"It is by no means an easy task to adjust the chronology of Fra Angelico's works; he has affixed no dates to them, and consequently, when external evidence is wanting, we are thrown upon internal, which in his case is unusually fallacious. It is satisfactory therefore to possess a fixed date in 1433, the year in which he painted the great tabernacle for the Company of Flax-merchants, now removed to the gallery of the Uffizii. It represents the Virgin and child, with attendant Saints, on a gold ground--very dignified and noble, although the Madonna has not attained the exquisite spirituality of his later efforts. Round this tabernacle as a nucleus, may be classed a number of paintings, all of similar excellence--admirable that is to say, but not of his very best, and in which, if I mistake not, the type of the Virgin bears throughout a strong family resemblance."--Vol. iii., pp. 160, 161. * * * 83. If the painter ever increased in power after this period (he was then forty-three), we have been unable to systematize the improvement. We much doubt whether, in his modes of execution, advance were possible. Men whose merit lies in record of natural facts, increase in knowledge; and men whose merit is in dexterity of hand increase in facility; but we much doubt whether the faculty of design, or force of feeling, increase after the age of twenty-five. By Fra Angelico, who drew always in fear and trembling, dexterous execution had been from the first repudiated; he neither needed nor sought technical knowledge of the form, and the inspiration, to which his power was owing, was not less glowing in youth than in age. The inferiority traceable (we grant) in this Madonna results not from its early date, but from Fra Angelico's incapability, always visible, of drawing the head of life size. He is, in this respect, the exact reverse of Giotto; he was essentially a miniature painter, and never attained the mastery of muscular play in the features necessary in a full-sized drawing. His habit, almost constant, of surrounding the iris of the eye by a sharp black line, is, in small figures, perfectly successful, giving a transparency and tenderness not otherwise expressible. But on a larger scale it gives a stony stare to the eyeball, which not all the tenderness of the brow and mouth can conquer or redeem.