Page:Cyclopedia of painters and paintings - Volume I.djvu/85

 *oped one of its chief elements; while at Foligno he perfected himself in the art of illuminating choir books and missals. Evidence of Angelico's training as a miniaturist is to be found in the dryness, precision, and extreme simplicity of his style, and in the thinness and meagreness of his execution. Masolino may have taught him how to make his draperies more transparent by new methods of glazing, and how to use other freshly discovered technical processes, but nevertheless he remained a mystic in an age of growing naturalism; a mediævalist in the first period of the Renaissance, working in the fifteenth century in the spirit of the fourteenth. Angelico with all his technical incompleteness has never been excelled in depicting the seraphic. His angels are birds of Paradise, whose faces glow with beatitude, whose forms are just enough like those of human beings to make them comprehensible, but not so much so as to veil their divine nature. Another point in which Angelico stands alone is in his power of depicting in the faces of his saints and devotees the deep emotions which stir natures like his when absorbed in the contemplation of divine mysteries. The countenances of some of the great teachers and founders of religious orders in his fresco of the Crucifixion (after 1436), in the Chapter House, S. Marco, Florence, are instances in point. Some of the most remarkable of Angelico's works are: Altarpiece, Lunette over portal, S. Domenico, Cortona (before 1418); Predella of same, Annunciation, Gesù, Cortona; parts of an altarpiece, Perugia Gallery; Predella of same, Vatican, Rome; altarpiece (after 1418, repainted by Lorenzo di Credi), S. Domenico, Fiesole; Coronation of the Virgin (1433), Coronation of the Virgin, and many small panels (1436), Uffizi, Florence; Last Judgment, Paradise, and Deposition from the Cross, 35 subjects from Life of Christ, two altarpieces, Florence Academy; Angels kneeling on Clouds, Turin Gallery; Crucifixion, Madonna della Stella, Coronation of the Virgin, Adoration of the Magi, St. Peter Martyr, S. Marco, Florence; Frescos, Lives of SS. Laurence and Stephen, Chapel of St. Nicholas, Vatican, Rome (1450-55); God the Father and Prophets (1447), ceiling, Duomo, Orvieto; Coronation of the Virgin, Miracles of St. Dominic, Louvre, Paris; Last Judgment, Berlin Museum; Adoration of the Magi, Christ with Angels and the Blessed, National Gallery, London.—Vasari, ed. Mil., ii. 505, 527; C. & C., Italy, i. 559; Marchesi, i. 185; Burckhardt, 530; Rio, ii. cap. xi.; Life of F. A., Arundel Soc. Pub. (London, 1850); Cartier, Vie de F. A. (Eng. trans., London, 1865); Förster, Leben und Werke (Ratisbon, 1859); Dohme, 2 i.

ANGELINI, ANNIBALE, Cavaliere, born at Perugia, Italy, in 1812. Landscape painter, pupil of Perugia and Florence Academies. Professor at Academy of S. Luca, Rome; member of most of the Italian Academies. Several orders. Works: Six Landscapes with Architecture, Vatican, Rome; Landscapes, Quirinal, ib.; Ceiling Fresco, Palazzo Doria, ib.—Müller, 14.

ANGELO, MICHAEL. See Michelangelo.

ANGELS, FALL OF, Luca Giordano, Vienna Museum; canvas, H. 13 ft. 4 in. × 8 ft. 10 in.; signed, dated 1666. The Archangel Michael, sword in hand, in a glory of angels, overcomes the rebellious angels and casts them down. Engraved by Eissner.—Gal. de Vienne, ii. Pl. 89.

ANGELUS, J. F. Millet, M. Secretain, Paris; canvas. Evening; two peasants, a man and a woman, at work in a field, hear the bells of the Angelus from a chapel seen in the distance. They rise, stop work, and standing bareheaded, recite with downcast eyes the words of the prayer, "Angelus domini nuntiavit Mariæ." Painted in 1859; sold to J. W. Wilson, Paris; at his sale (1881), 160,000 fr. Original design, W. T. Walters, Baltimore. Etched by C. Waltner; by A. P. Martial in Art Journal (1884), 348.

ANGIOLETTO DA GUBBIO, of Gubbio, fourteeth century. Worked as a mosaist at