invited Fra Angelico to Rome in 1445, having admired
his sanctity of life, and talent in art when in Florence. That Pope
died the following year, but in his successor Nicholas V., Fra
Angelico found another sincere admirer and friend, and he remained in
Rome to finish the works he had begun. He painted two chapels in the
Vatican, the one of the Sacrament for Eugene IV., the other for Pope
Nicholas V., whose name it still bears. The former was pulled down by
Pope Paul III. to improve the staircase.

"In this work," says Vasari, "which was an excellent one, Fra Giovanni
had in his own admirable manner painted stories in fresco from the
life of Christ, and had introduced many portraits of eminent persons
then living. These portraits would most probably have been lost to us,
had not Paulo Jovius caused the following among them to be preserved
for his Museum: Pope Nicholas V., the Emperor Frederick, who had at
that time arrived in Italy; Fra Antonino, who afterwards became
Archbishop of Florence; Biondo da Forli, and Ferdinand of
Arragon."[59]

It is probable that after having finished the chapel of the Sacrament,
and before the new commission was given by Nicholas V., Fra
Angelico--by means of Don Francesco di Barone of Perugia, a
Benedictine monk and celebrated master of glass painting--entered into
negotiation with the Operai and Consuls of the Duomo at Orvieto, to
paint the chapel of the Madonna di San Brizio. But before he accepted
the commission he gave them to understand that he could only go to
Orvieto in the months of June, July and August, when he did not wish
to remain in Rome.

"He demanded 200 gold ducats a year, together with all expenses of
board and lodging, colours and scaffolding; besides seven ducats a
month for his assistant, and two for his boy. The contract was signed
on these conditions by Messer Enrico Monaldeschi, the principal
citizen--almost the tyrant--of Orvieto, who always took a personal
part in the most important events of the city. Fra Angelico took with
him Benozzo di Lese, Giovanni di Antonio da Firenze, and Iacomo di
Poli, with whose assistance he commenced the painting in the large
lunettes on June 15th 1447. Pietro di Niccola of Orvieto was also
employed. They painted together for three months and a half, but Fra
Angelico did not return the following year.

"As the summer of 1449 drew near, the overseers, who were left with
only Pietro Baroni, a proved artist, endeavoured to persuad