The under part of the picture, representing the death of the Virgin, recalls, in the general grouping of figures, the same subject now in the Uffizi Gallery; but in this one, four Apostles are depicted in the act of raising the bier, while the others surround the Christ, who holds in His arms the soul of His Mother in the form of a babe. In the upper part we see the Virgin with upraised arms, being received by the Saviour who extends His hands as if in welcome. The type of the Virgin recalls that of the small panel representing the "Adoration" and "Annunciation." The Christ is, in the foreshortening and character of the face, a repetition of that on the reliquary of the "Madonna della Stella." The figure of the Virgin is incorporeal and insignificant; but the angels who in varied attitudes dance around the throne playing divers instruments, are charming and graceful. In the ancient refectory of the Fiesolan convent Fra Angelico painted a life-size Christ Crucified, with St. Dominic kneeling below clinging passionately to the Cross. At the sides stand the Virgin and St. John the Evangelist; there is also a figure of the saintly founder, but it was either added later, or else has been badly restored and cannot be taken as Fra Angelico's work. The picture has been removed from the wall, and is now in the Museum of the Louvre; it is damaged in several parts; the delicacy of colouring is lost, the background spoiled, and only the figures of the Saviour, the Virgin, and the head of St. John remain in tolerable condition. The other fresco in the old chapter-house (this also has been removed from the wall, and is now in the Hermitage at St. Petersburg), represents the Virgin seated, with the Child on her knee, between St. Dominic and St. Thomas Aquinas; all these figures show signs of incompetent restoration, the outlines and drapery having been repainted. Less spoiled perhaps by retouching, but yet in a deplorable condition, is the other painting, a Crucifixion, still existing in the Sacristy of the Convent. The Redeemer with extended arms, has His head drooping straight on the breast, and the legs are stiffened and curve to the right. A crown of thorns encircles the head, which is surrounded by a great aureole; but the head is small; and the face, with its insignificant features, lacks the intense expression which Fra Angelico usually succeeds in putting into similar subjects. He also painted the altar-piece for the great altar in San Domenico at Fiesole, "which," writes Vasari, "perhaps because it appeared to be deteriorating, has been retouched and injured by other masters. But the predella and ciborium of the Sacrament are better preserved; and you may see infinite little figures which are lovely in their celestial glory, and appear indeed to come from Paradise, nor can those who draw near ever look at them sufficiently."[19]