Our Lady of Mount Carmel
Our Lady of Mount Carmel is the title given to the Blessed Virgin Mary in her role as patroness of the Carmelite Order. The first Carmelites were Christian hermits living on Mount Carmel in the Holy Land during the late 12th and early to mid-13th century, they built in the midst of their hermitages a chapel which they dedicated to the Blessed Virgin, whom they conceived of in chivalric terms as the "Lady of the place." Our Lady of Mount Carmel was adopted in the 19th century as the patron saint of Chile, in South America. Since the 15th century, popular devotion to Our Lady of Mount Carmel has centered on the Scapular of Our Lady of Mount Carmel known as the Brown Scapular. Traditionally, Mary is said to have given the Scapular to an early Carmelite named Saint Simon Stock; the liturgical feast of Our Lady of Mount Carmel is celebrated on 16 July. The solemn liturgical feast of Our Lady of Mount Carmel was first celebrated in England in the part of the 14th century, its object was thanksgiving to Mary, the patroness of the Carmelite Order, for the benefits she had accorded to it through its difficult early years.
The institution of the feast may have come in the wake of the vindication of their title "Brothers of the Blessed Virgin Mary" at Cambridge, England in 1374. The date chosen was 17 July; the Latin poem "Flos Carmeli" first appears as the sequence for this Mass. The Carmelite Order was the only religious order to be started in the Crusader States. In the 13th century, some of its people migrated west to England, setting up a chapter and being documented there about 1241–1242. A tradition first attested to in the late 14th century says that Saint Simon Stock, believed to be an early English prior general of the Carmelite Order soon after its migration to England, had a vision of the Blessed Virgin Mary in which she gave him the Brown Scapular; this formed part of the Carmelite habit after 1287. In Stock's vision, Mary promised; this is a devotional sacramental signifying the wearer's consecration to Mary and affiliation with the Carmelite order. It symbolizes her special protection and calls the wearers to consecrate themselves to her in a special way.
In 1642, a Carmelite named Fr. John Cheron published a document which he said was a 13th-century letter written by Saint Simon Stock's secretary, Peter Swanington. Since the early 20th century, historians have concluded that this letter was forged by Cheron himself, but Stock's vision was long embraced by many promoters of the scapular devotion. The forged Swanington letter claimed that 16 July 1251 was the date of the vision, which led for centuries to a strong association between this feast day and the scapular devotion. Based on available historical documentation, the liturgical feast of Our Lady of Mount Carmel did not have a specific association with the Brown Scapular or the tradition of Stock's vision of the Blessed Virgin Mary; this tradition grew as did the liturgical cult of St. Simon; the latter has been documented in Bordeaux, where Stock died, from the year 1435. Historians have long questioned whether Stock had the vision of the scapular. Although Simon Stock was never canonized, his feast day was celebrated in the church.
The Carmelite convent of Aylesford, was restored and a relic of Saint Simon Stock was placed there in 1951. The saint's feast is celebrated in the places dedicated to him. Associated with Our Lady of Carmel was a papal bull saying that there was a Sabbatine privilege associated with devotion to the saint. Vatican II resulted in scrutiny of the Feast of Our Lady of Mount Carmel, as well as that of Saint Simon Stock, because of the historical uncertainties about the origins; the liturgies were revised and, in the 21st century, neither in the Carmelite proper, makes reference to the scapular. In Spain and other Spanish-speaking countries, there has been particular devotion to Our Lady of Mount Carmel, adopted as a patron saint of several places, as she has been in other Catholic-majority countries. In addition and María del Carmen have been popular given names for girls in Spanish-speaking countries. An annual festival, known as Mamacha Carmen, is held in the highland Paucartambo District, featuring a procession with the Virgin and traditional dancers.
