Fra Angelico. Stephan Beissel

clarity and the simplicity of its lines, though the Virgin on a donkey’s back is poorly rendered. Joseph walks behind her holding a canteen and a basket of provisions in the manner that rural Italians still go off to work today. Angelico’s attempt to differentiate between the various types of trees merits notice.

      8. Massacre of the Innocents. The mothers’ intense pain contrasts with the calm of the soldiers. One soldier lets a woman scratch his face without resistance. Another mother, half-kneeling, throws her hands in the air, mourning her dead child, whose corpse leans against her. A third flees, screaming with her mouth wide open. Other women seek salvation through flight, while one of them is stretched out on the ground alongside her child’s corpse.

      9. Jesus calmly seated amongst the doctors. To the left are Mary and Joseph. Mary calls to her son. Here again, the architecture is Gothic, whereas the typical architecture in Angelico’s paintings is early Renaissance.

      38. The Annunciation and The Adoration of the Magi (superior part of the reliquary); Madonna Surrounded by the Saints (pedestal) whose relics are found in the reliquary, before 1434. Tempera and gold on wood panel, 84 × 50 cm. Museo di San Marco, Florence.

      39. Virgin and Child (Madonna della Stella) (shrine containing the relics of the Saints Dominic, Thomas Aquinas, and Peter Martyr), 1434. Tempera on wood panel, 84 × 51 cm. Museo di San Marco, Florence.

      10. The Marriage at Cana. Two men are seated at a table next to the groom, along with Mary and Jesus. Jesus extends his hand towards the jugs on the table into which a serving man is pouring water. The texts written on the frame read, “Haurietis aquam et vertetur in sanguinem,” (Exodus 4) “Vox Domini intonuit super aguas.” (Psalm 18)

      11. At the Baptism, all of the characters have long curls. “Descendit et lavit se septies in Jordane.” (III Kings) “Venit Jesus et baptizatus est a Joanne in Jordane.” (Mark 1:9)

      12. The Transfiguration. “Et repleta erat gloria domus Domini.” Ezech. XLIII c. (Ezekiel 43) “ Transfiguratus est ante eos.” Matth. XVII c. (Matthew 17)

      13. In this cycle of Christ’s public life, only the Resurrection of Lazarus and the Transfiguration are pictured. Here, there is a beautiful contrast between the Jew who holds his nose because the corpse “already stinks,” and the sisters piously kneeling before the Lord, oblivious to the miracle being carried out. The apostles are astonished to see Lazarus approaching with his hands clasped together. Two different acts are represented simultaneously with infinite artfulness and without any apparent contradiction. “Educam vos de sepulcris, populus meus.” (Ezekiel 37)

      14. Jesus entering Jerusalem. Christ, astride a donkey, raises his right hand to bless the onlookers. The Apostles follow him, holding palm fronds, while the Jews, also carrying palms, precede Jesus. One Jew lays his cloak on the ground before the Messiah. (Zacharias 9:9)

      15. At the Last Supper, Jesus is seated at a table with eleven of his disciples, one of whom brings a plate of food. “Agnum eiusdem anni immaculatum faciet sacrificium.” Ezech. XLVI c. (Ezekiel 44) “Paraverunt Pascha et cum esset hora discubuit Jesus et duodecim discipuli.” (Luke 22)

      16. Eleven Apostles are seated in a circle, and the twelfth brings them water. In the centre, Jesus kneels before Peter, who makes a gesture of denial. One of the Apostles, seated in the foreground, unties the laces of his shoe, while another removes his hose. Most of them contemplate their Master with a surprised expression on their faces. (Isaias 1:16)

      17. In the depths of the Cenacle, a deep and vaulted hall supported by two columns, six Apostles can be seen seated behind a long table. The others have risen from their stools, but many of them are still before the table. Three of them kneel before the wall at the left, three others to the right. The Savior stands before the Apostles to the right to give them the consecrated Host.

