its projecting forehead and receding chin, which is absolutely vulgar.
Here Benozzo has not even distantly remembered any of his master's
noble representations of the Saviour. Therefore not only had he no
part in that figure at Orvieto, but neither could he have done the
prophets, for they are far superior to the Christ. Finally, it is not
probable that Fra Angelico, with the feeling which inspired his work,
should entrust to an assistant the execution of such an important
figure as the Christ.

Even though the figure of the Christ is not to be compared to the
finest of the prophets, yet we find in the countenance the same
characteristics as the other heads display. True, it looks worse than
it really is, for a crack in the roof has damaged the mouth and beard,
and the fresco has besides suffered in the restorer's hands.

It is a known fact, that a few months after Fra Angelico left, it was
necessary to repair the roof of the chapel in which he had worked, on
account of the rain that percolated there, to the great detriment of
the paintings.

However this may be, it is certain that the heads of the prophets have
sweetness of expression and nobility of character, and all the figures
are remarkable for their fine form, dignified attitudes, free and
simple draperies, combined with bright and vivid colouring. These
qualities are not so visible in the compartment of our Lord and the
adoring angels, which may with more certainty be attributed to
Benozzo.

Fra Angelico returned to Rome on the 28th of September in that year
(1447) and never went back to Orvieto, but his reasons for breaking
his contract and leaving a work incomplete are not explained.

Perhaps he perceived the difficulties of the composition and was
arrested by the terrifying dread--which his character and feeling
would have magnified--of painting a Last Judgment in such grand
proportions. Or he may have had an intuition, that his work would
never be worthy of that famous building, especially as he was called
on to depict the punishments of hell and the various feelings of
sorrow, passion and despair in the damned souls, sentiments so
foreign to his own nature. Or possibly the desire to finish the
paintings entrusted to him in Rome by the new Pontiff Nicholas V.,
induced him to break his contract. In the absence of more precise
records it is difficult to establish the truth.

Certain it is that Fra Angelico left Orvieto for Rome and that he
painted the