Now, while Benozzo was working in Rome, there was another painter there called Melozzo, who came from Forli; and many who know no more than this, having found the name of Melozzo written and having compared the dates, have believed that Melozzo stands for Benozzo; but they are mistaken, for the said painter was one who lived at the same time and was a very zealous student of the problems of art, devoting particular diligence and study to the making of foreshortenings, as may be seen in S. Apostolo at Rome, in the tribune of the high-altar, where, in a frieze drawn in perspective, as an ornament for that work, there are some figures picking grapes, with a cask, which show no little of the good. But this is seen more clearly in the Ascension of Jesus Christ, in the midst of a choir of angels who are leading him up to Heaven, wherein the figure of Christ is so well foreshortened that it seems to be piercing the ceiling, and the same is true of the angels, who are circling with various movements through the spacious sky. The Apostles, likewise, who are on the earth below, are so well foreshortened in their various attitudes that the work brought him much praise, as it still does, from the craftsmen, who have learnt much from his labours. He was also a great master of perspective, as is demonstrated by the buildings painted in this work, which he executed at the commission of Cardinal Riario, nephew of Pope Sixtus IV, by whom he was richly rewarded. [Illustration: THE DEATH OF S. AUGUSTINE (_After the fresco by =Benozzo Gozzoli=. San Gimigano: S. Agostino_) Brogi] But to return to Benozzo; wasted away at last by length of years and by his labours, he went to his true rest, in the city of Pisa, at the age of seventy-eight, while dwelling in a little house that he had bought in Carraia di San Francesco during his long sojourn there. This house he left at his death to his daughter; and, mourned by the whole city, he was honourably buried in the Campo Santo, with the following epitaph, which is still to be read there: HIC TUMULUS EST BENOTII FLORENTINI, QUI PROXIME HAS PINXIT HISTORIAS. HUNC SIBI PISANOR. DONAVIT HUMANITAS, MCCCCLXXVIII. Benozzo ever lived the well-ordered life of a true Christian, spending all his years in honourable labour. For this and for his good manner and qualities he was long looked upon with favour in that city. The disciples whom he left behind him were Zanobi Macchiavelli, a Florentine, and others of whom there is no need to make further record. FOOTNOTES: [15] In the heading to the Life Vasari calls him simply Benozzo. FRANCESCO DI GIORGIO AND LORENZO VECCHIETTO [Illustration: FRANCESCO DI GIORGIO: S. DOROTHY (_London: National Gallery_, 1682. _Panel_)] LIVES OF FRANCESCO DI GIORGIO SCULPTOR AND ARCHITECT OF SIENA AND LORENZO VECCHIETTO SCULPTOR AND PAINTER OF SIENA