refused to receive him was suddenly submerged; and in the fourth we have a picture of the Saint's death-bed. This last scene is laid in a small red-walled chamber, with writing-table, desk and books, and a Murano glass standing on the cupboard-shelf, and is interesting as one of the earliest examples of an interior in Quattrocento art. On the opposite wall are five scenes from the life of St. Katherine of Alexandria. The triumph of the Virgin-saint over the pagan philosophers of Maxentius, the conversion of the Empress, and the death of the youthful martyr, are all illustrated. In these scenes we recognise Masolino's peculiar type of face and hands, as well as his usual treatment of draperies. The perspective of the buildings is more correct, the individual heads are full of character, and there is much charm in the figure of the youthful Saint, standing up to expound the Christian faith before the Emperor and his wise men. But the greatest triumph of Masolino's art is the large Crucifixion on the wall over the altar. It is impossible to look at this imposing scene without thinking that the original conception must have been due to Masaccio, and that Masolino must have had some cartoon by the dead artist's hand to be his guide. The wide landscape with its low range of hills and sea-shore, the three crosses rising against the sky, the animated crowd of horsemen and soldiers in the foreground, and the pathetic group of the holy women, all help to make up a singularly noble and striking picture. Yet Masolino's peculiar types and mannerisms are to be seen here, especially in the faces of the women and in the action of the kneeling Magdalen. And as Dr. Wickhoff points
