Convent of San Marco

Definition and stakes

Henry James Italian Hours

I went the other day to the secularised Convent of San Marco, paid my franc at the profane little wicket which creaks away at the door—no less than six custodians, apparently, are needed to turn it, as if it may have a recusant conscience—passed along the bright, still cloister and paid my respects to Fra Angelico’s Crucifixion, in that dusky chamber in the basement. I looked long; one can hardly do otherwise. The fresco deals with the pathetic on the grand scale, and after taking in its beauty you feel as little at liberty to go away abruptly as you would to leave church during the sermon.
Source: Gutenberg

Portrait of Harriet Beecher Stowe Harriet Beecher Stowe Agnes of Sorrento

Convents in the Middle Ages were the retreats of multitudes of natures who did not wish to live in a state of perpetual warfare and offense, and all the elegant arts flourished under their protecting shadows. Ornamental gardening, pharmacy, drawing, painting, carving in wood, illumination, and calligraphy were not unfrequent occupations of the holy fathers, and the convent has given to the illustrious roll of Italian Art some of its most brilliant names. No institution in modern Europe had a more established reputation in all these respects than the Convent of San Marco in Florence.
Source: Gutenberg

Baron Arthur Ponsonby Ponsonby Rebels and Reformers: Biographies for Young People

But he attracted no attention there, for “no man is a prophet in his own country.” Shortly afterwards he was recalled and sent to the Dominican Convent of San Marco in Florence. This building is still carefully preserved because of the beautifully designed frescoes which were painted on the walls of the refectory, sacristy, and chapter house, as well as in the cells on the upper floor, by the artist-monk Fra Angelico, who died in 1455, not many years before Fra Girolamo made San Marco his headquarters and home.
Source: Gutenberg

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