fra angelico and early florentine renaissance painting in the john g. johnson collection at the...

8/13/2019 Fra Angelico and Early Florentine Renaissance Painting in the John G. Johnson Collection at the Philadelphia Museu

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Fra Angelico and Early Florentine Renaissance Painting in the John G. Johnson Collection at

the Philadelphia Museum of ArtAuthor(s): Carl Brandon StrehlkeSource: Philadelphia Museum of Art Bulletin, Vol. 88, No. 376, Fra Angelico (Spring, 1993), pp.1+4-26Published by: Philadelphia Museum of ArtStable URL: http://www.jstor.org/stable/3795397.

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Philadelphia useum fArt B U L L E T I N

Fra AngelicoFraAngelico ndEarly lorentineRenaissance aintingntheJohnG.Johnson ollectionatthePhiladelphiaMuseum ofArtCarl BrandonStrehIkeAdjunct uratorJohnG.Johnson ollection

A Note on the ConservationofFraAngelico'saintFrancisfAssisiDavid SkipseyAssistantonservatorfPaintings,einstallationrojectPhiladelphia useum fArt

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Fig. IFraAngelico, orn Guidodi Pietro FraGiovannida Fiesole)Italian, lorence; irstsecurely ocumentedI4I7, died 455Predella anel:Dormitionf heVirginC. 1427Tempera, ilver,ndtooledgoldon poplarI0A/16X 209/16(26.2 x 52.2 cm)JohnG. Johnson ollec-tion t thePhiladelphiaMuseumofArt,cat. no. i5

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Fra Angelico and Early Florentine Renaissance Painting in the John G. Johnson CollectionCarlBrandonStrehlkeCountlessraftsmenndmastersave easelesslyvisitedthe rancacci]hapel . . . [Masaccio's]effortseserveoundlessraise,most f ll becausehismasteryroughtbout he eautiful annerfour imes. ndprooff his s thatfromis imeonow llthemostfamousculptorsndpaintershopracticednd tudiedn this hapel ecamexcellentand llustrious,ndtheynclude ra GiovanniaFiesole Angelico]...Guidodi Pietro firstecurely ocumentedI4I7; died 455), orFraAngelico, s he wasfirstalled fewyears fter isdeath,wasalready n active ainternd registereduildmembernFlorencewhen, ometime e-tween 4 7 and 1423, he entered heDomin-icanObservant,r reform,onvent f SanDomenico in Fiesole,nearFlorence.He wasinhismid-twenties,nd took thename FraGiovanni. uringthenextyears,ustas hehad beendrawn o the Observants'trictspirituality,e became attractedo thenewFlorentineictorialtylemanifestedn theworkofMasaccio I401-1428). AngelicounderstoodhatMasaccio's rt,whichopenly

celebrated hehuman igurendbroughttintotangible ontactwith ts urroundings,couldalso serve sacredmageryhat n-joined itsviewers o overcome orporal on-cerns or spiritualxistence omprisingherigors f prayernd contemplation.Angelico's ecentlyestored ormitionof heVirginfig. ) andSaint rancisfAssisi(fig. i) in theJohnG. Johnson ollectionat thePhiladelphiaMuseumof Art reearlyexamples fthepainter'struggleo adaptFlorence's ew artisticanguage o thede-mands f his owndevotional spirations.Theirrecent estorationyDavid Skipseyand DavidDeMuzio (seepp.27-28) invitesexaminationftheplaceof these reviouslyunderrated asterpiecesn thecharged rtis-ticandreligiousife fearlyRenaissanceFlorence.DORMITIONOFTHEVIRGINThe Dormitionf heVirgin,hichdepictsMary's uneralnd her ssumptionntoheaven,was the centralcene of a predellaofan altarpiecehatwas disassembledntheeighteenthentury.he predella omprised,fromeft o right, aintJamesheGreat reeing

Fig.2FraAngelicoPredella anel:SaintJames heGreat reeingHermogenesC. 1427Tempera nd tooledgoldon poplarIO x 8Y8' 25.4 x 22.5 cm)KimbellArtMuseum,FortWorth,no. API986.03Fig. 3FraAngelicoPredella anel: TheNaming fJohnhe aptistC. I427Tempera ndtooledgoldon poplarI/4 X 93/4(27.3 X24.9 cm)MuseoNazionale di SanMarco,Florence,Uffiziinv.no. 1499

Fig. 4FraAngelicoPredella anel:The Meet-ing f aints ominic ndFrancisfAssisiC. 1427Tempera nd tooledgoldon poplarI102 X I 08'(26.7 x 25.7 cm)M. H. de YoungMemo-rialMuseum,The FineArtsMuseums f SanFrancisco, ift f theSamuelH. KressFoun-dation, 6i.44.7

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Fig.5FraAngelicoPredella anel: SaintJamestheGreatC. I427Tempera ndtooledgoldon poplar15 X 12% (38 x 32 cm)Locationunknown

Hermogenesfig. ) intheKimbellArtMu-seum;TheNamingfJohnhe aptistfig. )in theMuseo Nazionale di SanMarco;theJohnson ollection's ormition;heMeetingfSaints ominic ndFrancisfAssisifig. ) intheM. H. deYoungMemorialMuseum; nda lostpanel.2 hat theexisting anelsbelongtogethers clearbecauseof their imilartyle,dimensionseachpanelwasalsocut across hetop),andgoldborderswith hamfereddges.A comparison or he cenes'original on-figuration,oon abandoned yAngelico nfavor frectangularields,s thepredella f

