In part I, I examined William Hood’s recent attempt to understand Fra Angelico as a propagandist for the Observant reform in the Dominican Order. In his magisterial treatment of Fra Angelico at San Marco (Yale University Press, 1993) Professor Hood interprets each of the works against the background of its predecessors elsewhere in Dominican or other art, or elsewhere in Angelico’s own corpus. His particular concern is with the institutional tradition out of which Angelico spoke: the spaces, spirituality and devotional practices of the friars, which conditioned the subject matter and significance of the works. He persuasively argues that Angelico’s art is to be understood as an expression of a particular view of Dominican community and tradition. I proposed that Angelico’s art would be better understood if there had also been some examination of the doctrinal tradition out of which the painter preached: in particular its Scriptural and Thomistic Catholicism. Essential are some understanding of Angelico’s aesthetic (its Thomist view of beauty, light, reality, analogy, the senses ...), his understanding of the function of religious art (as worship, visualizing spiritual exercise, source of instruction, tool of preaching), and his theology of the Incarnation and the Passion as the way to the beatific vision for the various audiences to whom he preached. Admittedly very little has been written to date on Angelico’s theology. Hood’s book is a great jumping off point for such an endeavour.

On the Feast of the Epiphany 1443 the high altar of San Marco was consecrated in the presence of the pope and all the cardinals, patriarchs and bishops present at the Council of Florence.