regarded them not, affirming that he sought no dignity and took no care but that of escaping hell and drawing near to Paradise. And, of a truth, what dignity can be compared to that which should be most coveted by all churchmen, nay, by every man living, that, namely, which is found in God alone, and in a life of virtuous labour?

"Fra Giovanni was kindly to all, and moderate in all his habits, living temperately, and holding himself entirely apart from the snares of the world. He used frequently to say, that he who practised the art of painting had need of quiet, and should live without cares or anxious thoughts; adding, that he who would do the work of Christ should perpetually remain with Christ. He was never seen to display anger among the brethren of his order; a thing which appears to me most extraordinary, nay, almost incredible; if he admonished his friends, it was with gentleness and a quiet smile; and to those who sought his works, he would reply with the utmost cordiality, that they had but to obtain the assent of the prior, when he would assuredly not fail to do what they desired. In fine, this never-sufficiently-to-be-lauded father was most humble, modest, and excellent in all his words and works; in his painting he gave evidence of piety and devotion, as well as of ability, and the saints that he painted have more the air and expression of sanctity than have those of any other master."[10]

Fra Giovanni Angelico, whose worldly name was Guido or Guidolino (little Guy), was born in the year 1387; his father was named Piero (surname not known) of Vicchio in the Mugello;—that pleasant valley which boasts of having given birth to Giotto.

Vasari asserts that Guido's brother Benedetto, a miniaturist, was also very clever in a larger style of painting, but the researches of Milanesi quite refute this opinion, and show that Benedetto did nothing more than copy choral books, and that he continued this kind of work till his death.[11]

"The most ancient chronicles of the convent of St. Mark and St. Dominic at Fiesole," writes Milanesi when registering the death of Fra Benedetto brother of Angelico, in the year 1448, "remark simply that he was a very good writer, and that he wrote and annotated the choral books of St. Mark and some of those of St. Dominic." We have only the evidence in Vasari and the "Annali del Convento di San Marco," written after his Lives of the Painters to prove that he was a miniaturist.[12]

In these Annals it is added, with more historical truth, that although Angelico "might have conveniently lived in the world, and besides his own possessions might have gained any income he chose, with the art for which he was famous even in his youth, yet, for his own satisfaction and peace, being by nature steady and good, and chiefly also for the salvation of his soul he preferred to take the vows in the order of the Preaching monks."[13] This happened in 1407.

On the slopes of the smiling hill of Fiesole the foundations of a new convent were being laid by Giovanni Dominici, the great preacher and reformer, who wished in this new monastery to give a model to all the cloistered orders which at the close of the preceding century had greatly fallen from their ancient observances. St. Antonino was among the first to embrace this reform, and after two years Guidolino and his brother followed his example, choosing the robes of St. Dominic.

On being received by the Dominicans they were sent to Cortona, where St. Antonino and others already resided, there being as yet no novitiate at the Fiesole convent. In 1408 they took the irrevocable vows, but it cannot be ascertained whether they still remained at Cortona, or returned at once to their own convent at Fiesole. If the latter, the two brothers must have been involved in the vicissitudes of the Fiesolan convent, which, refusing to acknowledge Pope Alexander V. (who was elected by the Council of Pisa 1409), entered into a fierce contest with the archbishop of Florence. The convent was abandoned by its inmates who fled to Foligno to avoid the rule of Fra Tommaso da Fermo, General of the Order, who had sworn obedience to the new Pope. They were received as guests at Foligno by Ugolino de' Trinci, lord of the city, and Federigo Frezzi, author of the Quadriregio. Here they passed five years, being treated with great benevolence by their brethren, nor did they leave until driven away by the plague in 1414, when they again took shelter at Cortona where they remained till 1418.

When Guidolino entered the convent and took the name of Giovanni, he must have been already expert in art; for the vicissitudes which followed could certainly not have facilitated the study of painting. In fact his works which remain at Cortona are in so youthful a style, and bear the imprint of such freshness as to remove all doubt on this generally accepted assertion.

While staying at Foligno, the Fiesolan refugees propagated that 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