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hisAnnunciationltarpiece rom he conven-tualchurch f San Domenico inFiesole,whichprobably ates o circa 428-29.3X-radiographsermitted reconstructionof the cenes'original equence, ecausetheymap the grain f the inglewood plankthatwas their ommon upport. he woodgrain s mostvisiblen thex-rays f thepanelsin Florence, hiladelphia,nd San Francisco,proving hat hey elonged ogether. s Skip-sey lso has observed, he continuous rchi-tecture f the two sectionst eft onfirmsthat he panel n FortWorth ccupied theposition n the far eft: hegreen uilding ntheright f that anel sthe ame s theonethat ppears tthe far eft ftheFlorentinepanel, nd the two structuresretied ogetherbya commonmolding.Each section f thepredellawouldhavecorrespondedo the arger ainted mageonthe ostmain ection f the ltarpiece bove,which, tcanbe conjectured, epicted heVirgin ndChild n thecenter, lankedypanelswithSaints ames ndJohn heBaptiston the eft nd either aintFrancis r SaintDominicand an unidentifiedaint n theright.4 he onlyknown andidate or ne ofthesepanels s a SaintJamesheGreat fig.5),once intheMinneapolisnstitutef Arts.According o an inscription ated 786on theback oftheJohnson ormition,heAnglo-Florentinegnazio Hugford1703-I778) bequeathed hepaneltoLambertoGori 1730-i80i), an artisan f mitationmarble.Hugford adpresumablywned theentire redella.5he sectionnSanFranciscois known o havebelonged o the Frenchscholar f talian rtAlexis-Francoisrtaudde Montor 1772-i849), who likely cquiredpaintingsrom ugford's eirs, nd theFrench rovenancef thepanel nFortWorth lsosuggests Hugford rigin iaArtaud e Montor.A notedpainter f altar-pieces,Hugford lso madeforgeriesnolderstyles,nd he probablyestored ngelico'spredella.6ach panelwascropped bout%(i cm),and wood strips erepainted ocom-pensate or he oss, ntailingntheJohnsonpicture econstructionf the andscape s wellas thefaces fChrist,Mary,nd the ngelsinthecelestial ision.Hugford eemedGiotto he rtist f theJohnson ormition,ased on thedescriptionofa picture yGiottoof the ubject fig. ) in

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the firstdition f GiorgioVasari's ives f heArtistsI5 5o).7 This misidentificationeems ohavebeen ntentional,orHugford newthattheDormitioname from predella, hereasVasari escribed heGiotto sbeingon therood creen f thechurch f OgnissantinFlorence. urthermore,asari lso recordeda commondetail hat oes notappear ntheJohnson ollection's ainting: hrist e-appearingn earth o collect heVirgin'ssoul.Christ, nvariablyistinguishedya haloincisedwith redcross,s absent ltogetherfromhegroup t theVirgin'somb.The attributionf thepredella anel toGiottohadnonetheless ained redence,becausetheJohnson icturewasengravedssuchbyCarlo Lasinio fig. ), thefuturedirectorf thePisanCamposanto, Gothiccemetery ithnotable ourteenth-ndfifteenth-centuryrescoes, hichbecame acenter or hearts nd for herestorationofpaintingsntheNapoleonicera. Lasinio'sengravingppearednthefirst olumeofL'EtruriaittriceFlorence, 79 I) by MarcoLastri, luxurious ublication hat eviewedthe tylisticevelopmentfTuscanpainting.Copiesor details f theengravingppearednearly istories f talian rtbythe FrenchmanJean-Baptisteeroux-d'Agincourti823 andi829) and the talianGiovanniRosini i839and 848). However, otes nGiuseppeMon-tani nd GiovanniMasselli'sdition f Vasari,publishedn i832, correctlytated hat hepainting as notby Giotto.8 n i837 the Ger-man art onnoisseur ustav riedrichWaa-gen 1794-i868) was thefirst orecognizeAngelico's uthorshipf this anel nhiscommentaryn thecollection f theEnglish-man WilliamYoung Ottley I77i-i836), towhomLambertoGori hadprobablyold thepictureometimefter 79I.In theJohnson ormition,ngelicoshows ive postles oweringheVirginntothetomb,with ixteen thermournersnattendance. our holdnow-tarnishedilvertorches,ne blows censer,nd anothershakes olywater rom n aspergil.n An-gelico's ther epictionsftheDormition,the canonical welve postles re never uper-seded,but here hey reoutnumbered. oteveryoneseasilydentifiable:nthecenter,Peter fficiates;aulappears s thebaldingman with dark ointed eardbehind he

b~~~ a Gz>Fig. 6 Fig. 7Giottodi Bondone Carlo Lasinio Italian,Italian, lorence, Pisa,1759-I838), after1266/67-I337 FraAngelicoDormitionf heVirgin Dormitionf heVirginC. 1310 (seefig. )Tempera nd tooled gold Engraving romMarcoon poplar Lastri, 'Etruriaittrice29 x 6878 ovverotoria ella ittura(73x7X 174.8 cm) toscanaedotta ai suoiStaatlicheMuseen,Berlin, monumentihe i esibisconono. I884 in tampa al ecolo finoalpresente,ol. i (Flor-ence,1791)i i x i6%3 (28 x 4I .5 cm)

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Fig. 8Michelangelo uonarrotiItalian, lorence,1475-I564Figure romMasaccio'sSagra TheConsecrationftheCarmine)c. I495Ink on paperII% x 73/4 (29 X I9.7 cm)Graphische ammlungAlbertina, ienna, nv.no.I i6 R I29 recto

Virgin's ead;andJohn heEvangelist oldsa radiant oldenpalm.9The celestial iguresonsist f sixangelssurroundingheVirgin, tandingnprayerbefore heblessing hrist,whoholdsopenabook inscribed ith heGreek etters (al-pha) andfl (omega).10 heyareallpaintednmonochrome lue.WhilerepresentationsftheDormition ometimesncorporatedub-sequent ventsn the egend ftheVirgin,such s herAssumption,erpresentationfhergirdle o theApostle homas,orherCoronation,pecial oncernsmust avedic-tated his ariant. he exclusion ftheThomasepisodewascertainlyresponseothe concerns f SaintAntonino ierozzi(I389-I459; canonized 523), whowaspriorofthereformominican onventtFiesolewhenAngelico oined. In his Summamoralis(c. 1440-59), Antonino omplainedhat uchapocryphalcenes onfusedhefaithifil.n-tonino'swritingsostdate hepredella anel,butAngelicowould haveknownPierozzi'sconcerns. he saint lsoquestionedpoc-ryphal ales boutMary's uneralnhiscon-

