In painting the spirit of realism gained the victory much more slowly, and to a far less extent. Even when this victory had been obtained in Florence, the softer feeling and typical form derived from Giotto prevailed in other parts of central and upper Italy in peculiar and flourishing schools. Not long before Masaccio had begun his frescoes in the Brancacci chapel in the Carmine, which was consecrated in 1422, the Camaldulensian Don Lorenzo had painted his beautiful pictures, which still represent the tendency of the previous century, although with a freshness and freedom far superior to the later Giottesque style. And Fra Angelico da Fiesole, who in 1407 entered the Dominican cloister of the little town whence he derived his name, remained his whole life long true to the tradition to which he has given the consecration of gentle poverty, pious fervency, religious sensibility, and at the same time, _naïve_ simplicity. Not even Gentile da Fabriano, a son of the Anconite border, who was gifted with a more lively natural feeling and graceful freshness and serenity, and in 1421 had himself inscribed in the list of Florentine painters, succeeded in breaking through this narrow circle, which did not afford sufficient scope to the creative power of the new spirit of art. Masaccio has given expression to this spirit in a manner which has served as example to the most highly developed periods, by uniting the most true, lifelike, and varied expression with free but nobly naturalistic form. The artists who stand more or less under the influence of Masaccio, and also of the modern plastic art, belong chiefly to the period which we shall contemplate further on.