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1 Chapter 1 : Domenican Liturgical Song and the Iconogaphy of Fra Angelico â Quelli del MUSEO DI SAN Kanter, Laurence, and Pia Palladino, with contributions by Magnolia Scudieri, Carl Brandon Strehlke, Victor M. Schmidt, and Anneke de Vries. Fra Angelico. New York: The Metropolitan Museum of Art, The building[ edit ] The Museum is situated in the oldest part of the monastery occupying about half the total space. The building has expanded over time, now taking up a whole block, and part of it is still occupied by friars today. Over about ten years Michelozzo completed an extremely modern and functional monasterial building project which contributed to the glorification of Medicean patronage. Michelozzo made use of the pre-existent wall structures of the Sylvestrian monastery complex which date back to the end of 13th century. Michelozzo ably linked together the ground floor rooms around a harmoniously-proportionated cloister and raised the levels of these buildings to create the dormitories on the first floor with a large number of cells to suit an expanding monastery. The sight of St. Dominic worship the Crucifix, painted by Fra Angelico opposite the entrance is uplifting. Originally this was the only painted image decorating the white cloister. The appearance of the cloister was changed during the 17th century, when the monks of San Marco decided to celebrate the figure of St. Antonino by commissioning the most famous Florentine painters of the time to paint a cycle of lunettes depicting Scenes from the life of St. Monastery rules imposed the ritual washing and purification of the hands before eating. Today the room contains works presenting the artistic activity of the second great painter who lived in San Marco at the beginning of the 16th century: He kept a painting studio in San Marco until his death in Basing his work on the preliminaries of rational 15th century classicism, Fra Bartolomeo developed a style of art which was freer in its use of colour space and design and inspired the young Raphael. Today it contains an important collection of painting by Fra Bartolomeo. Crucifixion with Saints by Fra Angelico Chapterhouse[ edit ] The external appearance, with exposed stone walls and a doorway flanked by large windows, reveals that it belongs to the 14th century part of the monastery. This fresco has a rather unreal appearance, which is also due to the state of repair of the background, originally painted blue and now grey and red, because the pigment has fallen and it can be seen in its preparatory state, As if in a collective reflection on the event of the Crucifixion, there appear in the painting not only historical figures but also the founders of the religious orders. They consist of three corridors surrounding the cloister on three sides which is overlooked by 44 cells frescoed by Fra Angelico between and The Annunciation is one of the three frescoes painted outside the cells by Fra Angelico along with St. Dominic worships the Crucifix and the Sacra Conversazione known as Virgin of the Shadows before which the friars recited a common prayer at the times and in the ways prescribed by the Dominican Rule. This cycle of frescoes, unique in the world, is considered to be completely the work of Fran Angelico, although he was helped by assistants. In the first twenty cells had already been completed, arranged on both sides of the corridor and soon after were frescoed by Fra Angelico, each with a scene from the Life of Christ. On the left side are the frescoes painted entirely by Fra Angelico, while those on the right were designed by the Master but painted in great part by faithful assistants. The cells, larger in size than those of the Fathers to allow the Novices to become gradually accustomed to a reduction in their personal space, all contain frescoes of the same subject, St. Dominic worship the Crucifix. The only difference in the frescoes is the attitude of the kneeling Saint, shown in the various modes of prayer indicated by St. The language is more descriptive and the colours are brighter, the composition is more complex and next to the Master the contribution of his assistants increases. Recent restoration has revealed both the original 15th century color scheme, green imitation marble, uncovered "as sample" in a central bay where fragments of a Wind Rose have also been discovered, and some frescoes of architectural illusionism around the doors, probably painted by Iacopo Chiavistelli at the time of the 17th century renovation of this room. The Library, the first to be opened to the public in the Renaissance, was arranged by Vespasiano da Bisticci according to the dictates of Tommaso Sarzana, who later became Pope Nicholas V. Medieval and Renaissance illuminated choir-books coming also from other churches and monasteries were instead placed here, where they are now Page 1