temporaneous hronicon,worldhistory,even commentingboutthe uncertaintyftheangelichost's articipation.n that ractaswellas inhis ermons n theAssumption,Antonino referredo emphasize hehum-bleness fherobsequies.He didnotperson-ally cknowledgehatChrist ametocollecttheVirgin'soul;he only itedother cclesi-astical uthorities. he absence fangels rChrist tthefuneralnd themoremysticalheavenly isionof Angelico's ormitioneemto respond oAntonino's oubts ndhis wishfor straightforwardconography.he forceof tradition adethis uniqueexperiment,because n his othermages ftheDormition,Angelico eturnedo thebetter nownfor-mula see,for xample, ig. ).WhileAngelico'sconographicalnter-pretationepended nAntonino,he nspira-tionforhiscomposition asMasaccio.OneofMasaccio's rincipalchievements asthecogent rganizationf ndividuallyistin-guished iguresngroups. ike Masaccio'ssolution or taginghe twelve postlesndChristn hisfresco he Tribute oney1426-27) in theBrancacciChapelof thechurch fSantaMariadel Carmine nFlorence,'2 n-gelicodeployed isfiguresn theJohnsonDormitionn two sweeping emicirclesroundtheVirgin'somb, iving hecompositiondepth ndmonumentality.Masacciofirstxperimented ithgroupcompositionsn theSagra f circa 424-25,depictinghe Carmine's onsecrationnApril9, I422. Thismonochromeresconthechurch'sloister asdestroyedn I 598-i6oo,but drawingsttesto its mpact. orexample, heyoungMichelangelowas m-pressed ya patriciann a longmantlefig. ).Thisfigurelso correspondsotheman onthefar ightnAngelico's anel n theJohn-son Collection, rovinghatAngelico lsostudied hefresco. asari I55 o) attestsoAngelico's tudy f Masacciowhen he placesthefriar irstn a list fartists hovisited heBrancacciChapeland thereforeaverise othe bellamaniera,r beautifulmanner, fVasari'simes.'3Angelico lso emulatedMasacciobyinterminglingigures earing othhistoriciz-ingand contemporaryress: ohn heEvan-gelist onverses ith hebeardedmancopiedfromheSagra; nother erson nthe eftbackground,acing heblondapostlen

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profile, ears fashionableedhat; nd thefigureo the eft fJohn heEvangelist,eeninprofile, asunusually istincteatureshatsuggest portrait. lthoughmodern ress swornbysomefiguresnAndreaOrcagna's(active 344-68)relief fthe Dormitionromthemarble abernacle f theoratoryf Or-sanmichelenFlorencefinished359),14Masaccio ntroduced hepracticen Italiannarrativeainting. wo contemporaryiguresappear s onlookersn thecentral redellapanel howingTheAdorationf heMagi(I426)15 rom isaltarpiece or he church fthe Carmine n Pisa. n theBrancacciChapelfrescoes c. 1425-27), Florentinecitizens andfriarsopulate heNew Testamentcenes.Not onlydo they eem to be witnessingis-tory,ut their resence ndowsdistant ventswith senseof truthnd mmediacy.Perhapsmore han nyotherwork, heJohnson ollection's ormitionhowsAn-gelicoduring is firstnd closest ontactwithMasaccio, ikely atingt to beforeMasaccioleft lorence orRome incirca1428. Thecorrespondingcene fig. ) in thepredella fAngelico'sAnnunciationltarpiecenCortona,definitelyxecuted efore 434, uggests

certain roximityndate.Althoughn thatscene he followsmore raditionalconographybyshowing hrist t thetomb, everal ig-ures,ncludinghe postle een from ehindinfront f thetomb, rerepeatednboth.SAINT FRANCIS OF ASSISIThe otherwork fig. I) byFraAngelico ntheJohnson ollection s a morecuriousaffair.urchased yJohnG.JohnsonI84I-1917)as an independent bject n ate1911orearly912 (fig. 12), thebust-lengthaintFrancis fAssisi nprayer,eenagainst lowbrickwall, s a fragmentrom paintedwoodcutout rsilhouettedrucifixroup fig. o),executed or Florentineoys'club calledSan Niccolo delCeppo. The effigyasshaved rom hecrucifixroup fig.13)andreplaced ya copy, robably ot ongbeforeBernhard Berenson (1865-1959) recom-mended hepurchase oJohnson, otingsimilaritiesetween he ndependent orkand theSaintFrancisnthegroup omposi-tion ntheconfraternityf SanNiccolo delCeppo.16nApril1992 DeMuzio andSkipseyrestoredheJohnson ollection's ragmentto itsoriginal ontoursseepp.27-28).

Fig.9FraAngelicoDormitionf heVirgin(detail f thepredellafrom heAnnunciationaltarpiece)Before1434Tempera ndtooledgoldon poplarEntire redella: /8 72(23 x 183 cm)Originallynthe churchof SanDomenico,Cor-tona;now inthe MuseoDiocesano,Cortona

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Fig. ioFra AngelicoTheCrucifix ith aintsNicholasfBari ndFrandsofAssisic. I425-33Tempera nd tooledgoldon poplar6'o'x4'9V8(210 X I45 cm)Company f SanNiccolobdel Ceppo, Florence _(on deposit t theMuseoNazionaledi San Marco,Florence)Fig. xiFraAngelicoSaint rancisfAssisic. I425-33Tempera ndtooledgoldon poplarHeight 4 (6i cm)JohnG. Johnson ollec-dion tthePhiladelphiaMuseumofArt,cat. no. 14

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Fig. 2Fig. i before onserva-tion, howing he work fFraAngelico nd an earlytwentieth-centuryorger

