g his thumb he
seems to explain some religious question, while some women seated
there hang on his words, exchange their impressions, or ecstatically
clasp their hands in sign of admiration or faith; whether he speak
before the Great Council, or is conducted at last torture, supporting
it with faith and resignation;--his noble figure always inspires a
feeling of profound piety, of serene calm and personal devotion.

Although the representation of buildings is still too fantastic, the
perspective is not neglected as in some other works. In the
"Ordination of St. Stephen," the design of the interior of the church
is in good architectural style, but the canopy above the altar is so
low in proportion to the figure of St. Peter, that if he were to rise
to his full height he could not stand at the altar; in another the
open space in which St. Stephen is preaching has a fortress on the
right, and a palace of very doubtful character in the background. The
details of ornamentation, however, are very carefully designed, the
motives of the decoration being refined and elegant. The pilasters
with their pretty candelabra and capitals rich with sculpture, combine
so harmoniously with the purer architectural forms, as to produce a
most pleasing effect and show the result of his studies among the
numberless remains of ancient Rome.

[Illustration: CHAPEL OF POPE NICHOLAS V.--VATICAN--ROME.
POPE SIXTUS II CONSIGNS THE TREASURES OF THE CHURCH TO ST. LAURENCE.]

The St. Laurence series is not less beautiful. It is marvellous that
Fra Angelico could express motives so analogous to the former set of
frescoes without repeating himself. Sixtus II., drawn with the
lineaments of Nicholas V., consecrates to the diaconal office St.
Laurence, who reverently kneeling extends both hands to receive the
sacramental cup. Around them are some fine figures of ecclesiastics,
who, robed in magnificent vestments, assist at the ceremony, together
with deacons and acolytes, who hold the book and censer. There is, it
is true, a great sameness in the heads, which suggests that most of
them were studied from the same model.

In another fresco, the Pope consigns the treasures of the church to
the saint, while a monk turns brusquely round at the noise made at the
door by two soldiers who come to conduct St. Laurence to martyrdom.
But where Fra Angelico has best succeeded in fully rendering his
sentiment, is in the painting which represents the distribution of