ther than dramatic genius failed to sustain him. It is difficult, for
instance, to comprehend how M. Rio could devote two pages to Gozzoli's
"Destruction of Sodom," so comparatively unimpressive in spite of its
aggregated incidents, when he passes by the "Fulminati" of Signorelli, so
tragic in its terrible simplicity, with a word.[174]

This painter's marvellous rapidity of execution enabled him to produce an
almost countless series of decorative works. The best of these are the
frescoes of the Pisan Campo Santo, of the Riccardi Palace of Florence, of
San Gemignano, and of Montefalco. It has been well said of Gozzoli that,
though he attempted grand subjects on a large scale, he could not rise
above the limitations of a style better adapted to the decoration of
_cassoni_ than to fresco.[175] Yet within the range of his own powers
there are few more fascinating painters. His feeling for fresh nature--for
hunters in the woods at night or dawn, for vintage-gatherers among their
grapes, for festival troops of cavaliers and pages, and for the
marriage-dances of young men and maidens--yields a delightful gladness to
compositions lacking the simplicity of Giotto and the dignity of
Masaccio.[176] No one knew better how to sketch the quarrels of little
boys in their nursery, or the laughter of serving-women, or children
carrying their books to school;[177] and when the idyllic genius of the
man was applied to graver themes, his fancy supplied him with multitudes
of angels waving rainbow-coloured wings above fair mortal faces. Bevies of
them nestle like pigeons on the penthouse of the hut of Bethlehem, or
crowd together round the infant Christ.[178]

From these observations on the style of Benozzo Gozzoli it will be seen
that in the evolution of Renaissance culture he may be compared with the
romantic poets for whom the cheerfulness of nature and the joy that comes
to men from living in a many-coloured world of inexhaustible delight were
sufficient sources of inspiration. It should be mentioned lastly that he
enjoyed the patronage and friendship of the Medicean princes.

Another painter favoured by the Medici was Fra Filippo Lippi, whose life
and art-work were alike the deviation of a pleasure-loving temperament
from its natural sphere into the service of the Church. Left an orphan at
the age of two years, he was brought up by an aunt, who placed him, as a
boy of eight, in the convent of the Carmine at Florence. For monastic
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