Fig. 3Detail of theverso ffig.IO showing hebackofthefiguref SaintFrancis

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The confraternityfSanNiccolo delCeppo,establishedn the atefourteenthcentury,omprisedwogroups.One, devotedto SaintNicholasofBari,enrolled oungboyswho metwearingwhite unics uringthedaytime. he other, or dults atheringin theevening, as dedicated o Saint erome.In 1417theconfraternityuilt n oratorynear he Florentineospital alled heCeppodelle SetteOperediMisericordia.he wordceppo, eaning tree runk, as a commonnamefor harities hat ollected onationsnhollowtrunkssimilarly,hehospitaln Pi-stoiawas so known).The name tuck ftertheboysmoved o the church f SantaMariadelTempio n I530. In I56I they uilt hepresentratoryn thevia Pandolfini. l-though ntil1530the two associationsharedquarters,he crucifixroup eems lways ohavebelonged otheboys'club.UniquelyFlorentine,our oys'clubs,known s theCompanies fChristian oc-trine,werefoundednthe atefourteenthcenturyo teachChristianenets. ope Euge-nius V (reigned 431-47)accorded hempapalapprovaln 1442,nominatingntoninoPierozzi s their ead. Pierozziwas thenpriorof the convent f SanMarco n Florence,whereAngelico's rder, heObservant riarsof SanDomenico inFiesole,hadestablisheda communityn 1436under he uspices fCosimo de' Medici (I389-I464). In I446, justnominatedrchbishopfFlorence, ntoninocomposed hecompanies' ulebooks.Youth ducation ad been a particularconcern f theObservants,nd Antonino adwritten catechism imed tiputti iccoligiovanettiinfantsndchildren). iovanniDominici 1357-1419), founderf thereformconvent f SanDomenicoinFiesole, ennedseveralpiritual uides, f whichRegola elgovernoicurafamilare,ddressed o a motherwith n exiledhusband, oncentratednchildren'spbringing. e advocated howingchildren ictures,uch as images f thebabyJesusnswaddlinglothes,withwhich heycouldempathize. is acknowledgmentfthe nstructiveoleof artmayhaveencour-agedtheyouth rganizationso commissionpaintings.Dominici'swritingsn children'seli-giouseducation ncouraged otonly rtisticexemplautplay-actingswell: [The chil-dren]maybe dressednsurplicess acolytes,

sing ... play tsayingmass, nd be broughtto the church ometimes nd shownhow realpriests o it,that heymay mitate hem.Teach them opreach fterheyhaveheardpreaching,... youandthefamily emainingseated .. not aughing utcommendingndrewardinghemwhenthey ave mitated nespiritualffice. 17he boys'clubs xpandedon this omestic raining,sart nd theaterbecamepart f their ublicritual.In 1435Ambrogio raversariI386-1439),who wasthe bbotof the CamaldolesecommunityfSantaMariadegliAngeli nFlorencetowhich hepainter orenzoMonacobelonged) s well as a patron f An-gelicoand the culptor orenzoGhiberti(1378-1455), xplained oPope Eugenius hatthese lubsmetfor salm ecitation,ymnsinging, ivinisaudibuspraise f theLord),and worthwhileolloquies. 18ike theirmodern ounterparts,hey hanneled heyouths' nergynvarious ndeavors. doles-centmembers ecited ermons nLatin; heboysbecame common ightsnmunicipalreligious rocessionsndceremonies,ftencreatingpecial loats;nd,from he ateI420S, theyoungsterswere recruited s actorsinmysterylays.Although ecords rescarce,theconfraternitiesoonstaged heir wnproductions.he Ceppo'sChristmasageantgained enown ate n thecentury.The reason hat silhouettedrucifixionscenewas selected or anNiccolo delCeppolies nthenature f theclub's ctivities. n-gelico's nsemble, hichcould have ervedas a compelling enterpiece or rayer,

Fig. 14Benozzo GozzoliItalian, lorence,c. I420-I497Predella anel:ThePresentationfChristntheTempleCommissioned 461Tempera ndtooledgoldonpoplar93/4 I4/16(24.8x 36.3cm)JohnG.Johnson ollec-tion tthePhiladelphiaMuseumofArt,cat. no. 38

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the aypenitentialroups hat arried rossesthrough lorencen theyear 400.22TheFlorentine iccolo diTommaso'sactive .I350-80) silhouettedrucifixc. 37i), nowon depositntheMuseo e GallerieNazionalidi Capodimonte nNaples,comesfromNeapolitan onfraternityevoted o thewor-ship f the cross.23The painter orenzoMonacodevelopedthe ilhouettedrucifixn a large caleformonastic se.24 he specific recedent orFraAngelico's roup s Monaco'sover-life-sizecrucifix ith hemourning irgin nd SaintJohn he vangelistf irca4I 5 (fig. 8),probably romhe Camaldolese onvent fSanSalvatore,nd since irca 552 inthechurch f SanGiovannino ei Cavalieri iMalta nFlorence. he group's riginal et-ting s notknown, utpresumablyt wouldhavebeen on an altar.n theeighteenthen-tury landscapewas frescoed n thewallbehind t.Whilethis ackground as aninvention,tsuits hegroup'snherentlyhe-atrical ature, hich rgues or fuller on-text.Besidespaintedwood orterra-cotta

figuralnsembles,ts losest quivalentsrethe taged nvironmentsf the acremonti, rsacredmountains, oundater nNorthernItaly nd also nTuscanysuch s the complexof theconvent fSanVivaldo), nwhicharchitecture,culpture,ainting,extiles,ndfurnitureerecombined o createivingscenes rom iblical istory.Before ecoming friar, ngelicohadjoined a brotherhoodimilaro SanNiccolodelCeppo (however,or dults),whichmetintheCarmine.Hismembershipamiliarizedthe rtist ith ay ssociations' esire o iden-tify ithreligiousvents hroughmagery.Angelico's rucifixionroupfor heCeppo,dating hortlyfter isreligiousonfession,shisfirstnownwork hat irectlynvitesspectatornvolvementna devotionalmage.Coopting he ilhouettedrucifixrom dultbrotherhoodsndmonastic ontexts, n-gelico calculatedhat heform's ramaturgicpotential acilitatedheboys'orations. ybreakingheconfines fframe,hecutoutachieves ealpresence ndtangibility.ts n-tent orrespondsoquattrocentoeligious rt

Fig. 7Niccol6 di PietroGeriniItalian, lorence; irstsecurely ocumented1368, died I4I5Funeralf MemberftheCompanyfJesushePilgrimpredella fTheManof orrows)C. I404-5Tempera ndtooledgoldon poplarOverall 2? X 59Y8(82 X 152 cm)Originallyntheconventof SantaMariaNovella,Florence;now in theGalleriadell'Accademia,Florence, o. 8720

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Fig. i8LorenzoMonacoItalian, lorence; ocu-mented390, diedMay24, I424(?)TheCrucifixithheMourningirginndSaintJohn he vangelistC. I4I5Tempera ndtooledgoldon poplarI3'73/4 X 7 3(4i6 X 221 cm)Church fSan Gio-vannino ei CavalieridiMalta,Florence

