CHAPEL OF POPE NICHOLAS V.—VATICAN—ROME.
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 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.
CHAPEL OF POPE NICHOLAS V. VATICAN—ROME
