not
proved whether that journey to Spain was ever really taken.
Historians, it is true, tell us that Starnina, being obliged to leave
Florence after the Ciompi riots (1378), took refuge in Spain, where he
lived several years; but it is certain that in 1387 his name was
inscribed in the Guild of Florentine painters.[6]

Vasari does not doubt that Fra Angelico, like other artists from
Masaccio onwards, acquired his skill by studying the frescoes of the
Brancacci Chapel;[7] but besides the fact that the style of those
pictures is diametrically opposed to Fra Angelico's, the latter could
not possibly have been in Masaccio's school, for as he was born in
1387, he was fifteen years older than Masaccio and already a proved
master, when the Carmine frescoes were being painted. Fra Angelico's
style is so individual and characteristic, that it might rather be
considered as springing from his own disposition, developed under the
influence of his time. Studying the works left in Florence by his
great predecessors, leading a retired life, and purifying every idea,
every inspiration in the fire of religion, Angelico was enabled, by
meditation, to perfect the models of the best artists of the
"trecento", among whom we should opine that the influence of Orcagna
in his frescoes in the Strozzi Chapel of S. M. Novella, was greater
even than that of Giotto. Indeed it is evident that what Orcagna
began, is carried to the highest development in Fra Angelico, who
combined softness and refinement with severity of form, grace of
expression with nobility of attitude.

The figure of the Virgin in the fresco of the Judgment in the Strozzi
Chapel, so grand and majestic in its simplicity, is again recognisable
in the panels of Fra Angelico, imitated with his own especial
character and spiritual feeling, full of grace and humility, the soft
lines breathing beauty and lightness. The saints who appear to be
actually in celestial repose, have also inspired Fra Giovanni; the
same gentle and contemplative expression which irradiates the features
of the elect is again visible in our painter's figures. In the
colouring of both, vivacity is combined with softness, and vigour of
chiaro-scuro goes together with transparency of tint.

Nevertheless it is true that in certain respects, Fra Angelico might
be said to belong to the same school as Masolino. They are, however,
at the antipodes from each other in sentiment and artistic
interpretation, for while the