severe
form of life and strict observance which Giovanni Dominici had taught
in his convent at Fiesole, and brother Giovanni again began his
artistic work, for painting was to him like prayer, i. e. his usual
way of raising his mind and heart to God. Unfortunately few of these
first works have been preserved, but from those few we are assured
that he studied in Florence, from which school alone he could have
appropriated the noble manner impressed on all his works; and that
those who perceive an Umbrian influence in his art, are very far from
the truth.

There may be some elements common to both the Umbrian art and that of
Angelico; this, however, does not depend so much on the teaching of
the school, as on technical affinity; insomuch as Umbrian painting in
its lucidity, charm and accuracy of colour, is in some measure derived
from the art of illumination, and most probably Fra Angelico took his
style from the same source, as even in his most perfect works, he
always preserved a remembrance of it.

In fact, his patient diligence and study of detail render his pictures
so many miniatures, done in larger proportions; the lucidity of tint,
the grace of the ornamental motives, the almost exaggerated minuteness
of execution, are decided proofs of the artistic education of Fra
Angelico. It is pleasant to imagine him, during his sojourn at Foligno
and Cortona, making pilgrimages to Assisi, to draw inspiration from
the works of the great masters in the splendid church of San
Francesco. There he found his old friends, and might at a glance
admire together Giotto, Simone Martini, and Lorenzetto. We should say
he admired Simone and Lorenzetto more than Giotto, for the grace of
their figures, refinement of execution, and greater richness of the
accessories, robes and ornamentation, together with the pleasing
brilliance of colouring, all approached more nearly to Fra Giovanni's
own artistic sentiment than the style of Giotto.

And even less than the Umbrian painters or miniaturists (if indeed
there were any worthy to influence the artistic spirit of our artist)
did the landscape of verdant Umbria stir his soul, which even the
sweet slopes of Fiesole could not touch.

Doubtless from the heights of the convent at Cortona, which dominates
one of the finest views in Italy, the young monk admired the beautiful
horizon, and enjoyed the splendour of the verdant plain, and the blue
mountains, "enwrapt in mists of purple and gold", as