Page:The painters of Florence from the thirteenth to the sixteenth century (1915).djvu/202

166 of Dante's Paradiso, where bright-winged seraphs tend the flowers of this new Eden, and waves of heavenly melody rise and fall on the luminous air. Here cypress and pines grow tall and straight, roses and pomegranates hang in clusters from the boughs, and blue-breasted peacocks trail their starry plumage over smooth green lawns, while choirs of angels chant the Gloria in Excelsis, or kneel in silent adoration round the manger throne.

Such was the vision which Angelico's scholar painted in the hot summer months when the Medici were enjoying rest and villeggiatura in their favourite country houses. Three letters which Benozzo addressed to Piero, who was entertaining illustrious guests at Careggi, show how entirely his heart was in his work and how anxious he was to perfect every detail of his frescoes. In the first, written on the 10th of July, he acknowledges a letter from Piero, who had, it appears, taken objection to certain small cherubs in the corner of the fresco, and explains that they cannot interfere with the rest of the picture, since only the tips of their wings are allowed to be seen. But since Piero desires it, he will paint two white clouds in the sky and cause the offending seraphs to disappear. He would come to Careggi himself and see Piero on the subject, if it were not for the great heat, which will, he fears, spoil the azure which he has begun to lay on. But he hopes Piero will come to see the work before this part of the scaffolding is removed. In the meantime two florins will suffice for his present needs. "I am working with all my might," he adds, "and if I fail, it will be from lack of knowledge, not from want of zeal. God