He who pursues the path of excellence in his labours, although it is, as men say, both stony and full of thorns, finds himself finally at the end of the ascent on a broad plain, with all the blessings that he has desired. And as he looks downwards and sees the difficult and perilous way that he has come, he thanks God for having brought him out safely, and with the greatest contentment he blesses those labours that he has just been finding so burdensome. And so, recompensed for his past sufferings by the gladness of the happy present, he labours without fatigue, in order to demonstrate to all who see him how heat, cold, sweat, hunger, thirst, and all the other discomforts that are endured in the acquiring of excellence, deliver men from poverty, and bring them to that secure and tranquil state in which, with so much contentment, Benozzo Gozzoli enjoyed repose from his labours. This man was a disciple of Fra Giovanni Angelico, by whom he was loved with good reason; and by all who knew him he was held to be a practised master, very rich in invention, and very productive in the painting of animals, perspectives, landscapes, and ornaments. He wrought so many works in his day that he showed that he cared little for other delights; and although, in comparison with many who surpassed him in design, he was not very excellent, yet in this great mass of work he surpassed all the painters of his age, for in such a multitude of pictures he succeeded in making some that were good. In his youth he painted a panel for the altar of the Company of S. Marco in Florence, and, in S. Friano, a picture of the passing of S. Jerome, which has been spoilt in restoring the facade of the church along the street. In the Chapel of the Palace of the Medici he painted the Story of the Magi in fresco. In the Araceli at Rome, in the Chapel of the Cesarini, he painted the stories of S. Anthony of Padua, wherein he made portraits from life of Cardinal Giuliano Cesarini and Antonio Colonna. In the Conti Tower, likewise, over a door under which one passes, he made in fresco a Madonna with many saints; and in a chapel in S. Maria Maggiore, on the right hand as one enters the church by the principal door, he painted many figures in fresco, which are passing good.