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Updated: June 30, 2025
And to this school of the three carved roses in the Square of Purgatory belong, among others, Angelico, Benozzo, Botticelli, and all those Venetians who painted piping shepherds, and ruralising magnificent ladies absorbed in day-dreams. But besides this kind of imagination in art, there is another and totally different.
Both Gentile and Ghirlandaio chose a happy subject and made it happier; Fra Angelico (for the third screen picture) chose a melancholy subject and made it happy, not because that was his intention, but because he could not help it. He had only one set of colours and one set of countenances, and since the colours were of the gayest and the countenances of the serenest, the result was bound to be peaceful and glad. This picture is a large "Deposizione della Croce," an altar-piece for S. Trinit
Thus one realizes that the decorative borders which one looks at over and over again in this volume, and which actually satisfy the eye do not represent the artist's own actual dreams, but are founded instead upon the ecstatic visions of Fra Angelico and others as they bent over their work in their silent cells; but they are beautiful nevertheless, far transcend what is merely decorative, and are full of imagination and feeling.
And a man may be an upright citizen, a good husband, and a sincerely religious man, who has never heard of Francesca, nor Fra Angelico, nor named the name of Botticelli! The moment we set bounds to wisdom, we find that we have shut something out. Wisdom is the free, active life of a growing and attaching soul. We must not only attach information to ourselves, we must assimilate it.
These, with the two frescoes of Fra Angelico, complete the paintings of the first vaulting. Those on the other side of the arch are executed entirely by Signorelli, and, with the exception of one, from his own designs. This one is the weakest of his roof-paintings in execution, and the composition and actual drawing of the central figures, are the work of Fra Angelico.
The title Il Beato is usually conferred by the church, but it was given to Fra Angelico by the people, because of his saintly character and works. It was in 1407 that Fra Angelico was admitted to the convent in Fiesole, and after seven years of peaceful life there he was obliged to flee with his companions to Foligno.
At times it wore an expression of seriousness, of sorrow even; and then seemed to make the very air bright with what the Italian poets so beautifully call the lampeggiar dell' angelico riso, the lightning of the angelic smile.
The picture was originally painted for the church of San Spirito at Florence, belonging to the Augustines. But St. Augustine is also the patriarch of the Franciscans and Dominicans, and frequently takes an influential place in their pictures, as the companion either of St. Francis or of St. Dominick, as in a picture by Fra Angelico.
On Fra Bartolommeo the spirituality of Fra Angelico still lingered, while the perfection of Raphael illumined him.
If he felt no devotion himself, he was able to conceive the frame of mind, and consequent expression of face and feature, in those who did." Perugino was therefore giving us not the outcome of his own heart and emotions, as Beato Angelico did, but only his imagination of what would be under certain given circumstances the outcome of another man's heart and emotions.
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