2 exhibited in rotation. Small Refectory[ edit ] Last Supperby Ghirlandaio A small room once used as a Refectory for monastery guests staying in the adjoining guest Lodge. It may also have been used as the refectory for sick monks being treated in the infirmary, from the 17th century situated inside the Lodge. It was frescoed by Ghirlandaio only about forty years after the construction of the monastery and today contains some glazed terracotta relief works from the Della Robbia studio, dated a little later than the Last Supper. San Marco becomes a museum[ edit ] Like many establishments of its kind throughout Europe, the convent was seized by the civil authorities during the upheavals stemming from the French Revolution and the expansion of the Napoleonic Empire. San Marco met this fate in, returned to Dominican hands after the fall of Napoleon, but then was confiscated in large part by a decree of the nascent Kingdom of Italy dated 7 July and became State property. This left to the Dominicans the church, the rooms opening on to the Saint Dominic cloister and the area that came much later to house the library containing over 10, books specializing in spirituality, founded in thanks to the bequest of a well known Catholic scholar Arrigo Levasti and named after him. In, having been declared a national historical monument, the greater part of the complex reopened as a museum, following repairs and some adjustments to meet the new situation. It was in this period that the frescoes by Fra Angelico were restored by the artist Gaetano Bianchi. In the museum was chosen to house the remains of architectural value surviving from the buildings demolished by the urban planning measures of the previous century. In the museum managed to add to its collections a large number of works of Fra Angelico, having them transferred from the Uffizi Gallery or the Accademia, an arrangement that has since remained unchanged. Page 2

3 Chapter 2 : In full view The Florentine Magnolia Scudieri is the author of Frescoes by Angelico at San Marco ( avg rating, 2 ratings, 1 review), Gli affreschi dell'angelico a San Marco ( Dominic worships the Crucifix The building The Museum is situated in the oldest part of the monastery occupying about half the total space. The building has expanded overtime, now taking up a whole block, and part of it is still occupied by friars today. Over about ten years Michelozzo completed an extremely modern and functional monasterial building project which contributed to the glorification of Medicean patronage. Michelozzo made use of the pre-existent wall structures of the Sylvestrian monastery complex which date back to the end of 13th century. Michelozzo ably linked together the ground floor rooms around a harmoniously-proportionated cloister and raised the levels of these buildings to create the dormitories on the first floor with a large number of cells to suit an expanding monastery. Dominic worship the Crucifix, painted by Fra Angelico opposite the entrance is uplifting. Originally this was the only painted image decorating the white cloister. Monastery rules imposed the ritual washing and purification of the hands before eating. Today the room contains works presenting the artistic activity of the second great painter who lived in San Marco at the beginning of the 16th century: He kept a painting studio in San Marco until his death in Basing his work on the preliminaries of rational 15th century classicism, Fra Bartolomeo developed a style of art which was freer in its use of colour space and design and inspired the young Raphael. Today it contains an important collection of painting by Fra Bartolomeo. This fresco has a rather unreal appearance, which is also due to the state of repair of the background, originally painted blue and now grey and red, because the pigment has fallen and it can be seen in its preparatory state, As if in a collective reflection on the event of the Crucifixion, there appear in the painting not only historical figures but also the founders of the religious orders. They consist of three corridors surrounding the cloister on three sides which is overlooked by 44 cells frescoed by Fra Angelico between and This cycle of frescoes, unique in the world, is considered to be completely the work of Fran Angelico, although he was helped by assistants. On the left side are the frescoes painted entirely by Fra Angelico, while those on the right were designed by the Master but painted in great part by faithful assistants. Dominic worship the Crucifix. The only difference in the frescoes is the attitude of the kneeling Saint, shown in the various modes of prayer indicated by St. The language is more descriptive and the colours are brighter, the composition is more complex and next to the Master the contribution of his assistants increases. Medieval and Renaissance illuminated choir-books coming also from other churches and monasteries were instead placed here, where they are now exhibited in rotation. It may also have been used as the refectory for sick monks being treated in the infirmary, from the 17th century situated inside the Lodge. This left to the Dominicans the church, the rooms opening on to the Saint Dominic cloister and the area that came much later to house the library containing over 10, books specializing in spirituality, founded in thanks to the bequest of a well known Catholic scholar Arrigo Levasti and named after him. In, having been declared a national historical monument, the greater part of the complex reopened as a museum, following repairs and some adjustments to meet the new situation. In the museum was chosen to house the remains of architectural value surviving from the buildings demolished by the urban planning measures of the previous century. Page 3

