etouching, but yet in a deplorable
condition, is the other painting, a Crucifixion, still existing in the
Sacristy of the Convent. The Redeemer with extended arms, has His head
drooping straight on the breast, and the legs are stiffened and curve
to the right. A crown of thorns encircles the head, which is
surrounded by a great aureole; but the head is small; and the face,
with its insignificant features, lacks the intense expression which
Fra Angelico usually succeeds in putting into similar subjects.

He also painted the altar-piece for the great altar in San Domenico at
Fiesole, "which," writes Vasari, "perhaps because it appeared to be
deteriorating, has been retouched and injured by other masters. But
the predella and ciborium of the Sacrament are better preserved; and
you may see infinite little figures which are lovely in their
celestial glory, and appear indeed to come from Paradise, nor can
those who draw near ever look at them sufficiently."[19]

The picture is now removed into the choir. In the centre the Virgin
with her Son, is seated on the throne; six angels stand around her in
act of adoration, and two kneel in front with vases in their hands. At
the sides St. Thomas and St. Peter are placed on the left; St. Dominic
and St. Peter Martyr on the right. The retouching of which Vasari
speaks, was done by Lorenzo di Credi in 1501, when the picture was
reduced to its present form. We learn this from a record in the MS.
chronicle of the Convent of Fiesole, which is quoted by Padre Marchese
in his "Memorie."[20] But the panel has suffered other and worse
things than this. Other figures taken from an older frame have been
substituted for those in the pilasters. Some coarse copies have been
put in the place of the three "stories" of the predella, and the
original one was sold, together with the ciborium.[21]

The predella, now in the National Gallery of London, is divided into
five compartments. In the centre is Christ robed in white, His right
hand raised in benediction, and a standard held in His left; at the
sides are a crowd of angels--some blowing trumpets, others playing
instruments, others again in attitudes of profound veneration--all
have robes of pure and brilliant hues with azure wings lightly
sprinkled with gold. The side scenes have multitudes of saints, either
standing or kneeling in adoration: on the left are patriarchs,
bishops, monks and martyrs, each with his own emblem; on the right, a
crowd o