ANGELINI oped one of its chief elements ; while at Magi, St. Peter Martyr, S. Marco, Florence ; Foligno he perfected himself in the art of ; Frescos, Lives of SS. Laurence and Stephen, illuminating choir books and missals. Kvi- Chapel of St Nicholas, Vatican, Home (1450- dence of Angelico's training as a miniaturist ', 55) ; God the Father and Prophets (1447), is to be found in the dryness, precision, ceiling, Duomo, Orvieto ; Coronation of tho and extreme simplicity of his style, and in I'iryin, Miracles of St Dominic, Louvre, the thinness and meagreness of his execu- Paris ; Last Judgment, Berlin Museum ; tion. Mosolino may have taught him how Adoration of the Magi, Christ with Angels to make his draperies more transparent by and the Blessed, National Gallery, Lon- new methods of glazing, and how to use don. Vasari, ed. MIL, ii. 505, 527 ; C. other freshly discovered technical processes, & C., Italy, L 659; Marchesi, L 185; but nevertheless he remained a mystic in an Burckhardt, 530; Rio, ii. cap. xL; Life of age of growing naturalism ; a medievalist F. A, Arundel Soo. Pub. (London, 1850) ; in the first period of the Renaissance, work- Cartier, Vie de F. A. (Eng. trans., London, ing in the fifteenth century in the spirit of 18G5) ; Forster, Leben und Werke (Ratis- the fourteenth. Angelico with all his tech- 1 bon, 1859) ; Dohme, 2 L nical incompleteness has never been ex- ANGELINI, ANNIBALE, Cavaliere, born celled in depicting the seraphic. His angels at Perugia, Italy, in 1812. Landscape painter, are birds of Paradise, whose faces glow with pupil of Perugia and Florence Academies. beatitude, whose forms are just enough Professor at Academy of S. Luca, Rome ; like those of human beings to make them member of most of the Italian Academies, comprehensible, but not so much so as to Several orders. Works : Six Landscapes veil their divine nature. Another point in j with Architecture, Vatican, Rome ; Land- which Angelico stands alone is in his power scapes, Quirinal, ib. ; Ceiling Fresco, Palazzo of depicting in the faces of his saints and Doria, ib. Muller, 14. devotees the deep emotions which stir na- j ANGELO, MICHAEL. See Hwhelan- tures like his when absorbed in the contem- gelo. plation of divine mysteries. > The counte- ANGELS, FALL OF, Luca Giordano, Vi- nances of some of the great teachers and enna Museum ; canvas, H. 13 ft. 4 in. x 8 ft. founders of religious orders in his fresco of 10 in. ; signed, dated 1666. The Archangel the Crucifixion (after 1436), in the Chapter Michael, sword in hand, in a glory of angels, House, S. Marco, Florence, are instances in overcomes the rebellious angels and casts point. Some of the most remarkable of An- them down. Engraved by Eissner. GaL de gelico's works are : Altarpiece, Lunette over Vienne, ii. PL 89. portal, S. Domenico, Cortona (before 1418);! ANGELUS, J. F. Millet, M. Secretain, Predella of same, Annunciation, Gestl, Cor- 1 Paris ; canvas. Evening ; two peasants, a tona ; parts of an altarpiece, Perugia Gal- man and a woman, at work in a field, hear lery ; Predella of same, Vatican, Rome ; j the bells of the Angelus from a chapel seen altarpiece (after 1418, repainted by Lorenzo in the distance. They rise, stop work, and di Credi), S. Domenico, Fiesole ; Corona- standing bareheaded, recite with downcast tion of the Virgin (1433), Coronation of the eyes the words of the prayer, " Angelus do- Virgin, and many small panels (1436), Uflfizi, ; mini nuntiavit Mariw." Painted in 1859; Florence; Last Judgment, Paradise, and j sold to J.W.Wilson, Paris; at his sale (18* Deposition from the Crow, 35 subjects from 160,000 fr. Original design, W. T. Walters, Life of Christ, two altarpieces, Florence : Baltimore. Etched by C. Waltner ; by A. Academy ; Angels kneeling on Clouds, Turin ' P. Martial in Art Journal (1884), 3 Gallery ; Crucifixion, Madonna della Stella, j ANGIOLETTO DA GUBBIO, of Gubbi. Coronation of the Virgin, Adoration of the j fourteeth century. Worked as a mosaist at
