Fra Angelico | Page 5

places of dignity in the brotherhood of his Order, and
also in the world; but he regarded them not, affirming that he sought no
dignity and took no care but that of escaping hell and drawing near to
Paradise. And, of a truth, what dignity can be compared to that which
should be most coveted by all churchmen, nay, by every man living,
that, namely, which is found in God alone, and in a life of virtuous
labour?
"Fra Giovanni was kindly to all, and moderate in all his habits, living
temperately, and holding himself entirely apart from the snares of the
world. He used frequently to say, that he who practised the art of
painting had need of quiet, and should live without cares or anxious
thoughts; adding, that he who would do the work of Christ should
perpetually remain with Christ. He was never seen to display anger
among the brethren of his order; a thing which appears to me most
extraordinary, nay, almost incredible; if he admonished his friends, it
was with gentleness and a quiet smile; and to those who sought his
works, he would reply with the utmost cordiality, that they had but to
obtain the assent of the prior, when he would assuredly not fail to do
what they desired. In fine, this never-sufficiently-to-be-lauded father
was most humble, modest, and excellent in all his words and works; in
his painting he gave evidence of piety and devotion, as well as of
ability, and the saints that he painted have more the air and expression
of sanctity than have those of any other master."[10]
Fra Giovanni Angelico, whose worldly name was Guido or Guidolino
(little Guy), was born in the year 1387; his father was named Piero
(surname not known) of Vicchio in the Mugello;--that pleasant valley
which boasts of having given birth to Giotto.
Vasari asserts that Guido's brother Benedetto, a miniaturist, was also
very clever in a larger style of painting, but the researches of Milanesi
quite refute this opinion, and show that Benedetto did nothing more

than copy choral books, and that he continued this kind of work till his
death.[11]
"The most ancient chronicles of the convent of St. Mark and St.
Dominic at Fiesole," writes Milanesi when registering the death of Fra
Benedetto brother of Angelico, in the year 1448, "remark simply that
he was a very good writer, and that he wrote and annotated the choral
books of St. Mark and some of those of St. Dominic." We have only
the evidence in Vasari and the "Annali del Convento di San Marco,"
written after his Lives of the Painters to prove that he was a
miniaturist.[12]
In these Annals it is added, with more historical truth, that although
Angelico "might have conveniently lived in the world, and besides his
own possessions might have gained any income he chose, with the art
for which he was famous even in his youth, yet, for his own satisfaction
and peace, being by nature steady and good, and chiefly also for the
salvation of his soul he preferred to take the vows in the order of the
Preaching monks."[13] This happened in 1407.
On the slopes of the smiling hill of Fiesole the foundations of a new
convent were being laid by Giovanni Dominici, the great preacher and
reformer, who wished in this new monastery to give a model to all the
cloistered orders which at the close of the preceding century had greatly
fallen from their ancient observances. St. Antonino was among the first
to embrace this reform, and after two years Guidolino and his brother
followed his example, choosing the robes of St. Dominic.
On being received by the Dominicans they were sent to Cortona, where
St. Antonino and others already resided, there being as yet no novitiate
at the Fiesole convent. In 1408 they took the irrevocable vows, but it
cannot be ascertained whether they still remained at Cortona, or
returned at once to their own convent at Fiesole. If the latter, the two
brothers must have been involved in the vicissitudes of the Fiesolan
convent, which, refusing to acknowledge Pope Alexander V. (who was
elected by the Council of Pisa 1409), entered into a fierce contest with
the archbishop of Florence. The convent was abandoned by its inmates
who fled to Foligno to avoid the rule of Fra Tommaso da Fermo,

General of the Order, who had sworn obedience to the new Pope. They
were received as guests at Foligno by Ugolino de' Trinci, lord of the
city, and Federigo Frezzi, author of the Quadriregio. Here they passed
five years, being treated with great benevolence by their brethren, nor
did they leave until driven away by the plague in 1414, when they
again took shelter at Cortona where they remained till