: THE MARRIAGE OF THE VIRGIN. (Uffizi Gallery.)]

Cavalcaselle, as well as Marchese, affirms that the scene of the
Marriage of the Virgin reproduces that of the picture in the Uffizi at
Florence. This may be, as far as the subject and scene go, but in the
disposition of the figures, the development of action, the two works
have nothing in common. Of course in both there must be the priest who
unites the bridal couple, and around them the usual personages in
various attitudes of complaisance, surprise, and rejoicing, but the
grouping of the figures in the predella at Cortona is more naturally
conceived. The women on the right appear to come from the house where
they had met to assist at the ceremony; the men stand on the left. The
background with its portico, and the walls, above which the trees of a
garden project, are shown with more truth and solidity. To give wider
scope to the scene Fra Angelico has depicted the marriage in an open
space. The picture in the Uffizi, on the other hand, is so
conventional both in architecture and landscape that it is impossible
to establish a comparison between the two.

[Illustration: THE VISITATION.]

The Visitation depicts the wife of Zacharias meeting the Virgin, and
lovingly embracing her; a serving maid leaning against the threshold,
half hidden by the door, is listening with devotion, while another
woman kneels on the ground in the road raising her hands to heaven.

In the Adoration of the Magi we find the usual qualities of
composition and feeling. One of the Kings has already rendered homage
to the Redeemer, and is talking to St. Joseph, who thanks him with
earnest devotion; and while the second falls prone before the divine
Child, and kisses His feet with profound emotion, the third prepares
himself to render the required homage. All around are elegant little
figures of pages and servants, in life-like and natural attitudes.

[Illustration: ADORATION OF THE MAGI.]

The last story represents the Assumption of the Virgin,
at which, according to ancient tradition, Christ is present
and carries in his arms the soul of His mother in the form
of a little child.

[Illustration: ADORATION OF THE MAGI. (Uffizi Gallery.)]

Padre Marchese wrote that both the Adoration and this Assumption are
in every respect similar, or replicas of those in the Uffizi. If
anything, the pretty little panels of the Uffizi might be replicas of
the Cortona ones; but in Florence the only painting wi