h and supporting her; they are accompanied by the saints Cosimo and
Damian.

"Beneath this work, in a frieze above the dado the master executed a
figure of St. Dominic standing at the foot of a tree; on the branches
of which are medallions, wherein are all the popes, cardinals,
bishops, saints, and masters in theology who had belonged to Fra
Giovanni's Order of the Preaching Friars, down to his own day."[44]

In this masterly work Fra Angelico pours out with full hands the most
vivid and intense feelings of his soul, and if he does not attain to
grand dramatic power, he at least succeeds in depicting with rare
ingenuity the varied expressions of sorrow, despair, hope and faith
which animate each person, and in giving natural and life-like
character and attitude to the various heads.

The group of the fainting Virgin may possibly seem conventional, but
what sweet piety is in the feeling of the other figures! St. Dominic,
devoutly kneeling, inclines his head (cleverly foreshortened and
marvellously expressed) and extends his arms to the Redeemer; St.
Zenobi (or St. Ambrose the archbishop) standing upright, points with
his right to the Saviour; St. Jerome, in hermit's dress, bends forward
and clasps his hands in prayer; St. Augustine holds his pen in one
hand, his book and pastoral staff in the other; St. Francis brings his
hand to his brow in an attitude of melancholy indefinable sadness. The
Saints Benedict, Bernard and Romuald follow, then St. Thomas Aquinas
with a most beautiful head full of life and character (it must
certainly be a portrait, so life-like is the expression), next St.
Peter Martyr with his hands on his breast; and lastly in the
foreground an unknown monk (Padre Marchese thinks it is St. John
Gualbert) who weeps, with his left hand over his eyes.[45]

[Illustration: SAN MARCO--FLORENCE THE CRUCIFIXION.]

On the left of the fresco, near the swooning Virgin, stands St. John
Baptist pointing to the Saviour; St. Mark kneeling shows his gospel;
St. Laurence clasps his hands on his breast; and St. Cosmo wrings his
hands as he contemplates the Cross; while St. Damian turns, covering
his eyes, and weeping the mournful loss of the Lord.

In the ornamentation of the simulated frame which surrounds the
fresco, are hexagonal spaces containing half figures of prophets with
labels, containing texts referring to the passion of Christ; and below
them on the right, the Erythrean Sibyl. In the lower part of the
fr