Veneration of the Virgen del Carmen is strong in coastal towns of Spain. The Carmelites consider the Blessed Virgin Mary to be a perfect model of the interior life of prayer and contemplation to which Carmelites aspire, as well as a model of virtue, in the person, closest in life to Jesus Christ, she is seen as the one who points Christians most to Christ. As she says to the servants at the wedding at Cana, "Do whatever he tells you." Carmelites look to the Virgin Mary as a Spiritual Mother. The Stella Maris Monastery on Mount Carmel, named after a traditional title of the Blessed Virgin Mary, is considered the spiritual headquarters of the order. Fr. Gabriel of St. Mary Magdalene de' Pazzi, OCD, a revered authority on Carmelite spirituality, wrote that devotion to Our Lady of Mount Carmel means: a special call to the interior life, preeminently a Marian life. Our Lady wants us to resemble her not only in our outward ves
Benedetto Grazzini, best known as Benedetto da Rovezzano was an Italian architect and sculptor who worked in Florence. He was born in Pistoia in 1474, adopted the name Rovezzano from the quarter of Florence in which he lived, his most important works include: Pandolfini Chapel and cloister of the Badia Fiorentina. Remains of the monument of St. John Gualbert and a chimney, now in Bargello Museum. Portal of the Church of Santi Apostoli. Marble cenotaph of church of the Carmine. Tabernacle of St. John the Evangelist, Santa Maria del Fiore. Three bas-reliefs in the church of San Salvi. Pope Leo X sent twelve terra cotta medallions by Rovezzano to Cardinal Wolsey; the sculptor himself went to England in 1524. Wolsey commissioned a tomb for himself, but fell from royal favour before its completion, but King Henry VIII of England ordered its completion. King Charles I of England wished to be buried in it although it remained empty until Nelson was buried in it. Four bronze angels designed by Rovezzano for Wolsey's tomb have come to light and will be acquired by the Victoria and Albert Museum.
V&A Museum has now required the 4 angels and are touring England. They are on display at Newark Museum in Leicester until October 2018. Media related to Benedetto da Rovezzano at Wikimedia Commons
Alessandro di Cristofano di Lorenzo del Bronzino Allori was an Italian portrait painter of the late Mannerist Florentine school. In 1540, after the death of his father, he was brought up and trained in art by a close friend referred to as his'uncle', the mannerist painter Agnolo Bronzino, whose name he sometimes assumed in his pictures. In some ways, Allori is the last of the line of prominent Florentine painters, of undiluted Tuscan artistic heritage: Andrea del Sarto worked with Fra Bartolomeo, Pontormo worked under Andrea, trained Bronzino, who trained Allori. Subsequent generations in the city would be influenced by the tide of Baroque styles pre-eminent in other parts of Italy. Freedberg derides Allori as derivative, claiming he illustrates "the ideal of Maniera by which art are generated out of pre-existing art." The polish of figures has an unnatural marble-like form as. It can be said of late phase mannerist painting in Florence, that the city that had early breathed life into statuary with the works of masters like Donatello and Michelangelo, was still so awed by them that it petrified the poses of figures in painting.
While by 1600 the Baroque elsewhere was beginning to give life to painted figures, Florence was painting two-dimensional statues. Furthermore, in general, with the exception of the Counter-Maniera artists, it dared not stray from high themes or stray into high emotion. Among his collaborators was Giovanni Maria Butteri and his main pupil was Giovanni Bizzelli. Cristoforo del Altissimo, Cesare Dandini, Aurelio Lomi, John Mosnier, Alessandro Pieroni, Giovanni Battista Vanni, Monanni were his pupils. Allori was one of the artists, working under Vasari, included in the decoration of the Studiolo of Francesco I, he was the father of the painter Cristofano Allori. Portrait of a Young Man Christ and the Samaritan Woman Road to Calvary Dead Christ and Angels, Portrait of Piero de Médici, Pearl Fishing image Susanna and the Elders Allegory of Human Life The Miracle of St. Peter Walking on Water Venus and Cupid, In 2006 the BBC foreign correspondent Sir Charles Wheeler returned an original Alessandro Allori painting to the Gemäldegalerie, Berlin.