4 Chapter 3 : Admiring Fra Angelico frescoes in San Marco Convent, Florence Note: Citations are based on reference standards. However, formatting rules can vary widely between applications and fields of interest or study. The specific requirements or preferences of your reviewing publisher, classroom teacher, institution or organization should be applied. Restoration of an overlooked treasure Alexandra Lawrence July 2, share One of the most intriguing aspects of Florence is its ability to hide-sometimes in plain sight-many of its most special treasures. Take the church and monastery of San Marco. Founded in the thirteenth century, the complex was enlarged in, when Dominican monks from Fiesole moved there at the invitation of Cosimo il Vecchio. Not known for scrimping, Cosimo spent a considerable sum to have his favorite architect, Michelozzo, completely rebuild the monastery. Its simple cloisters and cells, masterpieces themselves, were made immortal when one of the friars, Fra Angelico, completed a series of remarkable devotional frescoes from to Ironically, every visitor to San Marco must go through the cloister, built in by Michelozzo, to enter the church of San Marco and the monastery. Typically, however, they move quickly through the narrow hallway lined with eighteenth- and nineteenth-century sepulchral monuments and tombstones, out the door and past the large cedar, planted in the last century, that thrives in the middle of the cloister, which introduces the elegant monastery, an outstanding example of orderly Florentine Renaissance architecture. The loggia rests on five columns per side, decorated with majestic ionic capitals and low arches that create a rhythm proportional to human dimensions and suggest a secluded space. This overall simplicity and reciprocity is repeated in the colors of the principal materials used: The fresco of St. Dominic worshipping the Crucifixion, painted by Fra Angelico opposite the entrance is uplifting. Originally, this, with the five little lunettes above the door, was the only painted image that decorated the white cloister. The most famous Florentine painters of the time were commissioned to paint a cycle of lunettes depicting scenes from the life of the saint. Several noble Florentine families paid for the work, and their coats-of-arms appear in the frescoes. She took her suggestion to a neighbour: After training under his famous grandfather, young Giacomo completed his studies and took over the family business, Dini Restauri, founded in Methodical and patient, the new expert in the Dini family has made a name for himself with numerous prestigious restorations carried out all over Italy. He can tell you every date, the history of each figure in the lunettes, and every painstaking detail of each restoration carried out through the centuries. He joined the Domenican order at the age of 15 and became a monk in Fiesole before taking various posts in the Dominican order. He founded the San Marco convent in Florence in By, his unique combination of saintly character and administrative skills had led to the position of archbishop of Florence, a role he held until his death in He was canonized by Pope Adrian VI in Page 4

5 Chapter 4 : the frescoes by angelico at san marco Download ebook PDF/EPUB Hood compares Fra Angelico's work at San Marco to earlier Dominican altarpieces and to his other altarpieces for Dominican buildings in Siena, Pisa, Prato, and Florence, pointing out both the traditional elements and the startling novelty of the San Marco altarpiece. Fra Angelico Last Judgement, c. In the centre of the top of the picture, Christ in Judgement is shown sitting on a white throne with Mary, John, and all the saints judging the living and the dead. He is also surrounded by angels. This depicts him as the ruler of Heaven and Earth, one hand pointing downwards to Hell, the other up to Heaven. The section on the left of the painting shows Paradise. The Seraph Angels here lead the souls of the righteous and pure of heart to a beautiful garden. Here, Paradise is depicted as the Garden of Eden but has a gate with a light, representing Heaven. The section in the middle shows broken tombs. This represents that the dead have come out of their graves and tombs to be finally judged. The right section in this painting depicts Hell. The painting depicts the Demons of Hell torturing the souls of the wicked. The very bottom shows Satan chewing on some of the souls. Fra Angelico, Last Judgement, Hell, c. He is flanked by the interceding figures of John the Baptist and the Virgin. Rows of saints and prophets, identified by their distinctive attributes, varied expressions and brilliantly coloured mantles, sit suspended on clouds in the heavens. A long row of tombs leads to the distant horizon, bisecting the valley below. To the right of Christ, the Blessed kneel in adoration, their faces radiant with the love of God, as angels dance in a circle in the verdant vegetation of Paradise. Golden rays of light stream through the open gates of the City of God and illuminate the white gowns of the Blessed seeking entry. The ghastly torments that await them are portrayed within its flaming circles, where naked sinners, some strangled with snakes, suffer for their transgressions. Among the most common subjects of painting in churches, it is found more often on walls. In the top centre of the picture, Christ sits in judgement on a white throne surrounded by angels, Mary, John, and the saints. Christ is shown