"Our beautiful panel is, for its size, as characteristic and fine a specimen of the master as exists. The painting throughout is of fine quality, the modelling and expression of the head admirable, the colour strong and fine, but soft withal, and the abundant detail executed with great skill and patience, but kept in due subordination. The strange background, with its fantastic erections, half architecture half rock, is of less beauty, but equally characteristic of the artist" (Monkhouse: _In the National Gallery_, p. 167). The picture, once ascribed to Marco Zoppo, has been now recognised as the central panel of an altar-piece by Cossa, of which the wings are in the Brera at Milan, and the predella is in the Picture Gallery of the Vatican. The Dominican represented has at various times been supposed to be St. Dominic himself, St. Vincentius Ferrer, and St. Hyacinth. The predella pictures are of scenes in the life of St. Hyacinth, who therefore is probably the subject of our panel also. He was a member of the Dominican Order (whose habit he wears), a Pole by birth, and a missionary in Russia. St. Vincentius Ferrer was a Spaniard of Valencia, who in 1374, at the age of 17, entered the Dominican Order, died in 1419, and was canonised in 1455. 598. ST. FRANCIS WITH THE "STIGMATA." _Filippino Lippi_ (Florentine: 1457-1504). _See 293._ St. Francis, the founder of the Franciscan Order of monks (the Black Friars), was the great apostle of Works, whilst St. Dominic, the founder of the Dominican Order (White Friars), was the great apostle of Faith. It was the teaching of these two orders that gave the impetus to the church building, from which grew the art revival at Florence in the thirteenth century. "The gospel of works, according to St. Francis, lay in three things. You must work without money, and be poor. You must work without pleasure, and be chaste. You must work according to orders, and be obedient." And so truly did he in his own works exemplify the life of Christ, that, according to the legend of the time, he received also in his own person the wounds (or "stigmata") of the Crucified One--here visible on his hands. ("Take my yoke upon you"; or "Take up the cross and follow me.") "His reception of the 'stigmata' is, perhaps, a marvellous instance of the power of imagination over physical conditions; perhaps an equally marvellous instance of the swift change of metaphor into tradition; but assuredly, and beyond dispute, one of the most influential, significant, and instructive traditions possessed by the Church of Christ."