the Carmine and also the paintings of Orcagna.
The choir is paved with black and white marble, in which are twenty-eight stalls on the north side, as many on the fourth, and eight at the west end; from the choir we ascend by several steps to a most magnificent marble altarpiece, which would be esteemed a beauty in an Italian church.
A man's actual feelings about it might be better expressed by saying that it had too much. To say that Browning was merely a thinker because you think "Caliban upon Setebos" ugly, is precisely as absurd as it would be to call the author of the old Belgian altarpiece a man devoted only to the abstractions of religion.
Following the stream upwards, we pass under and then round the beautiful Villa I Tatti that of old belonged to the Zati family whose altarpiece is in S. Martino, and winding up the road to Vincigliata, you soon enter the cypress woods. All the way to your left Poggio Gherardo has towered over you, Poggio Gherardo where the two first days of the Decamerone were passed.
The altarpiece was no longer miraculously perfect, painted under infallible guidance, but the human hand discerned in the work was appealing to a reverent tenderness safer from the gusts of discovery.
Here in the Accademia in the Sala dei Maestri Toscani you may see an altarpiece that has perhaps come to us from his hands, amid much beautiful languid work that is still in the shadow of the Middle Age, or that, coming after him, has almost failed to understand his message, the words of life which may everywhere be found in his frescoes in Assisi, in Florence, in Padua, spoiled though they be by the intervention of fools, the spoliation of the vandals.
There are moreover some quaint paintings; an ancient altarpiece representing S. Rocque, between S. John and S. Laurence, on a gold ground; a S. Mary Magdalen with the portrait of a canon kneeling at her feet; the finest painting is S. Michael, also with a canon kneeling below. The armour of the archangel is very rich, and heightened with gold. The date of these pictures is 1513.
Gabriel was astonished to hear how the teacher could penetrate the intellectual development of the Hebrew people, which had served as the basis of Christianity, as he heard him demolish bit by bit the immense altarpiece, before which humanity had knelt for over nineteen centuries. The Spanish seminarist revolted against his old faith with all the impetuosity of his vehement temperament.
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