The first, Fra Angelico, "sets himself to contemplate in God the fount and architype of the beautiful, and, as much as is possible to mortal hands, reproduces and stamps it in those works which a sensual mind cannot understand, but which to the heavenly soul speak an eloquent language. Fra Bartolommeo, with more analysis, works thoughtfully ... he ascends from the effect to the cause, and in created things contemplates a reflection of spiritual beauty." It is true the Dominican order has been as great a patron of arts as the Franciscan of literature. It united with Niccolo Pisano to give form to national architecture. It had sculptors, miniaturists, and glass painters. As a building San Marco has been a shrine of art; since the time that Michelozzi, with the assistance of the Medici, built the convent for Sant' Antonino, and Fra Angelico left the impress of his soul on the walls, a long line of artist monks has lived within its cloisters. With San Marco our story has now to deal, for it is impossible to write Fra Bartolommeo's life without touching on the well-known history of Savonarola. The great preacher's influence in these years, from 1492 to 1497, entered into almost every individual in Florence, either to draw them to devotion, or to stir them up to the greatest opposition. The artists, whose minds were probably the most impressional, were his fervent adherents. He has been accused of being the ruin of art, but "this cry has only arisen in our time; the silence of contemporaries, although not friendly to him, proves that he was not in that century so accused." [Footnote: Gino Capponi, _Storia delta Republica di Firenze_, lib. vi. chap. ii.] The only mention of anything of artistic value is a "tavoliere" [Footnote: A chess or draught board.] of rich work, spoken of by Burlamacchi and Benivieni, in a "Canzone di un Piagnone sul bruciamento delle Vanità." Savonarola himself was an artist and musician in early life, the love of the beautiful was strong within him, only he would have it go hand in hand with the good and true. His dominant spirit was that of reform; as he tried to regenerate mind, morals, literature, and state government, so he would reform art, and fling over it the spiritual light which illumed his own soul. It was natural that such a mind should act on the devotional character of Baccio. What could he do but join when every church was full of worshippers, each shrine at the street corners had a crowd of devout women on their knees before it--when thousands of faces were uplifted in the vast expanse of the Duomo, and every face burned with fervour as the divine flame from the preacher lit the lamp of each soul--when in the streets he met long processions of men, women, and children, the echoes of whose hymns (Laudi) filled the narrow streets, and went up to the clear air above them?