nce, and for all this and his fatigue and work,
he shall receive one hundred and ninety gold florins, or any less sum
as shall appear to his conscience, and in consideration of the figures
that are in the design."

[Illustration: ST MARK. ST. JOHN BAPTIST.]

This painting is now to be admired in the Uffizi Gallery where it was
placed in 1777; it is too universally known to need a minute
description. The Virgin enthroned with the Holy Child is surrounded by
twelve angels, the most lovely, graceful and celestial that Fra
Angelico ever painted. In the interior of the side panels are St. John
and St. Mark, in the exterior St. Peter and St. Mark. The latter, as
is well known, was the protector of the Linen Guild: "therefore," says
Padre Marchese, "they wished that whether the tabernacle were open or
closed, he should be always in their sight."

In this work Fra Angelico shows that his style was derived from Giotto
and Orcagna, though his figures with their large heads, are treated
like miniatures and become insignificant; the result is cold and void,
precisely by reason of this over conscientious execution.

The face of the Virgin lacks expression and sentiment, while the
angels depicted on the slope of the frame in act of sounding trumpets,
psalters, cymbals etc., have such a sweetness of sentiment that they
seem literally rained down from heaven.

[Illustration]

III.

FRA ANGELICO AT FLORENCE.

[1436-1445.]

[Illustration]

SAN MARCO.

[Illustration]

The church of San Giorgio--writes Vasari--"had at this time been given
to the monks of San Domenico da Fiesole, but they did not occupy it
longer than from about the middle of July to the end of January,
because Cosimo de' Medici and Lorenzo his brother had obtained for
them, from Pope Eugenius, the church and convent of San Marco, which
had previously been occupied by Salvestrine monks, to whom San
Giorgio was given in exchange. Moreover, they (Cosimo and Lorenzo de'
Medici), being much devoted to religion, and zealous for the divine
service and worship, gave orders that the above-named convent of San
Marco should be entirely rebuilt according to the design and model of
Michelozzo, commanding that it should be constructed on the most
extensive and magnificent scale, with all the conveniences that those
monks could possibly desire."[37] And in the year 1436, the said
monks made their entry with pomp and solemn fetes, in which the three
bishops of Ta