self-glorification that gave so much enduring wealth to the great cities of Italy. Doubtless there were many failures among the Renaissance artists; it is hardly an exaggeration to say that in painting alone there are scores of men belonging to the Quattrocento who have left us nothing but their names. Victory was to the fittest; they alone survived and left the impress of their genius upon their own and succeeding generations. If we look for a moment to Fra Angelico's contemporaries we see at once that it was an age of great men. Filippo Brunelleschi was born ten years before Angelico, and lived until the year 1446. He designed the dome of the Cathedral of Florence, the Cloisters of San Lorenzo, the Sagrestia Vecchia, the Church of St. Lawrence, and other works too numerous to mention. Donatello, whose work to this hour is "all a wonder and a great desire;" Ghiberti, to whom Florence owes the gates of the Baptistery; Michelozzo, who built the Medici Palace and the Convent of San Marco, and was associated with Luca della Robbia in making the bronze gates of the Sacristy of the Duomo, belong to the same period, and were intimately associated with Brunelleschi in much of the work that makes Florence one of the show-places of the world to-day. Luca della Robbia was born when Fra Angelico was no more than twelve years old. Masolino, Masaccio, and Fra Filippo Lippi were among the painters of Fra Angelico's own time, while, when he was approaching middle age, Gian Bellini and Andrea Mantegna were growing up, and when Fra Angelico died, Florence was full of great artists who were destined to carry on his work. Of course, the literary activity was as great as the activity of the artists; one recalls with a thrill of emotion that Petrarch and Boccaccio were only just numbered among the dead--their work held all its earliest freshness. If at first sight these matters seem to be outside the scope of a brief consideration of Fra Angelico's life and work, second thought will justify the inclusion even in these narrow limits.