family), Dominic, Peter, Francis, Mark, John Evangelist and Stephen; the pediment illustrated the lives of Cosmas and Damian, but it has long been severed from the main subject.  In the Uffizi gallery, an altarpiece, the Virgin (life-sized) enthroned, with the Infant and twelve angels.  In S. Domenico, Fiesole, a few frescoes, less fine than those in S. Marco; also an altarpiece in tempera of the Virgin and Child between Saints Peter, Thomas Aquinas, Dominic and Peter Martyr, now much destroyed.  The subject which originally formed the predella of this picture has, since 1860, been in the National Gallery, London, and worthily represents there the hand of the saintly painter.  The subject is a Glory, Christ with the banner of the Resurrection, and a multitude of saints, including, at the extremities, the saints or beati of the Dominican order; here are no fewer than 266 figures or portions of figures, many of them having names inscribed.  This predella was highly lauded by Vasari; still more highly another picture which used to form an altarpiece in Fiesole, and which now obtains world-wide celebrity in the Louvre—­the “Coronation of the Virgin,” with eight predella subjects of the miracles of St. Dominic.  For the church of Santa Trinita, Florence, Angelico executed a “Deposition from the Cross,” and for the church of the Angeli, a “Last Judgment,” both now in the Florentine academy; for S. Maria Novella, a “Coronation of the Virgin,” with a predella in three sections, now in the Uffizi,—­this again is one of his masterpieces.  In Orvieto cathedral he painted three triangular divisions of the ceiling, portraying respectively Christ in a glory of angels, sixteen saints and prophets, and the virgin and apostles:  all these are now much repainted and damaged.  In Rome, in the Chapel of Nicholas V., the acts of Saints Stephen and Lawrence; also various figures of saints, and on the ceiling the four evangelists.  These works of the painter’s advanced age, which have suffered somewhat from restorations, show vigour superior to that of his youth, along with a more adequate treatment of the architectural perspectives.  Naturally, there are a number of works currently attributed to Angelico, but not really his; for instance, a “St Thomas with the Madonna’s girdle,” in the Lateran museum, and a “Virgin enthroned,” in the church of S. Girolamo, Fiesole.  It has often been said that he commenced and frequently practised as an illuminator; this is dubious and a presumption arises that illuminations executed by Giovanni’s brother, Benedetto, also a Dominican, who died in 1448, have been ascribed to the more famous artist.  Benedetto may perhaps have assisted Giovanni in the frescoes at S. Marco, but nothing of the kind is distinctly traceable.  A folio series of engravings from these paintings was published in Florence, in 1852.  Along with Gozzoli already mentioned, Zanobi Strozzi and Gentile da Fabriano are named as pupils of the Beato.