hitherto been as stiff and formless as though carved out of wood, testifies to the artist's recognition of maternity as he saw it among the simple peasants his order served. He restored humanity to Mother and Child. The child-like Christ, no longer a doll but a real bambino, tells us how deeply the painter entered into the spirit of a life that the rules of his order forbade him to share. Just as some women who do not marry seem to keep for the world at large the measure of loving sympathy that would have been concentrated upon their children; so this painter monk, who had paid his vows to poverty, chastity, and obedience, could express upon his canvas the affection and the sentiment that would have been bestowed under other circumstances upon a chosen helpmate. Lacking the joys of healthy domesticity he turned to Nature with a loving eye and an intelligence that cannot be over-estimated and, if he knew hours wherein, manlike, he mourned for the life forbidden, the consolation was at hand. The Earth Mother consoled him. In his earliest canvases he expresses his love of flowers, the love of a child for the sights that make the earliest appeal to our sense of beauty. His angels are set in flowering fields, they carry blossoms that bloom in the fields beyond Cortona, and upon the hillside of Fiesole. Clearly the painter saw Paradise around him. Roses and pinks seem to be his favourite flowers, he paints them with a loving care, knowing them in bud and in full leaf and, just as he went to Nature for the decorative side of his art, so in a way he may be said to have gone to Nature in her brightest and most joyous moods for his colours. His palette seems to have borrowed its glory from the rainbow—the gold, the green, the blue, and the red are surely as bright and clear in his pictures as they are in the great and gleaming arch that Easterns call in their own picturesque fashion "The Bride of the Rain."

In all his work Fra Angelico showed himself an innovator, a man who, in thinking for himself, would not allow his own clear vision to be obscured by the conventions that bound men of smaller mentality and less significant achievement. At the same time he was very observant of the progress of his peers, particularly in architecture, and students of this branch of art cannot fail to notice his response to the developments brought about by Michelozzo and Brunelleschi. Even in the first period of his art he would have seemed a daring innovator to his contemporaries for, all unconsciously he was taking his share in shaping the great Renaissance movement that left so many timid souls outside the radius of its illumination.

In the early days he approached the human body with some diffidence, and though a greater courage in this regard is the keynote of Renaissance painting, the earlier timidity is hardly to be wondered at when we consider the attitude of the religious houses towards humanity in its physical aspect, and how necessary it was to avoid anything approaching sensuous imagery throughout that anxious period of transition. As he grew older and more confident of his powers, Fra Angelico seems to have freed himself from some of the restrictions that beset an artist who is also a religious. He, too, learned to glorify the human form.

His love for Nature remained constant throughout all the years of his life; he was sufficiently daring to introduce real landscape into his pictures, and by so doing, to become one of the fathers of landscape painting. His angels have a setting in the Italy he knew best, the flowers that strew their paths are those he may have gathered in the convent garden; for even his vivid and exalted imagination could not create aught more beautiful than those that grew so freely and wild by the wayside, or were tended by his brethren in San Marco.

We find throughout the pictures a suggestion that the life of the artist was a serene and tranquil one that, while he was actively concerned with things of art throughout the district he knew best, he was sheltered by the house of the brotherhood from the tumult and turmoil that beset Fiesole, Cortona, and Foligno in the days of his youth. When he went to San Marco in Florence, where his most enduring memorial remains to this day, Fra Angelico was a man of experience and an independence so far in advance of his time, that some of the work he had accomplished comes to us to-day with a suggestion of absolute modernity in thought if not in treatment. No beauty that our more sophisticated age can reveal to us had passed him by, he paints Nature as Milton painted it when he wrote the "Masque of Comus" and "l'Allegro." And this manner of painting, so different from that of men who mix themselves with the world and surrender to its fascinations, is the painting that endures.

III
IN SAN MARCO

It was in 1435, and Fra Angelico was approaching his fiftieth year, when the brotherhood of San Dominico quitted their convent in Fiesole and went to find a new home in Florence. With the turn of the year they left a temporary resting-place in San Giorgio Oltr' Arno and went into the ruined monastery of San Marco. This house appears to have belonged to the brotherhood of San Silvestro whose behaviour had been quite fitted to the fifteenth century in Florence, but was not altogether creditable to a religious house. Pope Eugenius IV., anxious to purify all the religious houses, gave San Marco to the Dominicans with the consent of Cosimo di Medici, and a very poor gift it was at the time, for the dormitory had been destroyed by fire, and hastily-made wooden cabins could not keep out the rain and cold wind. There was a great mortality among the brethren. Once again the Pope Eugenius interceded with the powerful ruler of Florence, and Cosimo sent for his well-beloved architect Michelozzo and commissioned him to rebuild the monastery. Naturally enough Fra Angelico, whose feeling for architecture was finely developed, came under the influence of the architect, and when the building was complete he was commissioned to adorn the walls with frescoes that should keep before the brethren the actualities of the religious life, and enable them to feel that the Spiritual Presence was in their midst.

Cosimo's munificence had not stopped with the presentation of the building to the brotherhood. He equipped the monastery with a famous library, provided all the service books that were necessary, and gave the brethren for librarian a man who was destined to ascend the Fisherman's Throne and keep the keys of Heaven. The books were illuminated by Fra Angelico's brother Benedetto, who had taken the vows with him, indeed some critics are of opinion that Fra Angelico himself assisted in the work, but for this belief there appears to be but a very small foundation.

The Pope Eugenius, compelled by the quarrels of the great houses in Rome to leave the Eternal City, came to Florence and saw Fra Angelico's work there, and this visit paved the way