compare it; however, it possesses as little of Angelico's sweet blissfulness as the Dominican painter possessed of Dürer's accuracy of hand and searching intensity of visual realisation. Both painters are interested in individuals, and, representing crowds of faces, make every one a portrait; both evince a dramatic sense of propriety in gesture, both revel in bright, clear colours, especially azure; but as the light in Dürer's masterpiece has a rosy hotness, which ill bears comparison with the virginal pearliness of Angelico's heaven, so the costumes and the figures of the Florentine are doll-like, when compared with the unmistakable quality of the stuffs in which the fully-resurrected bodies of Dürer's saints rumple and rustle. The wings of his angels are at least those of birds, though coloured to fancy, while Angelico's are of pasteboard tinsel and paint. But in spite of the comparative genuineness of his upholstery, as a vision of heaven there can be no hesitation in preferring that of the Florentine. In a frame designed by Dürer and carved under his supervision, this monument to thoroughness and skill was ensconced in a little chapel dedicated to All Saints, which in style approaches our Tudor buildings. There the frame remained till lately with a poor copy of the picture and an inscription in old German to this effect: ('Matthew Landauer completed the dedication of this chapel of the twelve brethren, together with the foundation attached to it, and this picture, in the year 1511 after the birth of Christ,') Dürer signed his picture with the same Latin formula as that of the _Coronation_: "Albrecht Dürer of Nuremberg did this the year from when the Virgin brought forth 1511." VII