the Raising of Tabitha, who pass by almost unconcerned, though one has turned his head to see; the sheer loveliness of Eve and Adam, really for the first time born again here naked and unashamed; or the easy and beautiful gesture of the angel, who bids them begone out of the gate of Paradise. In Masaccio's work you will find a more splendid style, the real majesty of the creator, a strangely sure generalisation and expression; but in Masolino's work there still lingers something of the mere beauty of Gentile da Fabriano, the particular personal loveliness of things which you may know he has touched with a caress or seen always with joy. Masaccio was born at Castello S. Giovanni, on the way to Arezzo. He was the son of a notary, Ser Giovanni di Simone Guidi, called della Scheggia, and his first labours in art, Vasari tells us, were begun at the time when Masolino was working at this chapel in the Carmine. He had evidently been much impressed by the work of Donato, and, indeed, something of the realism of sculpture has passed into his work, in the St. Peter Baptizing, for instance, where he who stands by the side of the pool, awaiting his turn, has much of the reality of a statue. And then with a magical sincerity Masaccio has understood the mere discomfort of such a delay in the cool air, and a shiver seems about to pass over that body, which is as real to us as any figure in the work of Michelangelo. Or again, in the fresco of the Tribute Money, how real and full of energy these people are,--the young man with his back to us, who has been interrupted; Jesus Himself, who has just interposed; Peter, who is protesting. How full of a real majesty is this composition, admirably composed, too, and original even in that. Here, it might seem, we have the end of merely decorative painting, the beginning of realism, of the effect of reality, and it is therefore with surprise we see so facile a master as Filippino Lippi set to finish work of such elemental and tremendous genius. How pretty his work seems beside these realities. Coming out into the Piazza again, and turning to the left down Via S. Frediano, you come almost at once, on the right, to the Church of S. Frediano in Castello. You may enter it from Lung' Arno, but it would scarcely be worth a visit, for it is a late seventeenth-century building, save that in the convent may still be found the cell of S. Maria Maddalena de' Pazzi; for it was this convent that the Carmelite nuns exchanged with the Cistercians for the house in Via di Pinti, called to-day S. Maria Maddalena de' Pazzi, where Perugino painted his beautiful fresco of the Crucifixion.