favour, although Florence was becoming the centre of a great humanist movement, the change was associated with a recrudescence of pagan luxury and vices that boded ill for the maintenance of moral law.

Perhaps John the Dominican preached in Vicchio, perhaps Guido and his younger brother Benedetto heard him elsewhere, but wherever the message was delivered it went home, for it is recorded that in the year 1407, when Fra Angelico would have been just twenty years old, he and Benedetto travelled to the Dominican Convent on the hillside at Fiesole and applied for admission to the order. The brothers were welcomed and sent to serve their novitiate at Cortona, where some of Fra Angelico's earliest known work was painted. They returned to Fiesole in the following year, but the Dominican establishment there was soon broken up because the Florentines had acknowledged Alexander V. as Pope, and the Dominican Brotherhood supported his opponent, Gregory XI. Foligno and Cortona were visited in turn. In the former city the Church of the Dominicans remains to-day; and so the brethren sought peace beyond Fiesole, until in 1418 the Council of Constance healed the wounds of Mother Church. Then Pope Martin V. came to live in Florence, where John XXIII. paid him obeisance, and the Dominican friars returned to their hillside home beyond the city, that was then, according to the historian Bisticci, "in a most blissful state, abounding in excellent men in every faculty, and full of admirable citizens."

And now Fra Angelico, as he must be called in future, settled down to his first important work. He had learned as much as his associates could teach him, and had gathered sufficient strength of purpose, intelligence and judgment, to enable him to deal with the problems of his art as he thought best. It may be said that Fra Angelico built the bridge by which mediæval art travelled into the country of the Renaissance. Indeed, he did more than this, for having built the bridge, he boldly passed over it in the last years of his life. We can see in his work the unmistakable marks of the years of his labour. He started out equipped with the heavy burden of all the conventions of mediævalism. Against that drawback he could set independence of thought, and a goodly measure of that Florentine restlessness that led men to express themselves in every art-form known to the world. No Florentine artist of the Quattrocento held that painting was enough if he could add sculpture to it, or that sculpture would serve if architecture could be added to that. Had there been any other form of art-expression to their hands, the Florentines would have used it, because they were as men who seek to speak in many languages. This restlessness, this prodigality of effort, was to find its final expression in Leonardo da Vinci, who entered the world as the Dominican friar was leaving it.

In the early days Fra Angelico must have been a miniaturist. Vasari speaks of him as being pre-eminent as painter, miniaturist, and religious man, and the painting of miniatures cramped the painter's style in fashion that detracts from the merits of the earlier pictures, but of course Fra Angelico is by no means the only artist to whom miniature painting has been a pitfall.

Professor Langton Douglas has pointed out, in his admirable and exhaustive work on Fra Angelico, that the artist was profoundly influenced by the great painters and architects of his time, and has even used this undisputed fact as an aid to ascertain the approximate date of certain pictures. We can hardly wonder that the influence should be felt by a sensitive artist, who responded readily to outside forces, when we consider the quality of the work that sculpture and architecture were giving to the world in those early days of the Quattrocento. Men of genius dominated every path in life and Florence held far more than a fair share of them.

Among the works belonging to the years before Fra Angelico went to San Marco, and painted the frescoes that stand for his middle period at its best, are the Altar-piece at Cortona, "The Annunciation" and "The Last Judgment," in the Academy of Florence, and the famous "Madonna da Linajuoli," with its twelve angels playing divers musical instruments on the frame round the central panel. These angels have made the Madonna of the Flax-workers the best known of all the painter's works. So long the delight of the public eye they are very harshly criticised to-day, and not without reason, for doubtless they are flat and stiff productions enough. But they have a certain naïve beauty of their own, and because they have done more than work of far greater merit to spread the fame of Fra Angelico, because they have been the source of great delight to countless people despised and rejected of art critics, it has seemed reasonable to present some of them in this little volume, side by side with those more important works of the master to which so many artists of the Renaissance are indebted. We may rest assured that to the painter the angels were very real angels indeed, the best that his art and devotion could express.

Other important works of this first period, which may be taken to range from 1407 to 1435, are the altar-pieces known as the Madonna of Cortona, the Madonna of Perugia, and the Madonna of the Annelena, the last-named being in the Academy at Florence. Critics and artists can divide the painter's life into four or more divisions expressed to them by changes in his style; but a simpler division suffices here.

Looking at Fra Angelico with eyes that the nineteenth century has trained, we speak of this early work as of less importance than what followed, but in so doing it is quite easy to speak or write as several of his critics have done in very unreasonable fashion. Certainly the artist, who in the last years of his life painted the picture of St. Lorenzo distributing alms, and the scenes in the life of St. Stephen, has travelled very far from the painter of the "Last Judgment" that may be seen in Florence; but, even in the early days of Cortona, Fra Angelico was a modern of the moderns. He was a man who worked and thought far in advance of his times, who had the wide outlook that we have learned to associate with all the Florentine artists of the Quattrocento, and he left the boundaries of the painter's art far wider than he found them. Doubtless many of his contemporaries found his work daring and even immoral in so far as it departed from the traditions that had satisfied his predecessors. He had an individuality that expressed itself in fashion unmistakable before he was thirty years of age, and developed steadily down to the last year of his life. Divorced by his calling from the cares and joys of other men, he responded with delight to the larger and more general aspects of life. Fra Angelico had a keen and eager eye for natural beauty; he seems to have gone to the countryside for all the inspiration that remained to seek when the sacred writings were laid aside. The maternal aspect with which he endowed the Madonna, who had