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Updated: July 6, 2025
He began a panel for S. Gallo, afterwards finished by Giuliano Bugiardini, which is now on the high-altar of S. Jacopo fra Fossi, on the Canto degli Alberti; and likewise a picture of the Rape of Dinah, now in the possession of Messer Cristofano Rinieri, and afterwards coloured by the same Giuliano, in which are buildings and conceptions that are much extolled.
Suddenly, amid the hush and expectance, a tenor voice pealed from the organ-loft, and a train of priests issued from the sacristy and elbowed and shouldered their way through the crowd to the high-altar, where their intoning, like so many "Silver snarling trumpets 'gan to glide,"
In the Abbey of S. Fiore, a seat of Black Friars, behind the Crucifix that is placed on the high-altar, he painted in oils, on a canvas, Christ praying in the Garden and the Angel showing to Him the Chalice of the Passion and comforting Him, which was certainly a work of no little beauty and excellence.
For the Nuns of S. Giuliano in Florence he painted the panel of their high-altar, which he executed in a room that he had in the Gualfonda; together with another for the same church, with a Crucifix, some Angels, and God the Father, representing the Trinity, in oils and on a gold ground.
For which reason he made a very beautiful window for the Chapel of the High-altar in S. Domenico, a convent of his Order at Arezzo; wherein he depicted a vine that issues from the body of S. Dominic and embraces a great number of sanctified friars, who constitute the tree of the Order; and at the highest point is Our Lady, with Christ, who is marrying S. Catherine of Siena a work much extolled and of great mastery, for which he would accept no payment, believing himself to be much indebted to that Order.
And as it was painted both on the back part and on the front, the said high-altar being isolated right round, on the said back part there had been made by Duccio with much diligence all the principal stories of the New Testament, with very beautiful little figures.
Finally, Domenico was commissioned to paint the great recess of the Duomo, which is at the end behind the high-altar. In this he first made a decoration of stucco with foliage and figures, all with his own hand, and two Victories in the vacant spaces in the semicircle; which decoration was in truth a very rich and beautiful work.
These men, therefore, having gone to Bologna, where Giorgio had not yet arrived for he was still at Camaldoli, where, having finished the tramezzo, he was drawing the cartoon for a Deposition from the Cross, which was afterwards executed by him and set up on the high-altar in that same place set themselves to prime the said three panels with gesso and to lay on the ground, until such time as Giorgio should arrive.
No long time after this, when Niccolò had returned from Marciano to Arezzo and Domenico had left him, the men of the Company of the Corpo di Cristo, in that city, had a commission to give for the painting of an altar-piece for the high-altar of the Church of S. Domenico.
The cloister stood to the south of the nave, to the north stood of old the parish church, growing out of the north aisle as it were, built so in 1403. This has been destroyed and the north aisle wall has been rebuilt as in 1150. The church possesses more than one thing of great interest. The old high-altar stone is still in existence, and is now used as the communion table.
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