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.]
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 marvellously drawn hands support an open book which rests on his side. Here Fra Angelico reveals his skill in all its fulness; and when we reflect on his advanced age, we can only remain in admiring surprise before the freshness of his creative power, and the force of his execution.