any success, and some most interesting monuments of his skill in that branch of art have been preserved to us. In 1840, discovery was made, in the chapel of the Podestà’s palace at Florence, of some paintings by Giotto, containing a number of portraits, among them one of his friend, the poet Dante; the portraits being introduced, as was usual among the early painters, and indeed frequent at all periods, as subordinate actors in the scene represented. Giotto was not only a painter; as a sculptor and architect he was also distinguished. Giotto died at Florence in January, 1337, and was buried with public solemnities in the cathedral. His style, though marked by the hardness and quaintness of a time when chiaro-scuro and perspective were very imperfectly understood, displays the originality of his genius in its thoughtful and vigorous design, and shows how resolutely the artist relied, not on traditions, but on keen and patient observation of nature. FRA ANGELICO. The earliest of the great fifteenth-century painters belongs in the character of his works rather to the preceding century. The monk Guido di Pietro of Fiesole, commonly called Fra Angelico from the holiness and purity which were as conspicuous in his life as in his works, was born in 1387 at Vicchio, in the province of Mugello. At the age of twenty he entered the order of the Predicants at Fiesole, and took the name of Giovanni, by which he was afterward known. His first art work was the illumination of manuscripts. Quitting the monastery in 1409, he practiced as a fresco-painter in various places until 1418, when he returned to Fiesole, and continued to reside there for the next eighteen years. In 1436 he again quitted his retreat, to paint a series of frescoes on the history of the Passion for the convent of San Marco in Florence. This work occupied nine years, and on its completion Angelico was invited to Rome. The chief work which he undertook there was the decoration of a chapel in the Vatican for Pope Nicholas V. In 1447 he went to Orvieto to undertake a similar task, but returned in the same year, having done only three compartments of the ceiling, and leaving the rest to be afterward completed by Luca Signorelli. He then continued to reside in Rome, where he died and was buried in 1455. The most striking characteristics of Angelico’s art spring from the temper of religious fervor with which he practiced it. He worked without payment; he prayed before beginning any work for the Divine guidance in its conception; and believing himself to be so assisted, he regarded each picture as a revelation, and could never be persuaded to alter any part of it. His works on panel are very numerous, and are to be found in many public and private galleries; of the finest of these are, a “Last Judgment,” belonging to the Earl of Dudley, and the “Coronation of the Virgin” in the gallery of the Louvre. After his death he was “beatified” by the church he had served