In his later years Fra Angelico declined the archbishopric of Florence and died at Rome in 1455. The tombstone which shows the emaciation of his perishable form is in the Roman Church of the Minerva; his imperishable monument is his frescoed convent home of S. Marco at Florence. Of the traditional artists Fra Angelico is by far the most important, but his contemporary Masolino of Panicale must be considered, partly because tradition makes him the master of Masaccio, partly because of the problems which cluster about his work. The picture which is here drawn of him represents my own investigations, and differs at several points from the views of Berenson and Toesca. If we judge Masolino only by the work that is unquestionably his, he is not an impressive figure. He inherits the grace of the late Gothic style, and he adds rather partially and inconsequentially the new discoveries in anatomy and linear perspective. Chance took him away from the centre of things, Florence. He worked mostly in Lombardy, distant Hungary, provincial Tuscany, and Rome. He has industry and charm, but nowhere shows much intelligence. On the whole he is a poorer story-teller than his Gothic predecessors, and only their fair equal in panel painting. Had Vasari not ascribed to him, I believe erroneously, the early miracles of St. Peter in the Church of The Carmine, at Florence, the general historian of art would need to pay little attention to Masolino. But he has been entangled in one of the most important of artistic problems, that of Masaccio, so we cannot ignore him. Masolino[31] was born in 1384, and, according to Vasari, was trained by the mysterious Starnina. We have no very early works to show his progress, and it is merely a good guess that the radiant Annunciation, Figure 81, in the possession of Mr. Henry Goldman, New York, may be considerably earlier than 1420. It shows the gentleness and animation which are constant in Masolino. It combines the Sienese calligraphic manner with those smaller realisms of inscenation which ultimately derive from Duccio. It has coloristic audacities of its own in the spotting of brightest vermillion. It gives small hint of the Renaissance. At a later date than 1420, by which time ordinary perspective began to be understood, I doubt if Masolino would have indulged in that preposterous and unnecessary central pillar which starts above in middle distance and ends below in the picture plane. A Madonna at Bremen, dated 1423, shows him still as Gothic as Lorenzo Monaco, who indeed seems to have influenced him dominatingly.