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For here is a gentle little church with swift, silent monks in it, and a few flowers in bowls, and a religious picture by that strange Piero di Cosimo whose heart was with the gods in exile; and the view of Monte Ceceri, on the other side of Fiesole, seen through the cypresses here, which could not be better in disposition had Benozzo Gozzoli himself arranged them, is very striking and memorable.
Here the palace is cut up and portioned off into little rooms and passages, and everywhere there were desks, inkstands, and men, with pens in their fingers or behind their ears. We were shown into a little antique chapel, quite covered with frescos in the Giotto style, but painted by a certain Gozzoli.
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. Yet within the range of his own powers there are few more fascinating painters.
It includes nearly the whole of Lorenzetti's work in the Sala della Pace, much of Giotto, the Gozzoli frescoes at S. Gemignano, frescoes of the Veronese masters and of the Paduan Baptistery, a great deal of Piero della Francesca, Mantegna, Luini, Gaudenzio Ferrari, Pinturicchio, Masolino, &c.
Death and the world are indeed immitigable; the corpses in their coffins are as terrifying to the gay lords and ladies who come suddenly upon them as ever they were, though doubtless of no more lasting effect with such sinners than they would be nowadays. But what one must chiefly lament is the waste of the whole quaint and charming series of Scripture incidents by Benozzo Gozzoli.
In the morning, at the Ricardi Palace, on the frescoes of Gozzoli, she had recognized M. Gamin, M. Lagrange, M. Schmoll, the Princess Seniavine as a page, and M. Renan on horseback. She was terrified at finding M. Renan everywhere. She led all her ideas back to her little circle of academicians and fashionable people, by an easy turn, which irritated her friend.
In the angels of Giotto we see the commencement of a softer grace and a purer taste, further developed by some of his scholars. Benozzo Gozzoli and Orcagna have left in the Campo Santo examples of the most graceful and fanciful treatment. Of Benozzo's angels in the Ricardi Palace I have spoken at length.
He eschewed the arabesques, the labyrinths of foliage and fruit enclosing pictured panels, the candelabra and gay bands of variegated patterns, which enabled a quattrocento painter, like Gozzoli or Pinturicchio, to produce brilliant and harmonious general effects at a small expenditure of intellectual energy.
This picture, afterwards repeated by Benozzo Gozzoli with some change in the persons, has been minutely described, because it is important to bear in mind the measure of inspiration conceded by the mediaeval Church to the fathers of Greek philosophy, and her utter detestation of the peripatetic traditions transmitted through the Arabic by Averroes.
If the frescos of Orgagna, and of Benozzo Gozzoli in the Campo Santo at Pisa, were in as good condition, it would be much more satisfactory. These pictures of Spinello are drawn with much boldness and energy, but it is not the fortunate audacity of Orgagna.
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