Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 1.djvu/473

Rh it very appropriately called), was a halo or glory (Mandorla) of copper, wherein were numerous perforations, displaying small lamps placed on an iron in the form of a tube, which, on the pressing down of a spring, was concealed within the copper “mandorla”; but when the spring was not pressed, all the lamps appeared lighted through the apertures formed for that purpose in the mandorla. When the group of angels had reached its appointed place, this mandorla, which was suspended by a small cord, was moved softly down by means of another little windlass, and descended gradually to the platform, whereon the representation was exhibited. At that point of the platform where the mandorla was to rest, an elevated place in the manner of a throne was erected, with four steps; in the centre of this elevation was an opening into which the pointed iron of the mandorla descended: the latter having reached its place, a man concealed beneath the throne fixed it securely, without being seen himself, by means of a bolt, so that it rested firmly on its own basis. Within the mandorla was a youth of about fifteen years old, in the guise of an angel, he was bound by an iron cincture to the centre of the mandorla, and secured at the foot of it also in such a manner that he could not fall; but to admit of his kneeling before the Virgin, the iron fastenings were divided into three pieces, which glided one within the other with an easy motion, as the youth knelt down. Then, when the bouquet of angels had descended, and the mandorla was fixed into its place, the man who had secured it by means of the bolt, also unfastened the iron which supported the angel, whereupon he, having issued forth, proceeded across the platform, and approaching the spot where sat the Virgin, he made his salutation and uttered the announcement. He then returned into the mandorla, and the lights, which had been extinguished on his leaving it, having been rekindled, the iron which supported him was again secured by the man concealed below, that which held the mandorla to its place was taken away, and the latter was drawn up; while the angels of the bouquet, and those who were moving about in the heaven above, all singing, produced such an effect, that the show really appeared to be a paradise. And this illusion was the more effectually produced, because, in addition to the above-described choir of angels, and those forming the group, there was a figure re-