He had been given it in Germany in 1952, but only realized its origin and that it must have been looted in the wake of World War II. The work is a portrait of Eleonora di Toledo de' Medici, niece of Eleonora di Toledo, measures 12 cm x 16 cm. Alessandro Allori in the "History of Art" Painting in Italy 1500-1600, Freedberg, S. J.. Hobbes, James R.. The Picture Collector's Manual: Dictionary of names. T. & W. Boone. Media related to Alessandro Allori at Wikimedia Commons Alessandro Allori Paintings Gallery
Masolino da Panicale
Masolino da Panicale was an Italian painter. His best known works are his collaborations with Masaccio: Madonna with Child and St. Anne and the frescoes in the Brancacci Chapel. Masolino was born in Panicale near Florence, he may have been an assistant to Ghiberti in Florence between 1403 and 1407. In 1423, he joined the Florentine guild Arte dei Medici e Speziali, which included painters as an independent branch, he may have been the first artist to create oil paintings in the 1420s, rather than Jan van Eyck in the 1430s, as was supposed. He spent many years traveling, including a trip to Hungary from September 1425 to July 1427 under the patronage of Pipo of Ozora, a mercenary captain, he was selected by Pope Martin V on the return of the papacy to Rome in 1420 to paint the altarpiece for his family chapel in the Basilica of Santa Maria Maggiore, by Cardinal Branda da Castiglione to paint the Saint Catherine Chapel in the Basilica of San Clemente, Rome. In the interim, he collaborated with his younger colleague, Masaccio, to paint the frescoes in the Brancacci Chapel in the Basilica of Santa Maria del Carmine, which were much admired by fellow artists throughout the fifteenth century.
He painted a cycle of 300 famous historical figures in the Orsini Palace in Rome about 1433-4 and worked in Todi. He spent his years, after 1435, working for Cardinal Branda Castiglione in Castiglione Olona. Masolino was the first painter to make use of a central Vanishing point in his 1423 painting St. Peter Healing a Cripple and the Raising of Tabitha. Section includes external links to works of art. Complete works In Naples: Miracle of the Snow, commissioned by Branda da Castiglione for the dedication of the Basilica of St Mary Major, ca. 1423, National Museum and Gallery of Capodimonte. In Germany: Madonna and Child, tempera on wood, Alte Pinakothek. Madonna and Child, tempera on panel in Kunsthalle Bremen. In Florence: Cappella Brancacci: cycle of frescoes in collaboration with Masaccio, 1424. Madonna and Child, Saint Anne and the Angels, collaboration with Masaccio, tempera on wood, 1424, Florence. Madonna dell ` Umiltà, tempera on wood, 1430 -- Uffizi. In Empoli: Cristo in Pietà, detached fresco, 1424, museum of the Collegiata di Sant'Andrea.
Saint Ivo and the Pupils, fresco, 1424, Church of Saint Steven. Virgin and Child, fresco, 1424, Church of Saint Steven. In Rome: Fresco of the Life of St Catherine of Alexandria commissioned by Branda da Castiglione in the Basilica di San Clemente, Chapel of Sacrament, 1428. Fresco of the Annunciation in the Basilica di San Clemente, Chapel of Sacrament, 1428. Fresco of St Christopher in the Basilica di San Clemente, Chapel of Sacrament, 1428. Death of the Virgin and Crucifixion, Pinacoteca Vaticana. In Castiglione Olona, where his patron was cardinal Branda da Castiglione: Hungarian Landscape in the Palazzo Branda Castiglione. Story of the Virgin in the Collegiata. Frescoes depicting the Life of St. John the Baptist in the Baptistery of Castiglione Olona. In France: Scenes from the Legend of Saint Julian the Hospitaller, tempera on wood, 21 x 39 cm, Musée Ingres. In the United States: The Annunciation oil and tempera on wood 148 x 115 cm, National Gallery of Art, Washington, D. C; the Archangel Gabriel and The Virgin Annunciate, both ca.
1430, tempera on panel, National Gallery of Art. Dispersed pieces of works Lateral panels of an altarpiece with The Ascension at the center, from Santa Maria Maggiore, Rome, ca. 1427-28, started by Masaccio and completed by Masolino after his death: Saints John the Evangelist and Martin of Tours, Saints Paul and Peter, Philadelphia Museum of Art. Masolino da Panicale at Panopticon Virtual Art Gallery Masolino da Panicale on Artcyclopedia Herbermann, Charles, ed.. "Masolino da Panicale". Catholic Encyclopedia. New York: Robert Appleton Company. "Masolino da Panicale". Alte Pinakothek. Archived from the original on 2014-03-18. Retrieved 2014-03-11
Saint Andrea Corsini was an Italian Roman Catholic prelate and professed member from the Carmelites who served as the Bishop of Fiesole from 1349 until his death. Corsini led a wild and dissolute life until an encounter with his mother moved him to go to the Santa Maria del Carmine church where he became resolved to join the Carmelites as a priest and friar, he exercised various roles in the order until he accepted with reluctance his episcopal position where he was resolved to impose greater mortifications upon himself and dedicate himself to the plight of the poor. Devotion to the late bishop became so profound after his death that miracles were reported at his tomb after his death; the longstanding and popular devotion to Corsini led to Pope Eugene IV confirming his beatification on 21 April 1440 and Pope Urban VIII canonizing him as a saint on 22 April 1629. Andrew Corsini was born in Florence on 30 November 1302 into illustrious Corsini house. One brother was Tommaso. Upon his birth he was named in honor of the apostle of that name.
