Certain changes independent of external causes sometimes take place naturally, we might say spontaneously, in strong artistic temperaments. Fra Angelico felt and understood as he continued his work, that something was wanting in him before he could succeed in giving reality to his thoughts and sentiment; he necessarily perfected his studies, and investigated truth more conscientiously--the result was the new style, a natural consequence of artistic individual progress. [Illustration: ST. PETER MARTYR.] Opposite the entrance in the pretty cloister of the Florentine convent we may admire the figure of the crucified Christ who turns His eyes to St. Dominic kneeling below, and embracing the cross with both hands, while raising his head to meet the glance of the Saviour. In the five lunettes of the doors in the cloister, Fra Angelico has represented St. Peter Martyr, St. Dominic, Christ issuing from the sepulchre, Christ in the dress of a pilgrim, and St. Thomas Aquinas. The figure of the crucified Saviour is nobly beautiful in its simple and intelligent outline, firm design and life-like colouring. That of St. Peter Martyr is full of character; it is a half figure holding with his left hand the palm of martyrdom and a book which he rests on his side; the first finger of the right hand is placed on his mouth, indicating the silence of the cloister. St. Dominic has the book of his rules in one hand and the discipline, or rope for scourging in the other, as though to demonstrate that both moral and material influence should govern a religious community. The "Christ of the resurrection" shows His wounds, and St. Thomas Aquinas holds his book of theology in both hands. [Illustration: CHRIST ISSUING FROM THE SEPULCHRE.] In the arch of the hospice the painter has represented two Dominicans welcoming Christ, to remind the brethren that to offer hospitality to the poor and the pilgrims, was the same as receiving Christ. The Redeemer with his hat hanging behind His shoulders leans on His pilgrim's staff; one of the brethren presses His left hand, and taking Him by the right arm invites Him to rest. The heads of the two devotees are full of character and expression, and on their faces beam the joy and love they feel for their unexpected guest. The second monk who clasps the Saviour's arm with both hands as though he can scarcely believe his own eyes, is drawn with such natural feeling that nothing greater can be desired or attained. Equally beautiful is the pilgrim Christ with His long beard and curls flowing on His shoulders; the whole scene in fact is given with great nobility and exquisite grace. [Illustration: CHRIST IN PILGRIM'S DRESS.]