ments of the body resulted, as art seeking to approach the truth of
nature by more correct drawing and to exhibit so close a resemblance to
the face of the living person that each figure might at once be
recognised. _Thus these masters constantly endeavoured to reproduce what
they beheld in nature and no more; their works became consequently more
carefully considered and better understood._ This gave them courage to
lay down rules for perspective and to carry the foreshortenings
precisely to the point which gives an exact imitation of the relief
apparent in nature and the real form. Minute attention to the effects of
light and shade and to various technical difficulties ensued, and
efforts were made towards a better order of composition. Landscapes also
were attempted; tracts of country, trees, shrubs, flowers, clouds, the
air, and other natural objects were depicted with some resemblance to
the realities represented; insomuch that the art might be said not only
to have become ennobled, but to have attained to that flower of youth
from which the fruit afterwards to follow might reasonably be looked
for.

Foremost among the painters of this period was FRA ANGELICO, or to give
him his proper title, Frate Giovanni da Fiesole, who was born in 1387
not far from Florence, and died in 1455. When he was twenty years old he
joined the order of the preaching friars, and all his painting is
devoted to religious subjects. He was a man of the utmost simplicity,
and most holy in every act of his life. He disregarded all worldly
advantages. Kindly to all, and temperate in all his habits, he used to
say that he who practised the art of painting had need of quiet, and
should live without cares and anxious thoughts; adding that he who would
do the work of Christ should perpetually remain with Christ. He was most
humble and modest, and in his painting he gave evidence of piety and
devotion as well as of ability, and the saints that he painted have more
of the air of sanctity than have those of any other master.

It was the custom of Fra Angelico to abstain from retouching or
improving any painting once finished. He altered nothing, but left all
as it was done the first time, believing, as he said, that such was the
will of God. It is also affirmed that he would never take his brushes in
hand until he had first offered a prayer, and he is said never to have
painted a crucifix without tears streaming from his eyes, and in the
countenance a