at
Crucifixion of the chapter-house might well have done at the same time
this fresco. It is a compendium of all his technical qualities and
feeling, and demonstrates how little by little he succeeded, while
still preserving his own spirit, in reaching the real in art, and
giving it life in a manner all his own. But in comparing the pictures
of the chapel of Pope Nicholas V. in Rome, with this fresco, we cannot
avoid noticing in those a greater freedom of composition and grouping
of the figures, a greater majesty of design, a truth and depth of
observation, not recognisable in any of his earlier works, nor even in
the large Crucifixion, which is justly considered one of the pious
monk's best works.

[Illustration]

IN THE GALLERY
OF ANCIENT AND MODERN ART.

[Illustration: ANCIENT AND MODERN GALLERY--FLORENCE THE DESCENT FROM
THE CROSS.]

[Illustration]

The enthusiasm aroused by Fra Angelico's pictures, caused a vivid
desire amongst the various religious orders of the city, to possess
some work of his; Dominicans, Vallombrosians, Chartreuse monks, and
the Camaldolese of Santa Maria degli Angeli, vied with each other, and
all in turn obtained some of his admirable creations.

Among the panels painted by Fra Giovanni for the Florentine churches
and convents, the one which excels all for intensity of sentiment and
sincerity of expression is the "Deposition from the Cross," once in
the Sacristy of Santa Trinita, and now in the Ancient and Modern
Gallery, a panel "in which," writes Vasari, "he put so much care that
we may class it among the best things he ever did."

The disciples with loving reverence let down from the Cross, which
occupies the centre of the composition, the body of the Saviour. His
face, drooping on the left shoulder, breathes a sorrowful calm, and
divine serenity which death itself could not destroy. The nude is
intelligently rendered, in nobility of form, softness of line, and
transparency and morbidity of colouring. On the left stands a group of
women; St. Mary Magdalene kisses the feet of Christ; the Virgin
contemplates Him in a trance of sadness; on the right the disciples
discuss the melancholy drama among themselves, while below, a
kneeling saint holds his right hand to his breast and extends the left
in a sorrowful wonder. In the background is a hilly landscape with the
Holy City on the left, and Mount Calvary which the artist "with poetic
and devout conceit," writes Marchese, "h