We Benozzo di Lese, painter; and Piero di Cristofano da Castel della Pieve, painter; and Cosimo di Lorenzo Rosselli, painter, chosen by Alesso di Baldovinetti, painter, to see and judge and set a price on—empowered by a contract which said Alesso has with M. Bongianni de’Gianfigliazzi and his heirs—a chapel pictured in Santa Trinità of Florence—that is the choir of the said church, having seen, all together and agreeing, having examined all the costs of lime, azure, gold and all other colours, scaffolds and everything else, including his work, we judge from all this that the aforesaid Alesso should have one thousand broad gold florins. “And for clearness and truth of the said judgment I Cosimo di Lorenzo aforesaid have made this writing with my own hand this aforesaid day, and so I judge; and here at the foot they will sign with their own hands that they are agreed with what is above written, and so judge. Benozzo di Lese &c. I Piero Perugino &c. Translated from Herbert Horne’s edition of Alesso’s _Ricordi_ in _Burlington Magazine_, Vol. II. (1903) p. 383. [Illustration: FIG. 101. Ghirlandaio. Giovanna degli Albizzi.—_J. P. Morgan Coll., New York._ ] CHAPTER IV FRA FILIPPO LIPPI AND THE NEW NARRATIVE STYLE After Masaccio two tendencies,—towards prettiness and vivacious narrative; towards strenuous research—Fra Filippo Lippi celebrant of Gay Florence—Benozzo Gozzoli and Pageantry—Antonio Pollaiuolo and human dynamics—Piero della Francesca and impersonal observation of appearances—Dissolving tendencies in the new panoramic style—illustrated by the early frescoes in the Sistine Chapel—Perugino’s return to simple symmetries—The _Cassone_ painters once more—Domenico Ghirlandaio and spectacular narrative—His portraits—The charm of the slighter narrative style.