as judge of the living and dead, his left hand pointing down to Hell, his right up to Heaven. In the middle are the broken tombs of the risen dead, come out of their graves to be finally judged. At the very bottom Satan chews on three of the damned, and grasps two others. Fra Angelico, Last Judgement, Paradise, c. Fra Angelico entered a Dominican convent in Fiesole in and became a friar using the name Giovanni da Fiesole. Although his teacher is unknown, he apparently began his career as an illuminator of missals and other religious books. He began to paint altarpieces and other panels; among his important early works are the Madonna of the Star c. His mature style is first seen in the Madonna of the Linen Weavers, San Marco, which features a border with 12 music-making angels. In some of the Dominican friars of Fiesole moved to the convent of San Marco in Florence, which had recently been rebuilt by Michelozzo. His altarpiece for San Marco? In, with his pupil Benozzo Gozzoli, he painted frescoes for the cathedral in Orvieto. His last important works, frescoes for the chapel of Pope Nicholas in the Vatican, are Scenes from the Lives of Saints Stephen and Lawrence, probably partly painted from his designs by assistants. Fra Angelico died in Rome and was buried in the church of S. Maria sopra Minerva, where his tombstone still exists. His most important pupil was Benozzo Gozzoli and he had considerable influence on Italian painting. He painted numerous altarpieces as well as frescos, several outstanding examples being in the S. His particular grace and sweetness stimulated the school of Perugia, and Fra Bartolommeo, who followed him into S. Marco in, had something of his restraint and grandeur. Vasari, who referred to Fra Giovanni as a simple and most holy man, popularized the use of the name Angelico for him, but he says it is the name by which he was always known, and it was certainly used as early as Fra Angelico combined the influence of the elegantly decorative International Gothic style of Gentile da Fabriano with the more realistic style of such Renaissance masters as the painter Masaccio and the sculptors Donatello and Ghiberti, all of whom worked in Florence. Angelico was also aware of the theories of perspective proposed by Leon Battista Alberti. His skill in creating monumental figures, representing motion, and suggesting deep space through the use of linear perspective, especially in the Roman frescoes, mark him as Page 5

6 one of the foremost painters of the Renaissance. Tuscany is one of the most popular tourist destinations in the world. Known for its enchanting landscapes, its fantastic and genuine food and beautiful towns as Florence, Pisa, Lucca and Siena. Tuscany is much more! It is the ideal place to pass a very relaxing holiday in contemplation of nature, with the advantage of tasting the most typical dishes of Tuscan cuisine and its best wines. Set in hectares of land in the Montalcino area, Castello Banfi il Borgo is one of the most important wine producers in Tuscany. So, the surrounding countryside is the ideal area for an uncommon wine tour, visiting small farms producing wine and excellent extra virgin olive oil. If you want to spend an unforgettable holiday at Podere Santa Pia, visit our special offers page or contact us. Experience the friendly welcome, unique interior and rural tranquillity The large garden, stunning stone fireplace and indoor pizza oven, ancient timber beams, stone flag floors and many more period features contribute to the authentic atmosphere and individual charm that our guests enjoy time and time again. Page 6

7 Chapter 5 : beato angelico Download ebook PDF/EPUB The Frescoes by Fra Angelico at San Marco Magnolia Scudieri Catalogue Laurence Kanter Chapter VII. Fra Angelico: A Florentine Painter in Roma Felix Carl Brandon Strehlke Catalogue Laurence Kanter, Pia Palladino Chapter VIII. Official website Museo Nazionale di San Marco is an art museum housed in the monumental section of the medieval Dominican friary dedicated to St Mark, situated on the present-day Piazza San Marco, in Florence, region of Tuscany, Italy. The museum, a masterpiece in its own right by the fifteenth-century architect Michelozzo, is a building of very first historical importance for the city, and contains the most extensive collection in the world of the works of Fra Angelico, who spent several years of his life as a member of the Dominican community here. The works are both paintings on wood and frescoes. Dominic worships the Crucifix The building The Museum is situated in the oldest part of the monastery occupying about half the total space. The building has expanded over time, now taking up a whole block, and part of it is still occupied by friars today. Over about ten years Michelozzo completed an extremely modern and functional monasterial building project which contributed to the glorification of Medicean patronage. Michelozzo made use of the pre-existent wall structures of the Sylvestrian monastery complex which date back to the end of 13th century. Michelozzo ably linked together the ground floor rooms around a harmoniously-proportionated cloister and raised the levels of these buildings to create the dormitories on the first floor with a large number of cells to suit an expanding monastery. The sight of St. Dominic worship the Crucifix, painted by Fra Angelico opposite the entrance is