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. We have documental evidence that Benozzo Gozzoli assisted his master in these frescoes, and doubtless we may attribute to him the fine decorations, where roses bud amidst flowers and foliage of every kind, and garlands are resting on pretty little children's heads, or are festooned on medallions bearing the tiara, and crossed keys of Nicholas V.; but we cannot give him the merit of having beautified the scenes of the "Preaching of St. Stephen," or "St. Laurence distributing alms."[63] [Illustration: CHAPEL OF POPE NICHOLAS V. VATICAN--ROME. ST. LAURENCE CONDEMNED TO MARTYRDOM.] We admit the probability that Benozzo may have executed some of the figures, but there is a difference between this and supposing that he had any conspicuous part in the compositions, especially in the St. Laurence series, which we cannot believe. If the whole scene were indeed by Benozzo, would not the difference of hand between master and scholar be more strikingly evident? And the more so, as the scholar had not yet reached mastery of technique, and his early frescoes show a certain crudeness, want of harmony and incorrectness of design, which far remove them from the proved technical ability of his master. Nor can we believe that he timidly followed the lines traced on the walls by Fra Angelico, for even in that case something peculiar to himself must have been clearly perceptible in them. Now this, to speak frankly, is not evident.