All the time Fra Angelico was placidly and intelligently studying the new realistic movement launched by Donatello and Masaccio. He adopts what suits him, rejecting heavy shadows which would dull his Gothic coloring, but adding freely realistic details in anatomy, drapery, and architecture. The Coronation of the Virgin in the Louvre, Figure 73, though it may be only a few months later than that of the Uffizi, no longer takes place in a cloudland before lucent gold, but in a quite practicable architecture imitating the niche which Michelozzo designed in 1423 for Donatello’s St. Louis of Toulouse. The forms too are more substantial, more mundane. Soon the architectural accessories become of Renaissance type, and as Mr. Langton Douglas has shown, every new invention of Michelozzo for a space of ten years is promptly reflected in the painting of Fra Angelico. His greatest Madonna, that of the Linen Guild, Figure 74, painted in 1433, is almost plastic, recalling the severe sweetness of Orcagna. The picture is really cumbered by the rich hangings, which with the slender swaying angels in the bevel of the frame are already an anachronism. In the Descent from the Cross, Figure 75, we find Fra Angelico skilfully adopting the new discoveries in anatomy and landscape. The treatment is broad and panoramic in the tradition of the Lorenzetti but all the details are carefully studied from nature and not furnished by formula. A deeply felt scene thus gains verisimilitude, comes out of the realm of legend and becomes an actuality. The panel was finished in 1440, and, now that Masaccio was gone, there was no living painter who could have put into it with equal knowledge so much feeling. [Illustration: FIG. 75. Fra Angelico. Deposition.—_Uffizi._ ]