uplifting. Originally this was the only painted image decorating the white cloister. The appearance of the cloister was changed during the 17th century, when the monks of San Marco decided to celebrate the figure of St. Antonino by commissioning the most famous Florentine painters of the time to paint a cycle of lunettes depicting Scenes from the life of St. Signoria Altarpiece by Fra Bartolomeo "Lavabo" Room and Fra Bartolomeo Room This room, known as the "Lavabo" Room due to the ancient function for which it was originally equipped, is also accessible from the cloister and is in front of the Large Refectory, next to the kitchen. Monastery rules imposed the ritual washing and purification of the hands before eating. Today the room contains works presenting the artistic activity of the second great painter who lived in San Marco at the beginning of the 16th century: He kept a painting studio in San Marco until his death in Basing his work on the preliminaries of rational 15th century classicism, Fra Bartolomeo developed a style of art which was freer in its use of colour space and design and inspired the young Raphael. Today it contains an important collection of painting by Fra Bartolomeo. Crucifixion with Saints by Fra Angelico Chapterhouse The external appearance, with exposed stone walls and a doorway flanked by large windows, reveals that it belongs to the 14th century part of the monastery. This fresco has a rather unreal appearance, which is also due to the state of repair of the background, originally painted blue and now grey and red, because the pigment has fallen and it can be seen in its preparatory state, As if in a collective reflection on the event of the Crucifixion, there appear in the painting not only historical figures but also the founders of the religious orders. They consist of three corridors surrounding the cloister on three sides which is overlooked by 44 cells frescoed by Fra Angelico between and The Annunciation is one of the three frescoes painted outside the cells by Fra Angelico along with St. Dominic worships the Crucifix and the Sacra Conversazione known as Virgin of the Shadows before which the friars recited a common prayer at the times and in the ways prescribed by the Dominican Rule. This cycle of frescoes, unique in the world, is considered to be completely the work of Fran Angelico, although he was helped by assistants. In the first twenty cells had already been completed, arranged on both sides of the corridor and soon after were frescoed by Fra Angelico, each with a scene from the Life of Christ. On the left side are the frescoes painted entirely by Fra Angelico, while those on the right were designed by the Master but painted in great part by faithful assistants. The cells, larger in size than those of the Fathers to allow the Novices to become gradually accustomed to a reduction in their personal space, all contain frescoes of the same subject, St. Dominic worship the Crucifix. The only difference in the frescoes is Page 7

8 the attitude of the kneeling Saint, shown in the various modes of prayer indicated by St. The language is more descriptive and the colours are brighter, the composition is more complex and next to the Master the contribution of his assistants increases. Recent restoration has revealed both the original 15th century color scheme, green imitation marble, uncovered "as sample" in a central bay where fragments of a Wind Rose have also been discovered, and some frescoes of architectural illusionism around the doors, probably painted by Iacopo Chiavistelli at the time of the 17th century renovation of this room. The Library, the first to be opened to the public in the Renaissance, was arranged by Vespasiano da Bisticci according to the dictates of Tommaso Sarzana, who later became Pope Nicholas V. Medieval and Renaissance illuminated choir-books coming also from other churches and monasteries were instead placed here, where they are now exhibited in rotation. Small Refectory Last Supperby Ghirlandaio A small room once used as a Refectory for monastery guests staying in the adjoining guest Lodge. It may also have been used as the refectory for sick monks being treated in the infirmary, from the 17th century situated inside the Lodge. It was frescoed by Ghirlandaio only about forty years after the construction of the monastery and today contains some glazed terracotta relief works from the Della Robbia studio, dated a little later than the Last Supper. San Marco becomes a museum Like many establishments of its kind throughout Europe, the convent was seized by the civil authorities during the upheavals stemming from the French Revolution and the expansion of the Napoleonic Empire. San Marco met this fate in, returned to Dominican hands after the fall of Napoleon, but then was confiscated in large part by a decree of the nascent Kingdom of Italy dated 7 July and became State property. This left to the Dominicans the church, the rooms opening on to the Saint Dominic cloister and the area that came much later to house the library containing over 10, books specializing in spirituality, founded in thanks to the bequest of a well known Catholic scholar Arrigo Levasti and named after him. In, having been declared a national historical monument, the greater part of the complex reopened as a museum, following repairs and some adjustments to meet the new situation. It was in this period that the frescoes by Fra Angelico were restored by the artist Gaetano Bianchi. In the museum was chosen to house the remains of architectural value surviving from the buildings demolished by the urban planning measures of the previous century. In the museum managed to add to its collections a large number of works of Fra Angelico, having them transferred from the Uffizi Gallery or the Accademia, an arrangement that has since remained unchanged. Page 8

