It is difficult to indicate Masaccio's pictures because some of them have been repainted and destroyed. As to those in the Brancacci Chapel from the life of St Peter, (with the exception of two,) considerable confusion has arisen as to which are Masaccio's, and which belong to his scholar Filippino Lippi. The fresco which Masaccio left unfinished, that of the Apostles Peter and Paul raising a dead youth (from traditional history), was finished by Lippi. In the fresco of Peter baptizing the converts, generally attributed to Masaccio, there is a lad who has thrown off his garments, and stands shivering with cold, whose figure, according to authority, formed an epoch in art. Lionardo da Vinci, Michael Angelo, Andrea del Sarto, Fra Bartolommeo, all studied their art in this chapel. Raphael borrowed the grand figure of St Paul preaching at Athens in one of the cartoons, from one of Masaccio's or Filippo Lippi's frescoes. Masaccio's excellence as an artist, reached at an immature age, is very remarkable. I have come to the last and probably the best appreciated among modems of the early Italian painters. Fra Angelico da Fiesole, the gentle devout monk whom Italians called '_Il Beato_,' the Blessed, and who probably did receive the distinction of beatification, a distinction only second in the Roman Catholic Church to that of canonization. He was born at the lovely little mountain-town of Fiesole near Florence, 1387, and his worldly name, which he bore only till his twenty-first year, was Guido Petri de Mugello. In his youth, with his gift already recognized, so that he might well have won ease and honour in the world, he entered the Dominican Convent of St Mark, Florence, for what he deemed the good and peace of his soul. He seldom afterwards left it, and that only as directed by his convent superior, or summoned by the Pope. He was a man devoid of personal ambition, pure, humble, and meek. When offered the Archbishopric of Florence as a tribute to his sanctity, he declined it on account of his unworthiness for the office. He would not work for money, and only painted at the command of his prior. He began his painting with fasting and work, he steadfastly refused to make any alteration in the originals. It is said that he was found dead at his easel with a completed picture before him. It is not wonderful, that from such a man should come one side of the perfection of that idealism which Giotto had begun. Fra Angelico's angels, saints, Saviour, and Virgin are more divinely calm, pure, sweet, endowed with a more exulting saintliness, a more immortal youth and joy, and a more utter self-abnegation and sympathetic tenderness than are to be found in the saints and the angels, the Saviour and the Virgin of other painters. Neither is it surprising that Fra Angelico's defects, besides that of the bad drawing which shows more in his large than in his small pictures, are those of a want of human knowledge, power, and freedom.