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Among the best examples of his work are scenes from the life of St John the Baptist in frescoes in the choir of the Duomo at Prato. His panel pictures are rather numerous. There are two lunette pictures by Fra Filippo in the National Gallery. Benozzo Gozzoli, 1424-1496, a scholar of Fra Angelico, but resembling him only in light and cheerful colouring.
On the whole, the most satisfactory work of the period is that which most resembles missal painting, that is to say, which is fullest of beautiful flowers and animals scattered among the landscape, in the old independent way, like the birds upon a screen. The landscape of Benozzo Gozzoli is exquisitely rich in incident of this kind.
This Riccardi palace, as Cosmo observed after his poor son Peter had become bed-ridden with the gout, was a marvellously large mansion for so small a family as one old man and one cripple. It is chiefly interesting, now, for the frescos with which Benozzo Gozzoli has adorned the chapel.
In the year 1439, as chapter II related, through the instrumentality of Cosimo a great episcopal Council was held at Florence, at which John Palaeologus, Emperor of the East, met Pope Eugenius IV. In that year Cosimo's son Piero was twenty-three, and Gozzoli nineteen, and probably upon both, but certainly on the young artist, such pomp and splendour and gorgeousness of costume as then were visible in Florence made a deep impression.
Here and there a white villa is seen, but for the most part this is peasants' district: one such villa on the left, before Pontassieve, having about it, and on each side of its drive, such cypresses as one seldom sees and only Gozzoli or Mr. Sargent could rightly paint, each in his own style.
As the rector moves to shake hands with Franklyn, feeling that he is making a frightful mess of his departure, a vigorous sunburnt young lady with hazel hair cut to the level of her neck, like an Italian youth in a Gozzoli picture, comes in impetuously. She seems to have nothing on but her short skirt, her blouse, her stockings, and a pair of Norwegian shoes: in short, she is a Simple-Lifer.
Those joyful pleasant paintings of Benozzo Gozzoli, a third-rate master, but one who is always full of joy and sunshine, with a certain understanding and love, too, of the hills and the trees, seem to confirm us in our delight at the sun and the sea wind, here in Italy, in Italy at last.
Signorelli's frescoes at Orvieto, at once the latest works of the fifteenth century, and the latest works of an old man nurtured in the traditions of Benozzo Gozzoli and of Piero della Francesca, mark the beginning of the maturity and perfection of Italian art. From them Michael Angelo learns what he could not be taught even by his master Ghirlandajo, the grand and cold realist.
Both Botticelli and Gozzoli, like many first-rate artists of that time, were quiet, hard-working men, devoted to their art, and not remarkable for anything else. The consequence is that little is known about their lives.
Thomas Aquinas by Benozzo Gozzoli, described by Vasari. On opposite wall, 1272, formerly assigned to Masaccio: portraits of Giotto, the artist himself Paolo Uccelo, Donatello, Manetti and Brunelleschi; painted, says Vasari, "that posterity might keep them in memory." R. of this is 1273, a battle scene by the same, similar to that in our National Gallery.
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