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vieto in 1447. 1 In 1449 lie parted from his old master to seek his own fortune; and, with more instinct than luck, applied to the council of the Duomo of Orvieto for per mission to complete the unfinished labours of Angelico. 2 Unsuccessful in this attempt, Benozzo, then in the flower of his age, proceeded, not to Florence, the Mecca of art ists, but to Montefalco’, near Foligno in Umbria, whither he was led, no doubt, by his early connection with the Dominicans, and the hope that perhaps the recommenda tion of Angelico might be of service to him. In this comparatively solitary spot he settled in 1449, and ob tained instant employment. In S. Fortunato, about a mile from the town, he painted a Virgin and child amongst saints and angels above the portal, 3 an apotheosis of S. Fortunato on the altar of that name, 4 an annunciation in fresco on one of the walls, and S. Thomas receiving the girdle 5 on the altar. The fastidiousness of the Orvietans becomes almost inexplicable in presence of these creations which are amongst the best that Benozzo ever produced. 1 Vasari (Vol. IV. p. 18G) says, Benozzo painted a fresco in the Cappella Cesarini, at Araceli in Rome representing S. Anthony and two angels in a niche above the altar. The heads in this piece are the only parts that are not repainted; and it is true that they reveal Benozzo’s hand, as do like wise traces of paintings on the lunettes of the portals. A predella, No. 35 in the Gallery of the Va tican representing a story of S. Hyacinth assigned to Benozzo is by a Ferrarese artist of his time of whom we may have occasion to speak. 2 On the 3 d of April 1449, his application is met by a request that he shall give proof of his skill. See Della Valle’s Duomo di Orvieto. p.p. 125 and following, and 307, and Com. to Angelico’s life in Vas. Vol. IV. p. 48. 3 This fresco is on the portal outside the church, and the seven angels forming the glory are in jured by the scaling of the colour of the dresses. The Virgin and child are between S.S. Francis and Bernardino. This and the rest of the paintings in the church are clearly of the same period. 4 All but the head of S. Fortu nato is repainted by a restorer of the 18 th century. 6 This altarpiece is now in the Museum of S. Giovanni Laterano at Rome. The usual garland of playing and singing angels is about the Virgin. Six saints are in the pilasters, and of six pre della scenes the Sposalizio is slightly damaged. The drawing is accurate and shows less-defec tive form, less immobility and less angularity of drapery than later examples. Still prettier are the predella scenes, which appear like slightly inferior reductions from originals by Angelico. The pict ure indeed has been assigned to him. 32*
