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Angel of the Day

psPast Life Reading

      Your angels can help you remember your past lives. By understanding the journey that your soul has made, you can help yourself heal from emotional, spiritual, and physical wounds.

Past Life Reading contains:

        Your past; Your path;
        Previous incarnation; Your lessons.

Reading length: approx 11 pages.

Price: $14.90

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Archangels Reading

      A complete reading about your life covering a period of a year, between two birthdays. Find out what is out there for you: opportunities, dangers and how to avoid them, how to improve yourself and your relations.

Archangels Reading contains:

      Prevision for a year (between two birthdays)
      Important events of the year
      Message from your Guardian Angel

Reading length: approx 20 pages.

Price: $19.90

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Angel Card

      A divine message form the Angel of the moment. Please wait 5 minutes before asking the next question. Every Angel rules approximately 5 minutes of the day (after 6 hours they repeat). Don’t abuse the Angel Oracle.

How to do it

  1. Clear your mind.
  2. Think about your question.
  3. Click on the picture.

The answer will be revealed for you.

Your Angels

Your Angels

Contains: the Incarnation Angel (with description), the Heart Angel and the Intellect Angel.

Price: $9.95

Love Reading

Love Reading

Contains: your current situation regarding your love life, marriage, hidden things, attitude and future.

Price: $9.95

Career Reading

Job Career Reading

Contains: your current situation, business partnership, your career, attitude and future.

Price: $9.95

Posts Tagged ‘FRA’


The Italian Renaissance painter Giovanni da Fiesole, better known as Fra Angelico, was born in 1387 as Guido di Pietro near the castle of Vicchio in the upper valley of the Mugello, not far from Florence. In 1407 he and his brother presented themselves at the Dominican convent of the Observance at Fiesole, and after a year’s novitiate at Cor- tona he took the cowl under the name of Fra Giovanni. Angelico was the name bestowed on Fra Giovanni by his fellow monks.

Because they remained loyal to the Roman Pope Gregory XII in a period of schism and dissension during which Florence shifted its allegiance to the antipope Alexander V, the Dominican monks were expelled from Fiesole by the Florentine government. They took refuge at Foligno and Cortona, but eventually returned to their monastery at Fiesole in 1418, after the Council of Constance. During the years of exile, Fra Giovanni served his apprenticeship as an illuminator and fresco painter, although his contacts with Florentine artistic life did not begin until 1418.

In 1436 the Observant monks left Fiesole for the convent of San Marco at Florence, where Fra Giovanni was asked to paint two pictures for the convent church and to decorate the chapter house, refectory, hospice, cloisters, and cells with frescoes. He was later called to Rome to decorate the chapel of Nicholas V at the Vatican, which kept him busy until 1449, when he was appointed prior of the convent of San Marco, which office he held for three years. He died in Rome in 1455 at the age of sixty-eight.

Fra Angelico portrayed angels as unearthly beings, creatures unlike any human. While wonderfully celestial, Angelico’s angels are also decidedly feminine. He adhered to this mode of representation in spite of the strongly held contemporaneous belief that angels were sexless. Two exquisite examples can be found in his depiction of angels in the Linainuoli Altarpiece, in Florence, and in the Angel of the Annunciation.

The eponymous St. Michael, an exquisite small picture now in the Academy at Florence, is brilliantly celestial. The lance and shield and the lambent flame above Michael’s brow are the only emblems, the flame symbolizing spiritual fervor. The rainbow-tinted wings are raised and fully spread, meeting above and behind the head. The armor is of a rich dark red and gold. The pose and the countenance indicate the reserved power and the godlike tranquility of the heavenly warrior and mark him as the patron of the Church Militant.

Fra Angelico’s Annunciation conveys reverence and simplicity. This fresco on the wall of the corridor in the convent of San Marco is considered one of the most beautiful and spiritual Annunciations in existence. Its sweetness and charm have given it a universal appeal, which is reminiscent of its creator. Mary is innocence incarnate sitting in a portico flanked by a flower-carpeted garden, which is symbolic of her virginity. Fra Angelico has pictured Mary (who slightly leans toward her heavenly visitor) and Gabriel in such a way that the two seem equal in purity and goodness, giving the impression that Gabriel is superior only in her knowledge of the impending birth. The angel is decidedly feminine with rainbow-tinted wings and gently crossed hands sans the often depicted lily or scepter.

In the Annunciation in the Museo del Gesii, Cortona, the two main figures are framed. Mary’s mantle, as it flows down her back, echoes the foreshortened arches, while the angel, who is a bundle of curves, echoes the frontal arches. The result is that the angel, glimpsed at the very moment of alighting, betrays no movement at all, while every line in the Virgin’s figure is galvanized as she starts from her absorption in the prayer book on her knee.

Adoring angels abound in Fra Angelico’s Last Judgment. The trumpet angels are placed below the judge, indicating that they can be heard in all the earth, whereas the angels who announce the fate of all who are judged direct the blessed and the damned to their respective places.

Fra Angelico’s Coronation, in the Louvre, shows the Virgin kneeling to be crowned, accompanied by a group of musical angels on each side. The painting is characterized by a deliberate trick of perspective: the divergent angles from which the scene is viewed are calculated to heighten the illusion of distance between the choir of angels and saints, on the one hand, and Christ and the Virgin, on the other.

Never have angels been more angelic than the ones portrayed in Fra Angelico’s St. Dominic, also in the Louvre, in which a group of the saint’s brethren are seated at table in the white habit and black mantilla of their order. They are served by two, winged angels magnificently robed in rich blue and gold and adorned with little gold halos, who gently bring food to the friars’ table with simple dignity, as if in imitation of the humility of Christ.

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