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It was realism sometimes a kind of mystic evocation of nature, disembodied and divinely pure, as in Beato Angelico; often exquisitely fresh and youthful, as in his pupil, Benozzo Gozzoli, whose vast series of frescoes half fills the Camposanto of Pisa sometimes tentative and experimental, or gravely grand, as in Masaccio, impetuous and energetic as in Fra Lippo Lippi, fanciful as in Botticelli but still, always realism, in the sense of using nature directly, without any distinct effort at illusion, the figures mostly taken from life, and generally disposed in one plane, the details minute, the landscapes faithful rather than suggestive.

In general, the best things are done in this way, or else in the enthusiasm and pride of accomplishing some great purpose, such as painting a cathedral or a camposanto from one end to the other, especially when the time has been short, and circumstances disadvantageous.

And then, having resolved to remain in Rome, at the commission of Cardinal Francesco Cornaro who had rebuilt the palace that he occupied beside S. Pietro, which looks out on the portico in the direction of the Camposanto he painted over the stucco a loggia that looks towards the Piazza, making there a kind of grotesques all full of little scenes and figures; which work, executed with much labour and diligence, was held to be very beautiful.