9 Chapter 6 : Ad Imaginem Dei: Meditation on the Passion â The Mocking of Christ by Fra Angelico Scudieri, Magnolia, "The Frescoes by Fra Angelico at San Marco" in Fra Angelico, New York, New Haven and London, The Metropolitan Museum of Art and Yale University Press,, pp. This is the catalogue of an exhibition of the work of Fra Angelico held at the Metropolitan Museum of Art in New York, October 26, - January 29, Among the most striking visual meditations on the Passion is a painting at the Convent of San Marco in Florence. It was painted by Fra Angelico in the period, when Angelico was engaged in decorating the cells of his fellow Dominican friars with some of the most remarkable religious images ever painted. The paintings in the cells are perhaps the most individual works of Christian art that have ever been painted. They are, in general, not at all like the depictions of similar scenes by other Quattrocento artists. Rather, they are visions and meditations in paint. The painting located in Cell No. Fra Angelico and assistants, Mocking of Christ Italian, Florence, Convent of San Marco, Cell 7 In the center of this painting we see the image of Christ, dressed in white, seated before a plain undecorated wall, on which hangs a green cloth of state. His eyes are blindfolded with some thin material that allows us to clearly see the outline of His closed eyes and nose. On His head is a crown of thorns and behind His head is a cruciform halo. In His right hand He holds a segmented staff and in His left hand what appears to be an orb. In other words, He is shown as a king, but a suffering king. The image of the king crowned with thorns is certainly in the tradition of prior images of the Mocking. Instead of seeing His tormentors, standing by, we see only the parts of them that are causing the torment. There are four disembodied hands; two on either side, and all of them are right hands. On the right of the picture, one hand is raised as if preparing to strike Him, while another right hand hits Him with a rod. On the left side one hand reaches up to pull His beard, while another, palm towards us, prepares to slap Him. And, perhaps most exceptional of all, a disembodied head presumably the owner of the beard pulling hand launches spittle at Him. These elements of the picture are odd enough, but the curious quality of this painting is compounded by the figures in the foreground. Her identity is certain because of her continuous presence in many of the San Marco frescoes. Surprisingly, her back is turned to the image of Jesus behind her. On the right, also with his back turned, sits St. Dominic, reading a book. Both of these figures are shown touching their chins with one hand. What can this mean? First of all, note the separation in level between the central image of Christ and the figures in the foreground. They sit on a shallow step above the ground level. He is raised above them on a higher step, a kind of podium. He is removed from them by this difference of level. Further, the gesture that both are making, that of raising their hands to their chins, is a traditional gesture that indicates intense thought. We still use it today. Therefore, what we have here is not a visual record of an event, not an illustration of a text, but a visual meditation on the Passion. We are invited by it to enter into the same thoughtful frame of mind as Mary and Dominic. He has read the text and is now pondering it. What we are seeing is his thought. The picture is, quite literally, reading St. This 13th century handbook was reputed to record the gestures which St. Dominic himself used during silent prayer. The picture itself and the connection to the Dominican prayer manual suggest that this is the ideal work to begin a discussion of painted meditations on the Passion of Jesus Christ. Chapter 7 : Firenze Musei Store - Museum of San Marco - Guide Above the entrance door is a badly deteriorated fresco by Fra Angelico depicting Christ in PietÃ, alluding to the Resurrection awaiting those who nourished by him. Today the room contains works presenting the artistic activity of the second great painter who lived in San Marco at the beginning of the 16th century: Fra Bartolomeo. Chapter 8 : Magnolia Scudieri (Contributor of Fra Angelico) Page 9

10 In some of the Dominican friars of Fiesole moved to the convent of San Marco in Florence, which had recently been rebuilt by Michelozzo. fra Angelico, sometimes aided by assistants, painted many frescoes for the cloister, chapter house, and entrances to the 20 cells on the upper corridors. Chapter 9 : Table of contents for Fra Angelico Museum of San Marco - guide by Magnolia Scudieri (in Italian). Edition: Size x cm. Home to Beato Angelico's splendid frescoes, and fine Dominican relics, the San Marco Museum - designed by Michelozzo between and - has preserved the spiritual atmosphere of the ancient convent in which it was located. Page 10