GHERARDUCCI, Don Silvestro dei (b. 1339, Firenze, d. 1399, Firenze)

According to Vasari, in the Camaldolese monastery of Santa Maria degli Angeli in Florence there were twenty choir books written by a certain Don Jacopo and illustrated by Don Silvestro dei Gherarducci. He also points out that several other choir books by the same masters were in the library in the monastery of San Michele of the same order in Murano. Single illuminated pages representing a number of scenes from a large gradual by Don Silvestro have survived in various museums. Together with several other stylistically consistent historiated pages and with a considerable number of cut initials scattered in various museums, they formed the major portion of the illuminated decoration of two large graduals for San Michele a Murano. Fifty-one full pages and initials have been discovered so far that can now be firmly associated with the two San Michele a Murano graduals, Gradual 1 (The First Sunday of Advent to Passion Week) and Gradual 2 (Easter to the Twenty-fourth Sunday after Pentecost).

The scene in the initial D represents the Nativity of Christ. The depiction is clearly rooted in the Sienese tradition and echoes the invention by the Lorenzetti that must have enjoyed great popularity in Siena. The text of this page is the introit to the Midnight Mass for Christmas.


Gradual 1 for San Michele a Murano (Folio 32)
c. 1395
Tempera and gold on parchment, 580 x 400 mm
Victoria and Albert Museum, London

Romanesco, "las piedras elocuentes"

The Prophet Jeremiah (detail)
1120-35
Stone
Saint-Pierre, Moissac
The figures on the sides of the trumeau of the south portal (not shown on the general view of the portal) are of exceptionally high sculptural quality. On the left (western side) is the apostle Paul, on the right (eastern side) the prophet Jeremiah. The latter, in particular, is the sculptural peak of the works at Moissac. The finely structures elegance of the head, with its long hair and beard, is the direct model for Isaiah in Souillac. 


Lion Taking a Lamb
c. 1140
Stone
Monastery Church, Mariental

The picture shows a Romanesque sculpture in the twelth-century monastery church in Mariental near Helmstedt. It depicts a lion as a persecutor of the Good, taking a lamb.

Sobre la Humildad... Los Padres del Desierto

Uno preguntó a un anciano: "¿Cómo adquiere el alma la humildad?" Y respondió: "Estando atenta tan solo a sus propias faltas"

Sobre la Discreción... Sentencias de los Padres del Desierto

Un hermano renunció al mundo, vistió el hábito de monje y en seguida se recluyó, diciendo: "Quiero estar solo". Al saberlo los ancianos vecinos vinieron y le hicieron salir y le mandaron recorrer las celdas de los hermanos y hacer una metanía delante de cada uno, diciendo: "Perdonadme, no soy un anacoreta. Hace muy poco tiempo que he empezado a ser monje"

Descanso y paz... Los Padres del Desierto

El Abad Alonio decía: "Mientras el hombre no diga en su corazón: >En este mundo estamos sólo Dios y yo< , no tendrá paz ni descanso en su vida".

Fra Angelico en el Refectorio de San Domenico

c. 1879
Oleo en lienzo, 55 x 69 cm
Galleria Palatina (Palazzo Pitti), Florencia

Lorenzo Gelati fue inspirado por la descripción de un fraile devoto de Vasari. Con paleta en mano y la cabeza baja en oración, el piadoso Angelico se muestra arrodillado frente a su fresco de Cristo Crucificado en el convento de San Domenico en Fisole, dónde él era fraile.

***
Lorenzo Gelati was inspired by Vasari's description of the devout friar. With palette in hand and head lowered in prayer, the pious Angelico is shown kneeling before his fresco of the crucified Christ in the convent of San Domenico in Fiesole, where he was a friar.

Crucifixión con Santo Domingo


1440-45

Fresco, 435 x 260 cm
Musée du Louvre, Paris

Cristo y la Adultera - por Pieter AERTSEN


Cristo y la Adultera - Christ and the Adulteress

1557-58
Oleo en madera, 122 x 178 cm
Nationalmuseum, Stockholm


The fruit and vegetables presented in Aertsen's paintings are peasant foods, but they are a feast for the eyes. His market scenes are not slices of everyday life, but plausible inventions. Many of the fruit and vegetables depicted in his work have sexual connotations and some of them were eaten as aphrodisiacs.

In the present painting, the artist juxtaposes the biblical narrative with a market scene, encouraging beholders to ponder the relationship between love and lust, between sexual attraction and visual seduction. The foreground of the painting is filled with sexual innuendoes. On the left side, a man shows a woman his strings of onions. Although this may look innocent and mundane, onions were commonly used as aphrodisiacs. Furthermore, according to proverbial folklore, peeling an onion was like peeling off clothes, for it could easily result in tears. On the right, a man grasps a black rooster, a phallic allusion, in one hand, and an egg basket, a vaginal allusion, in the other.

Oración...


Oh Dios, de quien vienen los santos deseos, los consejos rectos y las obras justas: da a tus siervos aquella paz que el mundo no puede dar; para que, ocupados nuestros corazones en el cumplimiento de tus mandamientos, y libres del temor de los enemigos, sean nuestros tiempos tranquilos. Por nuestro Señor Jesucristo, que vive y reina contigo en unidad del Espíritu Santo por los siglos de los siglos. Amén