Photo © President and Fellows of Harvard College
Identification and Creation
Object Number
Charles Herbert Moore, American (New York, NY 1840 - 1930 Harley Witney, Hampshire, England)
After Fra Angelico, Italian (nr. Vecchio, Italy c. 1400 - 1455 Rome, Italy)
Fac-simile of a Portion of an Altar-Picture Representing the Madonna Enthroned, Surrounded by Saints and Angels, by Fra Angelico, in the Florence Academy
Other Titles
Former Title: St. John and St. Mark from the "Madonna Enthroned," after Fra Angelico
Work Type
Persistent Link
Physical Descriptions
Watercolor, gouache, ink, gold leaf, and graphite, with incising and punchwork, on off-white wove watercolor paper
61.2 x 52.6 cm (24 1/8 x 20 11/16 in.)
Fine Arts Department, Harvard University, Cambridge, MA; transferred to Fogg Art Museum, 1926.
Acquisition and Rights
Credit Line
Harvard Art Museums/Fogg Museum, Transfer from the Fine Arts Department, Harvard University
Accession Year
Object Number
European and American Art
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The original work by Fra Angelico, called the San Marco Altarpiece, is in the Academy, Florence. It dates to 1438-1440.
Publication History

Charles Herbert Moore, Catalogue, with Notes, of Studies and Fac-similes from Examples of the Works of Florence and Venice; and of Fac-similes and Original Works to be Used as Exercises in Drawing, Belonging to the Fine Arts Department of Harvard University, exh. cat. (Cambridge, MA, 1878), p. 7-8, cat. 1

Royal W. Leith, Ruskin and his American Followers in Tuscany: A Historical Study, Brentham Press (St. Albans,UK, 1994), p. 4, pl. 2

Royal W. Leith, A Quiet Devotion: The Life and Work of Henry Roderick Newman, exh. cat., Jordan-Volpe Gallery, Inc. (New York, NY, 1996), p. 22, reproduced in b/w as fig. 20

Theodore E. Stebbins, Jr., Virginia Anderson, Melissa Renn, and Susan C. Ricci, The Last Ruskinians: Charles Eliot Norton, Charles Herbert Moore, and Their Circle, exh. cat., Harvard University Art Museums (Cambridge, MA, 2007), pp. 49, 69, 94, pl. 23

Theodore E. Stebbins, Jr., Virginia Anderson, and Kimberly Orcutt, ed., American Paintings at Harvard, Volume Two, Paintings, Drawings, Pastels and Stained Glass by Artists Born 1826-1856, Harvard Art Museums and Yale University Press (U.S.) (Cambridge, MA and New Haven, CT, 2008), p. 250, cat. 242

Francesca Bewer, A Laboratory for Art: Harvard's Fogg Museum and the Emergence of Conservation in America, 1900-1950, Harvard Art Museum and Yale University Press (U.S.) (Cambridge, MA, 2010), p. 30, fig. 1.2

Melissa Renn, "Deep Seers: John Ruskin, Charles Herbert Moore and the Teaching of Art at Harvard", Persistent Ruskin: Studies in Influence, Assimilation and Effect, ed. Keith Hanley and Brian Maidment, Ashgate Publishing (Surrey, England, 2013), pp. 137-155, pp. 147-148, fig. 9.2

Exhibition History

Studies and Fac-similes from Examples of the Works of Florence and Venice..., Harvard Art Club, Cambridge, 12/01/1878 - 12/31/1878

The Last Ruskinians: Charles Eliot Norton, Charles Herbert Moore, and Their Circle, Harvard University Art Museums, Fogg Art Museum, Cambridge, 04/07/2007 - 07/08/2007

This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of European and American Art at