Even if for a time Angelico was able to summon the power by which he could portray an avenging and yet pitying Christ, he lost that power when he tried to image forth the agony of the condemned, the wickedness of Satan. So the picture stands, half in the glory of fine and characteristic execution and half in the darkness of inadequate workmanship. Just why Angelico never went back to Orvieto we do not know. It is probable that the infirmities of age were pressing upon him. Perhaps, too, he was reserving his surplus strength for a last visit to his beloved Florence. Hither we know he came, in the last years of his life, and painted for the Church of the Annunciation a little cupboard to hold the gold and silver vessels used about the altar. It was a delicate task not wholly unlike the miniature work with which, in his early years, he had adorned the parchments of his monastery. [Illustration: FACADE OF ORVIETO CATHEDRAL] Thirty-five panels were filled with scenes from the life of our Lord. The series is done in the spirit of a man who knows the Scriptures and medieval legend to a point, and all the time there shines through the painted figures the saintliness, the mystic, far-away thoughts of the artist. It was a beautiful work to give to his home city in the evening of his quiet life. The work completed, he wended his way back to Rome where he died, in 1455, or, as a contemporary historian says, "Envious death broke his pencil and his beautiful soul winged its way among the angels to make Paradise more joyous." He was buried in the Church of Santa Maria Sopra Minerva where he had lived since his first coming to Rome. His tomb is simple enough, enriched merely with the quaint figure of a Dominican monk, with his hands crossed, and wearing the dress of his order. At the feet of the stone monk is this epitaph, composed by Nicholas V., Angelico's friend and patron-- "Not that in me a new Apelles lived, But that thy poor, O Christ, my gains received; This be my praise: Deeds done for fame on earth Live not in heaven. Fair Florence gave me birth." What his appearance was we cannot tell with certainty as no authentic portrait of him remains to us. From imaginary and traditional portraits we get our only notions of how the angelical painter looked, and these are likely to fall far short of giving us correct ideas of the face of one whose character was well-nigh faultless. Living the secluded life of a monk, we should hardly expect to find many pupils to continue his work after him. One there is, however, who is always spoken of as Angelico's pupil, and that is Benozzo Gozzoli, whose angels at times approach in beauty those of the master-painter of angels. Benozzo was the artist who completed the work that Angelico began at Orvieto.