, da Fiesole, so called from the place where he was born, in 1387.
, da Fiesole, so called from the place where he was born, in 1387. He was at first the disciple of Giottino, but afterwards became a Dominican friar, and in that station was as much admired for his piety as his painting. His devout manner procured him the name of Angelico, or the angelic painter, and it is said that he never took up his pencil without a prayer, and had his eyes filled with tears when representing the sufferings of our Saviour. Nicholas V. employed him in his chapel, to paint historical subjects on a large scale, and prevailed on him soon after to decorate several books with miniature paintings. Although there are in his best paintings considerable defects, yet he was a most skilful instructor, and his amiable temper procured him many scholars. He always painted religious subjects; and it is given as a proof of his extraordinary humility, that he refused the Archbishopric of Florence when tendered to him by Nicholas V. as the reward of his talents. With respect to the objections made to his pictures, we are farther told, that he purposely left some great fault in them, lest his self-love might be too much flattered by the praises that would have been bestowed; a practice, however absurd in an artist, not unsuitable to monkish ideas of mortification. He died in 1443.
y stage of the art after its restoration, was born at Verona in 1332, and was a disciple of Giovanni da Fiesole. His most conspicuous work was a picture in the great
, a famous painter, in the early stage of the art after its restoration, was born at Verona in 1332, and was a disciple of Giovanni da Fiesole. His most conspicuous work was a picture in the great council chamber of the state of Venice, executed by order of the doge and senate, who regarded the work in so extraordinary a degree of esteem, that they granted him a pension for life, and conferred upon him the privilege of wearing the habit of a noble Venetian; the highest honour in the power of the state to bestow. Many of his pictures adorn the pope’s palace of St. Giovanni Laterano, and the churches in Florence, Urbino, Perugia, Sienna, and Rome. One of them in the church of Santa Maria Nuova, placed over the tomb of cardinal Adimari, representing the Virgin and child, with St. Joseph and St. Benedict, was highly commended by Michael Angelo; whom Vasari represents as being accustomed to say that in painting the hand of Gentile was correspondent with his name. He died in 1412, 80 years old.