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that ought opersonalize orshipers'xperi-ence of sacred vents. lluminationsn a fif-teenth-centuryopyof a diffuse ominicanmanual, e modo randi,llustratingheprayerhabits f the order's ounder, urnishneexample fig. 9). They depict aintDominic(c. I I70-I221; canonized 234) beforenaltar n which sculpturedrucifix omesalive.Art, tool of piritualpliftment,ouldthus timulates wellas simulate living i-sion.A polychromedculpturer contouredpaintingonvincinglymitatedhis ffect.Similar hinkingiesbehindAngelico'sfrescoesf gospel toriesnthe cellsof theconvent f San Marco n Florence, n whichfiguresxternal o thedepictions-oftenDominican aints-areshown n attitudesfcontemplationndprayer hat heresidentfriar as exhorted oemulate. or example,SaintDominic ntheforegroundf TheMockingfChristfig. 0), shown eated ndabsorbednreading,ncourages heonlookerto recollection. hese figures' estures ollowformulasrescribedn De modo randi.25aintsNicholas ndFrancisntheCeppo'sensemble

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similarly ediated heboys'contemplationof the ctual acred vent.Stylistically,ngelico's rucifixionroupcanbe dated ocirca425-33. The gothiciz-ing curve fFrancis's unic nd thewavingdraperyf the oinclothrecall heworkofLorenzoMonaco.The modelfor hetreat-ment fthecontours, ead, nd musculatureofChrists Masaccio'sTrinityfig. I), afresconSantaMaria Novella n Florence,executedirca426-27. Butperhapsvenmore han oMasaccio,hereAngelico ookedto the culptororenzoGhiberti.Ghiberti eminiscednhisautobiographi-calcommentaryf circa 450 that formanypainters . . I provided hegreatest onors ntheirworks for] havemadeverymanymodels . . and .. havedesigned erymanythings.Moreover o thosewho had to makefiguresargerhan ife ize, havegiven herules or xecuting hem n perfectcale. 26Angelico ollaborated ith he culptor nthetabernacle f the Guild of LinenWorkersin I433 (fig. 2). Ghiberti esigned he frameandapparentlyrovidedmodels or hefull-

Fig. 9Anonymouspanish(?)illuminatorSaintDominic umblingHimselfeforeheCrossFromDe modo randi,folio6 versoEarly ifteenthenturyTempera n parchmentBibliotecaApostolicaVaticana, atican ity,ms. at. RossianusFig. 20Fra AngelicoTheMockingfChristwith heVirginndSaintDominicC. I44IFresco before estoration)66Y8 64%(i68 x i64 cm)Convent f SanMarco,Florence, ell7

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Fig.2IMasaccioItalian, lorence,I40I-I428TrinityC. I426-27Fresco21 1Io%' X Io 43/4(667 x 317 cm)Church fSantaMariaNovella,Florence

Fig.22FraAngelico nd LorenzoGhibertiItalian, lorence,1378-1455)Tabernaclef heGuild fLinenWorkers1432-33Tempera nd tooledgoldon poplar ndgildedmarbleHeight '6% (260 cm)Museo Nazionale di SanMarco,Florence,UffiziMv.no. 879



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length aints. heJohnson ollection's aintFrancis,owever,ndicates n even earlierassociation etween he twoartists.hedeep folds fFrancis'sunic nd thethree-dimensionalityfhishead recallGhiberti'sbronzes or heexterior iches ftheoratoryofOrsanmichelenFlorence, articularlyhecontemporaryaint tephenfig. 3). In fact,thefragmentaryaint rancisstheonlyworkin thePhiladelphiaMuseumof Art hatclearly ocuments herelationshipetweenFlorentine enaissance culptorndpainter.Before onservation,ts culpturalualitywasby no means vident, isguised y thefigure'sincorporationnto flat, ildedbackground.Angelico's rucifixionroupmusthaveenjoyed certain ortune,ince wocopiesexist.A small-scaleenderingnwhichSaintJerome eplaces aintNicholas snowinthe Florentine allombrosanbbey hurchofSantaTrinitafig. 4), andFrancesco iSimone, alledPesellino,reated life-sizegroupwithJerome,MaryMagdalene, ndFrancis.27asedupon hisreading fVasari,LucianoBellosihasproposed hat esellino'sCrucfixionasmadefor nother lorentineboys'club, heCompany fSaintGeorge.28The presence fJeromeould alsosuggestthat hese nsembles eremade for heCep-po'sadult onfraternityevoted o that aint.TheJohnson ollectionpossesses woother ictures elated oAngelico.Vasari,nhis ife fAngelico I 550), mentionshatfollower,anobi Strozzi,mademany aint-ings orFlorentine esidences. hisundoubt-edly ncluded trozzi's nnunciationfig. 5). 9Similar o theartist's iniaturena choralbookfor anMarco nFlorence, ated1453 ,3 the ompositionlsoreappearsnseveral rivate ooks ofhours. trozzi artici-pated nthe lluminationf thechoral ooksofSanMarco, ommissionedyCosimo de'Medici.Amemorandumf 449 chargingAngelicowithoverseeinghe lluminator'swork sevidence fStrozzi's ependencynthefriar. he unusual conographyftheJohnson ollection's ainting,nwhichtheArchangel abriel pproaches heVirgin nclouds,derives rom ngelico'slluminationof circa 425 ina missal eeminglyrom anDomenico inFiesole fig. 6). The accompa-nying ext romsaiah45:8, sung t the ntroitof masses or heVirgin, xplains he conog-raphy:Drop downdew,ye heavens, rom

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I

4.4.4

4

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Fig. 23Lorenzo GhibertiSaint tephenCommissioned425,finished429BronzeHeight7'6Y2 230 cm)Oratory fOrsanmichele,Florence

Fig.24Anonymous, lorenceTheCrucfix ith aintsJeromendFrancisfAssisiC. I430-40Tempera ndtooledgoldon poplarConvent fSantaTrinita,Florence

