admirable of his works is the cupola of a chapel, belonging to the church and convent of Santa Maria degli Angioli. It is painted in fresco, and represents the Saints of the Old and New Testament; the more beautiful portion is the congregation of female saints—Saint Cecilia, the musician; Saint Clara, the nun; Saint Catherine, the bride of Christ, &c. The foreshortening is admirable, the spirit and grace of the attitudes worthy of the highest masters of the art.[1]
Such is the spirit that animates the earlier school of Florence. But as painting became more of an art, and grew to represent domestic scenes and portraits, artists broke from the confinement of mere religious subjects, or treated them in a mundane manner. Then it was that their imagination so degenerated, that they had recourse to portraits to represent Christ, the Virgin, and the Saints; some of them even fell so far from the ideal of sinless chastity, as to paint their mistresses and women of unworthy life; offering to the worship of the pious, the image of mere physical beauty, without the superior grandeur of moral excellence.
- ↑ “The Guide-Book of Florence,” by Fantozzi, is very complete, but it wants an index of the names of the artists, with the numbers of the pages in which they are mentioned, cited, to enable the amateur at once to learn where to find their various works.
