alms. Angelico evidently delights in the thought of the inner
satisfaction of the saint, and the happiness of the recipients; and
the sincere and serene joy transfused in the countenances of the
different figures is expressed with unusual ability and extraordinary
truth to nature.

He has enlivened the severity of the scene by the episode of two
children, who are laughingly struggling over a piece of money
received. Infantile grace and content breathe in their features,
though slightly disturbed by the doubt which of them will remain
possessor of the precious gift.

The two last frescoes are very attractive and equally admirable. One
represents the condemnation of St. Laurence, the other his martyrdom.
The study of classic art is still more manifest in these than in the
others, for not only the architecture, but even the niches which
contain statues are imitated from the antique.

In the "Condemnation" the Emperor Decius wears a cuirass with a toga
over it fastened on the right shoulder, as in the ancient imperial
busts. His sceptre is terminated by a little idol, and above his
throne is the Roman eagle with outspread wings, in a garland of bay
leaves: in the other fresco the statues appear to be reproductions of
ancient Roman monuments. But unfortunately this last picture has been
so injured and restored that we cannot fully appreciate its value.

[Illustration: CHAPEL OF POPE NICHOLAS V.--VATICAN--ROME.
ST. LAURENCE GIVE THE CHURCH MONEY TO THE POOR.]

[Illustration: ST. BONAVENTURE.]

The execution of these pictures is really remarkable. Fra Angelico, as
we have said, without losing his fundamental qualities, has acquired
and here reveals new qualities; the four Evangelists among the clouds
on a background of blue, dotted with golden stars, are noble and full
of character; the figures of the saints on the simulated pilasters,
and at the corners of each side of the chapel, might be classed among
Fra Angelico's best. Who does not remember above the rest the fine and
noble figure of St. Bonaventure, with his flowing white beard,
thoughtful eyes, and an aspect of goodness and seriousness combined
that is quite enchanting? What other figure, however beautiful, can
show such just proportions, solid form, and majestic design, such a
strong character and expression as this? The saint's thoughtful gaze
is turned to the left, his mouth lightly indicating a smile, or rather
the sweet expression of innate goodness, the m