As a further example of the light cast by pictures elsewhere on those in this Gallery, however, I prefer to take a single little subject from the predella of =Fra Angelico’s= glorious =Coronation of the Virgin=: I mean the compartment which represents St. Dominic and his brethren being fed by angels in the monastery of St. Sabina at Rome. Anybody who looks at Fra Angelico’s painting, even in these smaller works, can recognise at once his tender, saintly, and devout manner. He is permeated by a spirit of adoring reverence, which comes out in every one of his angels and martyrs. Fewer people, however, note that the angelic friar was also a loyal and devoted =Dominican=. Whatever he paints is to the glory of God: but it is also to the glory of St. Dominic and of the order that he founded. This beautiful altar-piece, for instance, was produced by the Dominican painter of Fiesole for the Dominican church of St. Dominic at Fiesole. The saint himself, with his little red star, is everywhere apparent: and those who have visited Fra Angelico’s own Dominican monastery of San Marco at Florence will recollect that the founder and his red star similarly occur in almost every fresco in that beautiful building. They will also recollect that this very subject of the brethren fed by angels forms the theme for a beautiful but much later fresco by Sogliani in the Great Refectory of the same monastery. Such an episode is admirably adapted for one of those large pictures representing a repast of some sacred character which it was usual to place on the end wall of conventual dining halls. Compare it also with a Spanish treatment of a similar miracle by Murillo, in the Cuisine des Anges. Note the simplicity and sobriety of the Early Italian work, as contrasted with the strained feeling and insistence upon mere effects of luminosity and glory in the showy Spanish painting. The moral of all such half-allegorical miracles is clearly this:—Our order is sustained by God’s divine providence.