His parents - while he was still in the womb - placed him under the protection of the Blessed Virgin. He was once wild and dissolute before he heard the call from the Lord and decided to consecrate himself to Him. Extravagance and vice were normal to it pained his devout mother. Once he prepared for a banquet and expressed himself in a disrespectful manner to his mother which moved her to tears, he cared little for that until she told him she saw him as a wolf among sheep in her dream confiding that she hoped he would convert from his wicked mannerisms. This made a profound impression on him and he set out at once for the Santa Maria del Carmine church to reflect where he resolved and there to become a friar, he joined the Carmelites in Florence in 1318 for his novitiate and began a life of great mortification. His ordination to the priesthood was celebrated in 1328. Corsini's parents prepared music and a banquet for his ordination but he retreated to a little convent on the town's outskirts to celebrate his first Mass in relative peace.
Corsini began preaching in Florence before he was sent for his studies in both Avignon. He resided in Avignon with his cousin Cardinal Pietro Corsini, he was chosen as the prior for his convent. Upon his return he became known as the "Apostle of Florence" and he was regarded as a prophet and a wonderworker. In 1348 as the Black Plague was prevalent in area he was appointed as the order's Tuscan Provincial during the General Chapter meeting in Metz. On 13 October 1349 a papal bull from Pope Clement VI appointed him as the Bishop of Fiesole and he hid himself upon learning of this appointment where he despaired; the inscription on his tomb states that "he was snatched from the Carmel to the church and the miter of Fiesole". This gave rise to the legend that he fled but that a child discovered him at the charterhouse at Enna and accepted the nomination as bishop as the result of a vision, he was lavish in his care of the poor. The bishop kept six servants on hand and he appointed two vicars to aid him in governing his diocese.
He enforced discipline amongst the diocesan priests. Corsini tried to avoid discourse with women as much as possible and he kept a list of names of poor people so he knew who to visit and provide goods to in order to alleviate their suffering. On 28 March 1350 he issued an edict that regulated revenue to the poor "for the love of God" as he said. On 1 June 1368 he consecrated the altar of the Figline Valdarno church, it was reported that - in 1373 as he celebrated Midnight Mass on Christmas Eve - the Blessed Virgin appeared to him and told him he would leave this world on the Three Kings' feast. It came to pass as the vision had told him for he fell ill on Christmas night and he died as foretold, his remains were moved to Florence in the evening of 2 February 1373 and his remains were found to be incorrupt upon exhumation in 1385. The location of his burial was damaged in 1771 but his remains were left undisturbed. Miracles were so multiplied at his death that Pope Eugene IV permitted a public devotion to him but it was not confirmed on a formal level until his canonization.
The Florentines defeated the Milanese at the Battle of Anghiari on 29 June 1440 and attributed their success to Corsini's intercession. Petitions were lodged in 1465 and 1466 to Pope Paul II requesting the canonization and the pope appointed a commission to investigate the matter though it came to no conclusion. Pope Urban VIII canonized Corsini on 22 April 1629. In 1675 after his canonization the members of the Corsini house had the Corsini Chapel built in the Carmelite church of Santa Maria del Carmine to provide his remains a more suitable resting place. Pope Clement XII - born Lorenzo Corsini - erected in the Roman Basilica of Saint John Lateran a magnificent chapel dedicated to his kinsman. In 1702 or 1703 a statue in his honor was commissioned and the statue was placed along the colonnade in Saint Peter's Square. Book of the First Monks Constitutions of the Carmelite Order Santa Maria del Carmine Carmelite Rite Roman Catholic Diocese of Fiesole Attribution This article incorporates text from a publication now in the public domain: Campbell, Thomas
Saint Cecilia is the patroness of musicians. It is written that as the musicians played at her wedding she "sang in her heart to the Lord", her feast day is celebrated in the Latin Catholic, Eastern Catholic and Eastern Orthodox churches and in the Anglican Communion on November 22. She is one of seven women, in addition to the Blessed Virgin, commemorated by name in the Canon of the Mass. While the details of her story appear to be fictional, her existence and martyrdom are considered a historical fact, she is said to have been beheaded with a sword. An early church, Santa Cecilia, was founded in the 3rd century by Pope Urban I in the Trastevere section of Rome, reputedly on the site of the house in which she lived. A number of musical compositions are dedicated to her, her feast day has become the occasion for concerts and musical festivals. St. Cecilia is one of the most famous of the Roman martyrs, although some elements of the stories recounted about her do not seem to be founded on historical fact.
