and architype of the beautiful, and, as much as is possible to mortal
hands, reproduces and stamps it in those works which a sensual mind
cannot understand, but which to the heavenly soul speak an eloquent
language. Fra Bartolommeo, with more analysis, works thoughtfully ...
he ascends from the effect to the cause, and in created things
contemplates a reflection of spiritual beauty."

It is true the Dominican order has been as great a patron of arts as
the Franciscan of literature. It united with Niccolo Pisano to give
form to national architecture. It had sculptors, miniaturists, and
glass painters. As a building San Marco has been a shrine of art; since
the time that Michelozzi, with the assistance of the Medici, built the
convent for Sant' Antonino, and Fra Angelico left the impress of his
soul on the walls, a long line of artist monks has lived within its
cloisters. With San Marco our story has now to deal, for it is
impossible to write Fra Bartolommeo's life without touching on the
well-known history of Savonarola. The great preacher's influence in
these years, from 1492 to 1497, entered into almost every individual in
Florence, either to draw them to devotion, or to stir them up to the
greatest opposition.

The artists, whose minds were probably the most impressional, were his
fervent adherents. He has been accused of being the ruin of art, but
"this cry has only arisen in our time; the silence of contemporaries,
although not friendly to him, proves that he was not in that century so
accused." [Footnote: Gino Capponi, _Storia delta Republica di
Firenze_, lib. vi. chap. ii.] The only mention of anything of
artistic value is a "tavoliere" [Footnote: A chess or draught board.]
of rich work, spoken of by Burlamacchi and Benivieni, in a "Canzone di
un Piagnone sul bruciamento delle Vanita." Savonarola himself was an