Their robes of linen pure are made, White, roseate, and of mingled hues; Fair garlands on their heads they wear, Fit crowns to crown them priests of love. No head is there ungarlanded, And youthful beams each joyous face; In that bright court refreshed they move Where everything o'erflows with love. The garlands made of blossoms fair, Shine brighter than the purest gold, The pearly daisies glisten there Emblazoning the heavenly love. [34] Venturi, _Le Gallerie Italiane_. _La Galleria Nazionale di Roma_, vol. II, p. 89. [35] See _Gazette de Beaux Arts_, 1888. W. Bode, _La Renaissance au Musee de Berlin_; IV. _Les Peintres Florentins du XVme siecle_, p. 473. [36] Cavalcaselle, _Storia della Pittura_, II, p. 369, note 2. Venturi thinks that the picture approaches more to the art of Gentile da Fabriano. See Vasari, _Gentile da Fabriano e Pisanello_. Firenze, Sansoni, 1897, p. x. [37] Vasari, II, _Vita di Michelozzo_, p. 440. [38] Richa, _Le Chiese Fiorentine_, VII, p. 117. [39] Vol. II, p. 440. In October 1438 the monks demanded a subsidy to rebuild the dormitory which had been destroyed by fire. Gaye, I, p. 553. [40] Vol. II, p. 441. Some chroniclers attribute the design of the convent to Brunelleschi, and the direction and execution of the work to Michelozzi. The building was probably completed in 1443. [41] Vasari, II, p. 441. [42] Vol. II, p. 508. [43] _Katalog der Gemaelde-Sammlung der kgl. aelteren Pinakothek in Muenchen._ Mit einer historischen Einleitung von Dr. Franz von Reber. [44] Vol. II, p. 507. [45] See Vasari, II, p. 508, and Marchese, op. cit., I, p. 326 and following. [46] Marchese, _San Marco illustrato_, p. 40. [47] Rio, op. cit., II. p. 314. [48] Cartier, _Vie de Fra Angelico_, p. 231. [49] Vasari, II, p. 511. [50] Marchese, op. cit., I, p. 295. [51] _Il Santuario della SS. Annunziata di Firenze_, Guida storica illustrativa, compilata da un religioso dei servi di Maria. Firenze, Ricci, 1876, p. 87. [52] Vasari, II, p. 531, note 2. [53] Rio, _De l'art chretien_, p. 368. "Michelozzo parait avoir, dans ce tableau, de quarante-cinq a cinquante ans. Or, on suppose qu'il etait ne vers 1396, ce qui placerait l'execution de ce tableau tres-peu de temps avant le depart de l'artiste pour Rome, en 1445," p. 312, note i. [54] Rio, op. cit., II, p. 318 et seq. [55] Rio, op. cit, II, p. 315. [56] Richa, _Le Chiese Fiorentine_, X, pp. 137-138. [57] Vasari, II, p. 516. [58] Vasari, II, p. 517. [59] Vasari, II, p. 517. [60] Luigi Fumi, _Il duomo d' Orvieto e i suoi restauri_. Roma, Tipografia Cooperativa, p. 370. [61] _Storia della Pittura Italiana_, III, p. 83. [62] Muentz, _Les Arts a la cour des Papes_. Premiere partie, p. 92. [63] Perate, _Les Papes et les Arts_. Paris, Didot, 1895, p. 72. Muentz, _Histoire de l'Art pendant la Renaissance_, I, p. 664, and M. Faucon, _L'OEuvre de Fra Angelico a Rome in the Newspaper L'Art_, 1883, XXXV, pp. 141-147 and 167-175.