works seem really worth preserving for the genuine merit that is in them,
apart from any quaintness and curiosity of an ancient and new-born art.
Probably his religion was more genuine than Raphael's, and therefore the
Virgin often revealed herself to him in a loftier and sweeter face of
divine womanhood than all the genius of Raphael could produce. There is
a Crucifixion by him in this gallery, which made me partly feel as if I
were a far-off spectator,--no, I did not mean a Crucifixion, but a
picture of Christ dead, lying, with a calm, sweet face, on his mother's
knees ["a Pieta"].

The most inadequate and utterly absurd picture here, or in any other
gallery, is a head of the Eternal Father, by Carlo Dolce; it looks like a
feeble saint, on the eve of martyrdom, and very doubtful how he shall be
able to bear it; very finely and prettily painted, nevertheless.

After getting through the principal gallery we went into a smaller room,
in which are contained a great many small specimens of the old Tuscan
artists, among whom Fra Angelico makes the principal figure. These
pictures are all on wood, and seem to have been taken from the shrines
and altars of ancient churches; they are predellas and triptychs, or
pictures on three folding tablets, shaped quaintly, in Gothic peaks or
arches, and still gleaming with backgrounds of antique gold. The wood is
much worm-eaten, and the colors have often faded or changed from what the
old artists meant then to be; a bright angel darkening into what looks
quite as much like the Devil. In one of Fra Angelico's pictures,--a
representation of the Last Judgment,--he has tried his saintly hand at
making devils indeed, and showing them busily at work, tormenting the
poor, damned souls in fifty ghastly ways. Above sits Jesus, with the
throng of blessed saints around him, and a flow of tender and powerful
love in his own face, that ought to suffice to redeem all the damned, and