According to Johann Peter Kirsch, while some details bear the mark of a pious romance, like so many other similar accounts compiled in the fifth and sixth century, the existence of the martyr is a historical fact. The relation between St. Cecilia and Valerian and Maximus, mentioned in the Acts of the Martyrs, has some historical foundation, her feast day has been celebrated since about the fourth century. It was long supposed that she was a noble lady of Rome who, with her husband Valerian, his brother Tiburtius, a Roman soldier named Maximus, suffered martyrdom in about 230, under the Emperor Alexander Severus; the research of Giovanni Battista de Rossi agrees with the statement of Venantius Fortunatus, Bishop of Poitiers, that she perished in Sicily under Emperor Marcus Aurelius between 176 and 180. According to the story, despite her vow of virginity, she was forced by her parents to marry a pagan nobleman named Valerian. During the wedding, Cecilia sat apart singing to God in her heart, for that she was declared the saint of musicians.
When the time came for her marriage to be consummated, Cecilia told Valerian that watching over her was an angel of the Lord, who would punish him if he sexually violated her but would love him if he respected her virginity. When Valerian asked to see the angel, Cecilia replied that he could if he would go to the third milestone on the Via Appia and be baptized by Pope Urban I. After following Cecilia's advice, he saw the angel standing beside her, crowning her with a chaplet of roses and lilies; the martyrdom of Cecilia is said to have followed that of her husband Valerian and his brother at the hands of the prefect Turcius Almachius. The legend about Cecilia's death says that after being struck three times on the neck with a sword, she lived for three days, asked the pope to convert her home into a church. Cecilia was buried in the Catacomb of Callixtus, transferred to the Church of Santa Cecilia in Trastevere. In 1599, her body was found seeming to be asleep. There is no mention of Cecilia in the Depositio Martyrum, but there is a record of an early Roman church founded by a lady of this name, Santa Cecilia in Trastevere.
The church of Santa Cecilia in Trastevere is reputedly built on the site of the house in which she lived. The original church was constructed in the fourth century. In 1599, while leading a renovation of the church, Cardinal Paolo Emilio Sfondrati had the remains, which he reported to be incorrupt and reburied; the name "Cecilia" was shared by all women of the Roman people known as the Caecilian, whose name may be related to the root of caecus. Legends and hagiographies, mistaking it for a personal name, suggest fanciful etymologies. Among those cited by Chaucer in "The Second Nun's Tale" are: lily of heaven, the way for the blind, contemplation of heaven and the active life, as if lacking in blindness, a heaven for people to gaze upon; the first record of a music festival in her honor was held at Évreux in Normandy in 1570. The Accademia Nazionale di Santa Cecilia in Rome is one of the oldest musical institutions in the world, it was founded by the papal bull, Ratione congruit, issued by Sixtus V in 1585, which invoked two saints prominent in Western musical history: Gregory the Great, after whom Gregorian chant is named, Saint Cecilia, the patron saint of music.
Her feast day became an occasion for musical concerts and festivals that occasioned well-known poems by John Dryden and Alexander Pope and music by Henry Purcell. Herbert Howells' A Hymn to Saint Cecilia has words by Ursula Vaughan Williams; the Heavenly Life, a poem from Des Knaben Wunderhorn mentions that "Cecilia and all her relations make excellent court musicians." From the name of St. Cecilia comes Cecyliada, the name of festival of sacred and contemporary music, held from 1994 in Police, Poland. Cecilia symbolizes the central role of music in the liturgy; the Sisters of Saint Cecilia, religious sisters, shear the lambs
Fra' Filippo Lippi, O. Carm. called Lippo Lippi, was an Italian painter of the Quattrocento. Lippi was born in Florence in 1406 to Tommaso, a butcher, his wife; when he was still a small child, both his parents died. He was sent to live with his aunt Mona Lapaccia, he was eight years old when he started his education there. In 1420 he was admitted to the community of Carmelite friars of the Priory of Our Lady of Mount Carmel in Florence, taking religious vows in the Order the following year, at the age of sixteen, he was ordained as a priest in 1425 and remained in residence of that priory until 1432. Giorgio Vasari, the first art historian of the Renaissance, writes that Lippi was inspired to become a painter by watching Masaccio at work in the Carmine church. Lippi's early work, notably the Tarquinia Madonna shows that influence from Masaccio. In his Lives of the Artists, Vasari says about Lippi: "Instead of studying, he spent all his time scrawling pictures on his own books and those of others."
