ieze, are ten rounds, containing portraits of the most illustrious
members of the Dominican Order. In the centre St. Dominic, on the left
Pope Innocent V., Cardinal Ugone, Father Paulo the Florentine, the
Archbishop St. Antonino (this must surely have been added later), the
blessed ones Giordano of Saxony, Niccolo, Remigius the Florentine and
Buoninsegna the martyr. On the right are the blessed brethren John
Dominici, Peter of the Marshes, Albertus Magnus, St. Raymond, Chiaro
of Sesto, St. Vincent Ferreri and Bernard the martyr.

Retouches and restorations are not wanting in this picture, the
drapery has been repainted in several parts and the background has
been smudged with that reddish colour, which, in altering the tone of
the whole fresco, has injured the limpidity of colour and original
refinement of harmony.

The chronicles of the convent of San Marco record another Crucifixion
by Fra Angelico in the refectory of the monks, "probably," writes
Padre Marchese, "a replica of that which he had already painted in the
Fiesolan convent." This now no longer exists, it appears to have been
destroyed to make space for Sogliani's great fresco of St. Dominic at
table with his brethren, when they were supplied with bread by angels.
But in the cells and dormitories of the Florentine convent Fra
Angelico scattered lovely proofs of his genius and sentiment, pouring
out on them with rare talent the most exquisite grace of his brush,
and tenderest thoughts of his soul. From the "Annunciation" to the
various scenes from the life of Christ; from the "Virgin among the
saints," in the corridor, to the decoration of the room which Cosimo
had built for himself in his favourite convent, all breathe such sweet
poesy in the grace and simplicity of the varied scenes, that one
cannot look at them unmoved.

Facing the entrance of the upper corridor of the cloister he painted
the Angel bringing the glad tidings to the Virgin. We have already
noted in regard to this subject as created by him at Cortona, how the
representation finds its greater development here, where the artist
succeeds better in rendering the feeling of veneration on the part of
the heavenly messenger, and the submissive humility of the Virgin.

The same subject is repeated in a cell (No. 3), but in this design,
which breathes the same sentiment of sweetness and piety, St. Dominic
in reverent attitude is looking on.

[Illustration: THE ANNUNCIATION.]

On the wall at the