Both one and the other were mystics absorbed into God; thus this picture by Angelico is at the same time a picture by the Holy Ghost, bolted through a purified sieve of art.
If we consider it, this soul is that of a female saint rather than of a monk.

Turn to his other pictures; those, for instance, in which he strove to depict Christ's Passion; we are not looking at the stormy scene represented by Matsys or Gruenewald; he has none of their harsh manliness, nor their gloomy energy, nor their tragic turbulence; he only weeps with the uncomforted grief of a woman.

He is a Sister rather than a Friar-artist; and it is from this loving sensibility, which in the mystic vocation is more generally peculiar to women, that he has drawn the pathetic orisons and tender lamentation of his works.
And was it not also in this spiritual nature, so womanly in its complexion, that he found, under the impulse of the Spirit, the wholly angelical gladness, the really glorious apotheosis of Our Lord and His Mother, as he has painted them in this Coronation of the Virgin, which, after being revered for centuries in the Dominican Church at Fiesole, has now found shelter and admiration in the little gallery devoted to the Italian School at the Louvre.
* * * * * "Your article is very good," said the Abbe Plomb.

"But can the principles of a ritual of colour which you have discerned in Angelico be verified with equal strictness in other painters ?" "No, if we look for colour as Angelico received it from his monastic forefathers, the illuminators of Missals, or as he applied it in its strictest and most usual acceptation.

Yes, if we admit the law of antagonism, the rules of inversion, and if we know that symbolism authorizes the system of contraries, allowing the use of the hues which are appropriated to certain virtues to indicate the vices opposed to them." "In a word, an innocent colour may be interpreted in an evil sense, and vice versa," said the Abbe Gevresin.
"Precisely.