prophets
at Orvieto; in both these pictures we meet with the same types and
figures as in the Roman frescoes, especially in those representing
"St. Peter ordaining St. Stephen," "St. Laurence distributing alms,"
and "St. Stephen before the high priest." Without then following up
doubtful suppositions, it does not seem admissible that Fra Angelico,
old as he was, should have ceded to his pupil either the direction,
or the greater part of works of such importance, which it was greatly
to his interest to finish with the utmost care and perfection.

Cavalcaselle remarks that the severity of the Orvietans who would not
let Benozzo finish the work which Fra Angelico had left incomplete, is
inexplicable; but we must remember that though Benozzo imitated his
master's style, the inferiority of his talent was always apparent in
the common types, false anatomy, and mistaken proportions of his
figures. "He does not equal the master who guided him in his first
years, but he follows his style as much as he can, with less
talent."[64]

It was not therefore Benozzo's work which enlarged the master's style,
but in the Vatican frescoes the master clearly [64] shows the effort
he has himself made to render the action of his figures more grand,
his painting more solid, figures more characteristic and the episodes
with which his admirable compositions are enriched more fundamentally
truthful.

These paintings prove that he had reached his greatest artistic
development; although always retaining his innate character he
concedes to the new requirements of art as much of his temperament
and sentiment, as he can conscientiously yield. Thus his works display
a continuous improvement, each new stage in the long road of his
artistic career, represents a fresh conquest, a new and remarkable
progress. His pupils and collaborators limited themselves to aiding
him, and rendering his work lighter in parts of secondary importance,
but he needed no other help to be, and always remain, worthy of the
high company in which he finds himself in the Vatican.

In the Sixtine Chapel, near the quiet creations of the artists of the
Renaissance, the power and awful force of Michelangelo stand out; in
the "Stanze" Raphael has left an everlasting wealth of artistic
treasures; and in the Chapel of Nicholas V. Fra Angelico with
ingenuous expression and the purest and most sincere religious
feeling, painted his master-piece.

But notwithstanding the great differe