nal characteristic,
peculiarly his own--the art of sacred vision, but with what new life
he animates it, and what poetical witchery he throws into this
creation of his ascetic fantasy!

His predecessors reproduced with slight varieties the model of Giotto,
and the great Florentine painter himself has given us the scene in its
most simple reality. High in the central part of Giotto's "Coronation"
Christ places the crown on the Virgin, who with hands crossed, bows
her head to receive the homage of her Son. But on her face there is no
expression of ecstatic joy, modest, indeed "humble in the midst of
glory", she droops her eyes, almost as if she dared not rest them on
the Saviour. Angels and saints, symmetrically disposed at the sides,
fill the whole background of the picture, with heads either raised in
admiration or bowed in respect, but in attitudes so similar, that they
give a sense of monotony. Then come the saints, some kneeling at the
foot of the throne, and others in the side wings of the triptych,
reverently bowing to the Mother of God.

Fra Angelico repeats the principal motive, but develops it according
to his high ideal, his intense faith, and mystic sentiment. He gives
to the Virgin an expression of infinite sweetness; to the angels a
truly celestial charm, to the saints a serene expression of
beatitude, and to the whole scene the azure divine character of a
vision of Paradise.

High in the centre the Redeemer extends his right hand to add a
brilliant gem to the crown of the Virgin, who sits near him, with
hands crossed in loving reverence. A luminous golden ray from this
group engraved on the panel, forms gleaming and resplendent waves in
the background of the picture, from which groups of angels stand out,
playing all sorts of music, or dancing with hand clasped in hand. Two
are prostrated in profound admiration at the base, and shed clouds of
incense from their thuribles, while two others draw melody from
heavenly harps.

In the lower part of the picture are many saints, who by their charmed
faces and feeling of ineffable joy, show how delighted they are with
the vision and the heavenly music.

[Illustration: ANCIENT AND MODERN GALLERY--FLORENCE.
THE LAST JUDGEMENT.]

"The greatest eloquence," writes Marchese, "would fail to express the
impression which this painting produces. The heart has a language
which does not always speak in words, and we can never contemplate
this picture without feeling in