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Fig. 5Zanobi StrozziItalian, lorence,I4I2-I468TheAnnunciationC. 1453Tempera nd tooledgoldon poplarI49/16X II78(37 X 30.2 cm)JohnG.Johnson ollec-tion t thePhiladelphiaMuseumofArt,cat. no. 22

Fig.26FraAngelicoTheAnnunciation(pagefrom missal)C. I425-30Tempera ndtooledgoldon parchmenti83/4x I3 (47.5 x 33 cm)Museo Nazionale di SanMarco,Florence,ms. no.5 58, folio 3 3 recto

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- --$x |j.Dl i :qf| S| - tl -| - WI _ ;-- - S

above, nd et the cloudsrain heust: ettheearth e opened, nd bud forth saviour.The secondJohnson ollectionworkthat s related o Angelico s a panel fig. 7),seemingly epictinghepapacybeingofferedto the cenobiticGregoryhe Great reigned590-604). This sbythe amehand ndpos-sibly rom he amepredella s a group fother anels howing cenes romhe ives fmonastic aints. ohn ope-Hennessy ro-poseda common ssociation or he othersections: heApparitionf aintRomualdooOtto II (fig. 8); SaintBenedictnEcstasy;31The Conversionf aintAugustine(?);32ndTheTemptationf aintAnthonybbot.33heJohnson anelhasbeencut, nd, except orthepanel nCherbourg,heothers ave lsobeenslightlyhaved. he panels reby anearly ssociate f FraAngelico, ossibly at-tista iBiagio anguini1392/93-I45i). Thepresence fSaintRomualdo, atherf theCamaldolesemonks, uggestshatf heycome fromhe amecomplex,t was a com-mission or hat rder.The newly leanedpaintings yFraAngelico nPhiladelphia rean importantaddition o themuseum's arly lorentineRenaissance ollection.No otherAmericaninstitutionwns o manyworks hat antrace ictorial evelopmentsnMasaccio'sFlorence. he changeMasacciowroughtsbest videnced n thework f Giovanni o-scani; heMuseumpossesses our aintings yhim.One predella anel fig. 9) comesfromanaltarpiece rdered n I423 byPiero diNeriArdinghelliorhisfamily'shapel ntheVallombrosanbbey hurch f SantaTrinitain Florence. he workwaspaidfor yanin-law,alla trozzi1372-I472), whohadcommissioned entileda Fabriano'sc. 1370-1427) Adorationf heMagi finished ay1423) for heStrozziChapel nthe acristyfthe ame church.34woother redella anelsbyToscani see fig. 0) intheJohnson ol-lection ome from naltarpiece robablycontractedyanotherwealthy lorentine,Simone uondelmontiI387-1437), for hedestroyedarish hurch f SantaMariasopr'ArnonFlorence.35he altarpiece asleft nfinishedt Toscani's eath n 1430, andthe ostmainpanelwascompleted yGiu-lianod'Arrigo,alledPesello I367-1446).As ate s 433, Toscani's idow omplainedabout overdue ayment.Whereas heearlier

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1: .~~,M,,-W ,

Fig.27Follower f FraAngelicoPredella anel: ThePapacyOfferedoGregoryheGreat(?)C. 1435Tempera nd tooledgoldon poplarI I x 73/4' (28 x 19.7 cm)JohnG.Johnson ollec-tion t thePhiladelphiaMuseum ofArt,cat. no. I I66

Fig.28Follower f FraAngelicoPredella anel:TheAppa-ritionf aintRomualdotoOtto IIC. I435Tempera ndtooledgoldon poplar83/4XI3/4(22.3 X 27.3 cm)KoninklijkMuseumvoorSchoneKunsten,Antwerp, o. I 17

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Fig. 29Giovanni oscaniItalian, lorence,I370/80-I430Predella anel: The Bap-tismfChrist nd theDecapitationf aintJamestheGreat1423-24Tempera nd tooled goldon poplari6?8 x 26% (41 x 67 cm)JohnG.Johnson ollec-tion t thePhiladelphiaMuseum ofArt,cat.no. I

Fig.30GiovanniToscaniPredella anel: Christamonghe octorsI427-30Tempera ndtooled goldon poplar7% x 193/409g4 x 50.2 cm)JohnG.Johnson ollec-tion tthePhiladelphiaMuseum ofArt,cat.no. i9

'p

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Fig.3Paolo SchiavoItalian, lorence,I397-I478Predella anel:TheNativityfChristc. 1425-30Tempera ndtooledgoldon poplar87/8 I23/4(22.5 X 32.4 cm)JohnG.Johnson ollec-tion t thePhiladelphiaMuseumofArt,cat.no. I25

predella anelforArdinghellihows hegoth-icizingnfluence fGentile a Fabriano,whowas ntermittentlynFlorence rom 419to1425, heBuondelmonti redella ocumentsToscani's ebt oMasaccio.Masaccio's ostSagra ndfrescoesntheBrancacciChapel iebetween hetwo.Masacciohad a contagiouseffectn intellectuallylert atronsikeBuondelmonti ho were nterestedncivichumanism ndrecent iscoveries f ancienttexts,ndsought rtistsapableof nterpret-ingthenewstyle. nother redella anel(fig. I) of circa1425-30 byPaolo Schiavoshows races f the nfluence fGentile, utthe olidlymodeledformschieved hroughtheplay f ight nd shade how howquicklypaintersespondedoMasaccio's essons ntheBrancacciChapel.36The obsession fearly ifteenth-centuryFlorentinertistsor new scientificystemfprojecting erspectivendbelievablerchitec-tural paces, nventedncirca1417by FilippoBrunelleschi (I377-1446), is demonstrated ntheJohnson ollection'sChrist ealing Lu-natic ndJudasReceivinghirtyieces f ilver