Due to Lippi's interest, the prior decided to give him the opportunity to learn painting. In 1432 Filippo Lippi quit the monastery. In a letter dated 1439 he describes himself as the poorest friar of Florence, charged with the maintenance of six marriageable nieces. According to Vasari, Lippi went on to visit Ancona and Naples, where he was captured by Barbary pirates and kept as a slave, his skill in portrait-sketching helped to release him. Louis Gillet, writing for the Catholic Encyclopedia, considers this account "assuredly nothing but a romance". With Lippi's return to Florence in 1432, his paintings had become popular, warranting the support of the Medici family, who commissioned The Annunciation and the Seven Saints. Cosimo de' Medici had to lock him up in order to compel him to work, then the painter escaped by a rope made of his sheets, his escapades threw him into financial difficulties from which he did not hesitate to extricate himself by forgery. His life included many similar tales of lawsuits, broken promises, scandal.
In 1441 Lippi painted an altarpiece for the nuns of S. Ambrogio, now a prominent attraction in the Academy of Florence, was celebrated in Browning's well-known poem Fra Lippo Lippi, it represents the coronation including many Bernardine monks. One of these, placed to the right, is a half-length figure thought to be a self-portrait of Lippo, pointed out by the inscription is perfecit opus upon an angel's scroll. In 1452 Lippi was appointed chaplain to the nuns at the Monastery of St. Mary Magdalene in Florence. In June 1456 Fra Filippo is recorded as living in Prato to paint frescoes in the choir of the cathedral. In 1458, while engaged in this work, he set about painting a picture for the monastery chapel of S. Margherita in that city, where he met Lucrezia Buti, a beautiful novice of the Order and the daughter of a Florentine named Francesco Buti. Lippi asked. Under that pretext, Lippi engaged in sexual relations with her, abducted her to his own house, kept her there despite the nuns' efforts to reclaim her.
This relationship resulted in their son, Filippino Lippi, who became a famous painter following his father. In 1457 he was appointed commendatory Rector of S. Quirico in Legania, from which institutions he made considerable profits. Despite these profits, Lippi struggled to escape poverty throughout his life; the close of Lippi's life was spent at Spoleto, where he had been commissioned to paint scenes from the life of the Virgin for the apse of the cathedral. In the semidome of the apse is the Christ Crowning the Madonna, with angels and prophets; this series, not wholly equal to the one at Prato, was completed by one of his assistants, his fellow Carmelite, Fra Diamante, after Lippi's death. Lippi died in Spoleto, on or about 8 October 1469; the mode of his death is a matter of dispute. It has been said that the pope granted Lippi a dispensation for marrying Lucrezia, but before the permission arrived, Lippi had been poisoned by the indignant relatives of either Lucrezia herself or some lady who had replaced her in the inconstant painter's affections.
The frescoes in the choir of the cathedral of Prato, which depict the stories of St. John the Baptist and St. Stephen on the two main facing walls, are considered Fra Filippo's most important and monumental works the figure of Salome dancing, which has clear affinities with works by Sandro Botticelli, his pupil, Filippino Lippi, his son, as well as the scene showing the ceremonial mourning over Stephen's corpse; this latter is believed to contain a portrait of the painter, but there are various opinions as to, the exact figure. On the end wall of the choir are S. Giovanni Gualberto and S. Alberto, while the vault has monumental representations of the four evangelists. For Germiniano Inghirami of Prato he painted the Death of St. Bernard, his principal altarpiece in this city is a Nativity in the refectory of S. Domenico — the Infant on the ground adored by the Virgin and Joseph, between Saints George and Dominic, in a rocky landscape, with the shepherds playing and six angels in the sky. In the Uffizi is a fine Virgin called "Lippina", adoring the infant Christ, held by two angels.
The picture o