ror in various degrees is depicted in the faces. The spec tator may next notice S. Dominick extended horizontally in the foreground of the picture. On his body rest two ladders which are supported above by the Saviour and the Virgin, and two angels ascending carry between them the soul of the saint in the form of an infant to heaven. This is the dream of Guala prior of Brescia, a prosaic sub ject rendered with sufficient religious sentiment and much simplicity by Traini. The last scene is that of S. Domi nick’s burial in a church, with a concourse of prelates and clergy in prayer around him. The whole of the altarpiece, but particularly the pro phets in the pinnacles of the sides are characterized by the same features as those which mark the representation of S. Thomas Aquinas. Francesco Traini, to sum up, shows the mixture of the Florentine and Siennese man ner, the Siennese element overshadowing the Florentine. Tenderness and softness were more fully developed in him than in Orcagna. He had more religious feeling, but less science. He was without doubt a great painter. But Vasari is less than unjust towards him. It is a great pity that so little of Traini’s life should be known. Equally to be regretted is the obscurity which sur rounds the name of Niccola Tommasi, of whose painting in S. Antonio Abate at Naples some notes have been made in the life of Giotto. This painter is probably the same whom Sacchetti mentions in his account of the de bate at S. Miniato upon the vexed question of artistic superiority in the middle of the fourteenth century. He is recorded with Orcagna and others in the list of the council of S. Maria del Fiore in 1366, and is thus proved to have been at once the cotemporary and the acquain tance of Andrea Orcagna. More than this, he was, as has been stated, of the first batch of artists, who formed the guild of painters in Florence. But, most interesting of all, his style has many of the qualities which distinguished that of Orcagna. This will be admitted on inspection of" the picture at Naples, executed in 1371, to which reference has already been made. Originally a triptych, the altar-