      18. A pharisee pays Judas, who still wears a halo, extending his hand with the promised silver. Six terrified and astonished Jews look on. This is a beautiful painting, full of characteristic figures. “Appenderunt mercedem meam triginta argenteos.” (Zacharias 11) “Quid vultis mihi dare et ego tradam illum. At illi constituerunt ei XXX argenteos.”. (Matthew 27)

      40. The Deposition (altarpiece of Santa Trinità at Florence, the three scenes in the tympanums have been depicted by Lorenzo Monaco), c. 1437–1440. Tempera on wood panel, 176 × 185 cm. Museo di San Marco, Florence.

      41. Rogier van der Weyden, Deposition from the Cross, c. 1435. Oil on wood panel, 220 × 262 cm. Museo del Prado, Madrid.

      19. A Christ of reduced proportions prays in the depths of the Garden of Gethsemane. An angel approaches and three Apostles of larger proportions sleep in the foreground. (Isaias 41:10); (Luke 22:43)

      20. Judas kisses Christ. To his right stand three Apostles, while the Pharisees and soldiers lie on the ground. (Psalms 40:10); (Matthew 26:49)

      21. Jesus is arrested. Peter tranquilly cuts off the ear of Malchus, an action accomplished without drama. (Ezekiel 3:25); (Matthew 26:57)

      22. The Savior stands before Caiaphus with calm dignity. (Micheas 5:1); (John 18:22)

      23. The Flagellation of Christ. Christ is beaten with rods by two men, with no spectators, in a room whose ceiling is supported by a single column. Christ, full of pain and patience, looks at his torturers. “Ego in flagella paratus sum et dolor meus in conspectu tuo semper.” (Psalm 37)

      24. Jesus, seated and surrounded by four torturers, is beaten and mocked. Three servants look on, while two men stand outside the door. Here, Christ’s blindfold is not transparent. (Isaias 50:6)

      25. Jesus carrying his cross turns towards Mary who is kept from approaching him by two executioners. Two other executioners walk ahead of Christ.

      26. Jesus’ clothes are taken by two Roman soldiers, who share them. There is little movement in this composition. (Isaias 53:7); (John 19:17)

      27. Jesus, dead on the cross. Mary, John, and three women weep to his right. Three soldiers, kneel, worshiping the Lord, while five Pharisees and soldiers look on with emotion. No taunting takes place; no enemies are present. Two men, holding lance and sponge, stand contemplating near the cross. A deep and painful peace rules over the entire composition. “It is finished.”

      28. Jesus advances on a cloud towards Limbo. Satan lies crushed by the knocked down door. Adam and Eve, clothed, advance towards the Redeemer, followed by Abraham, David and others. A. CVI, 14; (Apocalypse 5:9)

      29. The body of Christ, lies before the sepulcher and is surrounded by seven women and three men. In the foreground can be seen the nails and the crown of thorns resting on a piece of cloth. A sad calm fills this work. (Isaias 11:10); (Luke 23:53).

      30. Five women approach the tomb of Christ. Two of them look into the mausoleum and see an angel sitting. Three other women stand slightly behind them.

      31. The Ascension. Only the edge of Christ’s robes is visible in the upper part of this painting as He rises to Heaven. In the lower part of the work, the Virgin Mary and the eleven apostles kneel in a circle. Two angels stand to the sides. (Psalms 17:11); (Mark 16:19).

      32. The Pentecost. The Virgin is seated inside of a house surrounded by twelve apostles and thirteen disciples, with only the busts of the figures visible. Two groups of men are in front of the house, one group of two, and one group of three. (Joel 2:28); (Acts 2:4).

      33. In the centre of the composition, Christ places a crown on his holy Mother’s head. Angels and saints who fill the foreground surround them. Most of them direct their gazes beyond the scene. The grouping is a bit crowded, and the figures do not possess the desired life or variety. Only the group in the centre is excellent. The inscriptions do not seem to have a connection with the scene. “Vidi Dominum sedentem super solium et elevatum et plena domus maiestate eius.” (Isaias 6) “Ecce tabernaculum