(fig. 2). Itprobablyerved s a processionalbanner, ecausethe cene spainted n light-weight anvas, very are upport or heearly ifteenthentury. lthough ropped nthe ideswhere he treets ouldhavecon-tinued, he ettingvokesBrunelleschi'srecorded erspectivaliewsof Florentinesquares.Vasari ttributedhepainting,hen nthe house of thepainter idolfodi Ghirlan-daio (I483-I56I), toMasaccio,praisinghemasterfulandlingfperspectivehat howedboththe nside nd outside fbuildingsnd,because of thegreaterhallenge, enderedthem t an angle.37he cupolaand antern fthetemplewere nspiredyBrunelleschi'splans 1420) for he cathedral fFlorence.The dome was enclosedn 1436andthelantern inishednly n 1445, uggestinghatthe rchitecthared hedesignwithMasaccio.The figures erepainted ya collaborator,likely rancesco 'Antonio,ut theguidelinesfor he rchitecturencised n thegessoedpreparatoryayer re basedon a design yMasaccio, f hey re notbyhim. The pres-ence oftheGreek ettersorJesus' ame on

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4 I1-

Fig.32Masaccio andFrancesco 'Antonio(Italian, lorence,C. 1393-I433)Christ ealing LunaticandJudas eceivinghirtyPieces f ilverC. 1424-25Tempera ndtooledgoldon canvas45% X 4I3/4'(I15.2 X io6 cm)JohnG.Johnson ollec-tion t thePhiladelphiaMuseumofArt,cat.no. 17

Fig. 33Masaccio andMasolino(Italian, lorence,1383-after 1435)Saints eter nd PaulC. I427-28Tempera, ilver,ndtooledgold on poplar39 X 2I%(I 14.2 X 54.3 cm)JohnG.Johnson ollec-tion tthePhiladelphiaMuseum ofArt,inv.no. 408

the halosmight ate thebanner o circa1424-25, when aint ernardinofSiena(1380-1444; canonized450), who estab-lished widespreadultdevoted o honoringthe Name ofJesus, reachedwildly opularLenten ermonsn the quare f SantaCroceinFlorence.Vasari lso described isvisitwithMichelangelo o see the double-sided ltar-piece by Masaccioand Masolino n thebasil-ica of SantaMariaMaggiore nRome (fig.33).38 CommissionedyPopeMartinColonna reigned4I7-3 I), itwasbegunsa collaborationnd finishedyMasolino fterMasaccio's ntimelyeath.Masaccio's epar-ture or ome n 1428, probablyo undertakethis ommission, epresentstemporaryreakinthe developmentf Florentine ainting.nthe nextdecade t would be left o FraAn-gelicoto buildon Masaccio's chievements.

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Notes

I wish ratefullyo cknowledgehe elp fmy olleaguestthe hiladelphia useum fArt-David DeMuzio, oeMikuliak,JosephJ.ishel, avid Skipsey,ndMarkTucker-as well s Magnolia cudierind Giovanna amiani ftheMuseoNazionale i San Marco n Florence.Alltranslationsre by the uthor nlessnoted.Allbibli-calquotationsre from heDouay-RheimsVersion.I. GiorgioVasari, e vite e' piu eccellentirchitetti,ittori,et cultoritaliani, a Cimabuensino ' tempi ostri ell'edi-zione er tipi i Lorenzo orrentino,irenze550,ed.Luciano Bellosi andAldoRossi,with n introductionby Giovanni revitaliTurin,986), p. 272.2. MiklosBoskovits, Appunti ull'Angelico, aragone-arte, ol. 7, no. 3 I3 (March 976), p. 39; Everett ahy,The KimbellFraAngelico, Apollo, ol. 125, no. 301(March 987), pp. I78-83.3. Museo del Prado,Madrid,no. IS; 6'43/4 6'43/4(I94 X I94 cm). See John ope-Hennessy,raAngelico(Ithaca,NY, 1974), fig. 0.4. The scene of themeeting f Francis ndDominic,foundersf rivalmendicantrders,ould havebeenplacedbelowan imageof either aint.Angelico ncepainted he ubjectna panel c. I430; StaatlicheMuseen, erlin, o.6i; I0o4 X 12?4 [26 x 31 cm])for predella edicated o the ife f Francis. ee ibid.,fig. 9.S. ohn leming, The HugfordsfFlorence, heConnoisseur,ol. I36, nos. 548-49 (October-November1955), pp. io6-io, I97-206; Bruce Cole and UlrichMiddeldorf,Masaccio,Lippi,or Hugford? heBurlingtonagazine, ol. I 13, no. 822 (September97I),pp. 500-507; Giovanni revitali, afortunaei rimitividal Vasarii neoclassiciTurin,989), esp. pp. I2-I4.6. A portable resco fa youngman nthe GalleriadegliUffizin Florence no. I7II; 193/4 X I2?4 [50 x 3I cm]),attributedy Hugford oMasaccioandbyothers oFilippinoippi c. 1406-1469), was pparentlyugford'sown nvention. ee the llustrationf the Dormitionf heVirginhowingHugford's epaintingsn the ky, eforeSkipsey's onservation,n Barbara weeny'sJohn.Johnsonollection:atalogue f talian aintingsPhiladel-phia, 966), p. I09.7. Vasari, e viteI550), pp. 125-26. In the econdedition f VasariI 568),Giotto's icturewas no longermentioned.8. GiorgioVasari, e opere iGiorgio asariittorearchi-tettoretino.arte rimaontenenteorzioneelle ite ei iueccellentiittoriarchitettiwithnotesby GiuseppeMon-tani nd GiovanniMasselli], ol. I (Florence,832),p. I29 n. 70.9. According o The Golden egendc. I267), a compen-diumof sacred tories yJacobus aVoragineI228/29-1298), when theArchangel abriel nnounced o Maryher mminenteath,hebrought palmbranch hatshone with great rightness. ary skedJohn o

