Andrea Orcagna (1308?-1368?) and his brother Nardo are not represented in the Louvre, but we have a follower of Agnolo Gaddi in Lorenzo Monaco (1370?-1425), who is seen to advantage in his _Christ in the Garden of Gethsemane_ and his _Holy Women preparing the Tomb_ (No. 1348A), which is inscribed “ANNO DÑI 1408,” and was formerly attributed to Gentile da Fabriano. Lorenzo Monaco is officially credited with a triple picture (No. 1348) of (_a_) _St. Agnes_ with her lamb and a martyr’s palm branch; (_b_) _St. Lawrence_, the artist’s name-saint, holding in his right hand a book and palm branch, and enthroned on a gridiron, the symbol of his martyrdom; and (_c_) _St. Margaret_, the patron saint of Woman as Mother, standing on the dragon. Lorenzo Monaco, who is reputed to have been the master of Fra Angelico, usually depicts long, slender, and sinuous bodies. Below this picture hangs a small panel, apparently part of the predella of an unidentified altarpiece. It does not seem to be included in the official Catalogue, and has neither a number by which to identify it nor a label to denote its subject or authorship! The picture has apparently never been referred to or described in any article or book. It certainly represents the Emperor Heraclius carrying the True Cross into Jerusalem. The picture appears to have been painted by Giovanni del Ponte (fl. 1385-1437). Neither Starnina (1354-1408), who took the traditions of Early Florentine painting to Spain, Masolino (fl. 1383-1435), who is rarely met with out of Italy, nor Masaccio (1401-28), who may be said to have vitalised Italian art, is represented in the Louvre. Tommaso Masaccio, the “Hulking Tom” of Browning, gave to Italy and the world the magnificent series of frescoes which still decorate the Brancacci Chapel of the Carmine Church in Florence. He imparted to his figures such natural movement, vivacity of expression, free attitudes, simple draperies, and excellent modelling that he entirely revolutionised the art of Florence. His figures are, as Vasari said, “so lifelike that they seem to live and breathe.” This series of frescoes was studied with enthusiasm by all the great Florentine painters; Leonardo, Raphael, Michelangelo, and innumerable other artists derived the greatest possible benefit from them. FRA ANGELICO