have the palmbornebefore erfuneral ier.John ro-posed thatt shouldbe carried y Peter,who counteredthat ohn, imself virgin,hould arry heVirgin'spalm.io. Apocalypse :8: I am Alpha ndOmega,thebegin-ning nd theend.I I. For thepassagentheSumma,ee CreightonGilbert,The Archbishopn thePainters f Florence, 450,TheArtBulletin,ol.4I, no. I (March 959), p. 76. ForAntonino's ther iews, ee Chronicorumpus Lugano,i587), p. 388,and the ermons rintedn Summa acraetheologiaeVenice, 58i), chaps.43-45.I2. UmbertoBaldini ndOrnella Casazza,La cappellaBrancacciMilan, 990), color repro. after estoration)p. 38.I3. See n. I above.I4. JohnPope-Hennessy,talianGothicculpture(London, 985), fig. 3.I5. StaatlicheMuseen,Berlin,no. 58A; 8?4 X 24 (21 X6i cm). See Luciano Berti,MasaccioUniversityark,PA, 967), color lates4, 25.i6. Bernhard erenson,Catalogue f CollectionfPaint-ingsndSomeArtObjects:talian aintingsPhiladelphia,1913), pp. Io-II, no. 14. Acknowledgmenthat heSaint rancisamefromheCeppo groupwas madebyLucianoBerti nMostra elle pere elBeatoAngelicoelquintoentenarioellamorte1455-1955)Florence,955),pp.45-46, no. 25. The work ufferednfloods f theArno n I557 and I966. A historyf ts arly estorationsas well as a detailed ccount ftheconfraternitys foundinLudovicaSebregondi iorentini'sa compagnial'oratorioi SanNiccolo elCeppo Florence,985).17. Quoted in RichardC. Trexler'sseful ssay RitualinFlorence:Adolescence nd Salvationn the Renais-sance, n The PursuitfHolinessnLateMedieval ndRenaissanceeligion,d. CharlesTrinkaus ndHeiko A.Oberman Leiden, 974), pp. 233-34.i8. Ibid., p. 09-I2.I9. Master f theJohnson abernacle,VirginndChild,with aints ominic,ohn heBaptist, homas quinas,PeterMartyr,rancis,ndJerome,nd nAngel nd Child(RaphaelndTobias?)center anelof a triptych),. 146i,temperand tooledgoldon poplar, enter anel: 19 /6x II Y8 (50 x 28.3 cm),JohnG.Johnson ollection tthePhiladelphiaMuseumof Art, nv.no. 2034a.20. Illustratedn color n La chiesa il conventoiSanMarco Firenze,ol. (Florence, 990), p. 75, fig. .21. 6' II2 X5 I7/8 (212 x I57 cm). See RichardOffner,The Mostra elTesorodi Firenze acra-II, TheBurlingtonagazine, ol.43,no. 367 (October 933),repro. . I67.

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22. Margit isner, olzkruzifixen Florenz nd n derToskana onder eit um 300bis umfruheninquecento,Italienische orschungen erausgegebenom Kunst-historischennstitutn Florenz, o. 4 (Munich, 970),figs. I, 2.

23. MiklMs oskovits, itturafiorentinalla vigilia elrinascimento370-1400 (Florence, 975), fig. 7.24. Marvin isenberg, orenzoMonacoPrinceton,989),esp. 125-27.25. WilliamHood, SaintDominic'sManners fPray-ing: Gesturesn Fra Angelico's ell Frescoes tS.Marco, TheArtBulletin,ol.48,no. 2 (June 986),pp. I95-206. Further iscussion f this anbe found nchapters and I0 of WilliamHood, FraAngelicotSan Marco New Haven, 993). It shouldbe noted hatAntonino ncluded transcriptionf the text f De modoorandin his ife f SaintDominic nthepenultimatechapter f the Chroniconseen. I I above).26. Lorenzo Ghiberti, commentari,d. OttavioMorisani(Naples,1947), p.47. The translationsbyRichardKrautheimerndTrudeKrautheimer-Hess,orenzoGhiberti,rincetonMonographsn Art nd Archaeol-ogy,no. 3I (Princeton,956 [3rd d., 982]), p. I5.27. LucianoBellosi, Intorno dAndrea elCastagno,Paragone-arte,.s. 31, vol. I8, no. 21I (September967),figs. 12-I5.28. Ibid.,p. i6 n. 9.29. Vasari, e viteI550), p. 349.30. CarlBrandon trehlke,Bernhard ndMaryBeren-son,Herbert .HorneandJohnG.Johnson, rospettiva:Rivista istoria ell'artentica moderna,ols.57-60(April 989-October I990), fig. .3I. Mus&eConde, Chantilly,o. I20; 63/4 Io? 4 (I'7 x26 cm). See Pope-Hennessy,raAngelico,ig. 7.32. MuseeThomas Henry, herbourg, o. 8; 77/8X 12%5/8(20 x 32 cm). See ibid., fig.68.33. The MuseumofFineArts,Houston,no. 44-550;7?Y2x II' (I9 X 28 cm). See ibid., fig. 8o.34. GalleriadegliUffizi, lorence, o. 8324, ndMushedu Louvre,Paris,no. 295; overall '8Y8 X 7'2%/ (173 x220 cm).See KeithChristiansen,entile aFabriano(Ithaca,NY, i982), pls. 22-38.35.The other redella anels nclude ThePresentationfChristn theTemplentheJohnson ollection cat.no.I8; 71/8 g19 [I8.2 x 49 cm]),and TheAdorationf heMagi n the NationalGallery f VictorianMelbourne(no. I73 I\5; 7%YA20?Y2' [I8 X52 cm]).See LucianoBellosi, II Maestro ellaCrocifissione riggs:GiovanniToscani, aragone-arte,.s. 13,vol. I7, no. 193 (MarchI966), fig. 9b and colorplate .

36. This s one of four anels n theJohnson ollectionthat ormedhepredella f an altarpiecen theStaatlicheMuseen n Berlin.For the picturesn Berlin eeBern-hardBerenson,talian icturesf heRenaissance. List fthe rincipalrtistsnd TheirWorks ith n Index fPlaces:FlorentinechoolLondon, 963), pl. 645. The otherJohnson icturesre llustratednSweeny'sjohnG.JohnsonCollection, p. 122-23.37.Vasari, e viteI550), p. 268.38.GiorgioVasari, e vite e' piu' ccellentiittori,cultoried architettoriFlorence,568], ed. GaetanoMilanesi(Florence,878), vol. 2, pp. 293-94. TheJohnsonCol-lection wns two panels fthis isassembledltarpiece.Others re n the NationalGallerynLondon,theMuseo e GallerieNazionalidi CapodimontenNaples,andthe PinacotecaVaticanan Rome. See CarlBrandonStrehlkend MarkTucker,The SantaMaria MaggioreAltarpiece: ew Observations, rteCristiana,ol. 75,no. 719 (March-April987), figs. -8.

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fra angelico and early florentine renaissance painting in the john g. johnson collection at the...

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