"Destruction of Sodom," so comparatively unimpressive in spite of its aggregated incidents, when he passes by the "Fulminati" of Signorelli, so tragic in its terrible simplicity, with a word.[174] This painter's marvellous rapidity of execution enabled him to produce an almost countless series of decorative works. The best of these are the frescoes of the Pisan Campo Santo, of the Riccardi Palace of Florence, of San Gemignano, and of Montefalco. It has been well said of Gozzoli that, though he attempted grand subjects on a large scale, he could not rise above the limitations of a style better adapted to the decoration of _cassoni_ than to fresco.[175] Yet within the range of his own powers there are few more fascinating painters. His feeling for fresh nature--for hunters in the woods at night or dawn, for vintage-gatherers among their grapes, for festival troops of cavaliers and pages, and for the marriage-dances of young men and maidens--yields a delightful gladness to compositions lacking the simplicity of Giotto and the dignity of Masaccio.[176] No one knew better how to sketch the quarrels of little boys in their nursery, or the laughter of serving-women, or children carrying their books to school;[177] and when the idyllic genius of the man was applied to graver themes, his fancy supplied him with multitudes of angels waving rainbow-coloured wings above fair mortal faces. Bevies of them nestle like pigeons on the penthouse of the hut of Bethlehem, or crowd together round the infant Christ.[178] From these observations on the style of Benozzo Gozzoli it will be seen that in the evolution of Renaissance culture he may be compared with the romantic poets for whom the cheerfulness of nature and the joy that comes to men from living in a many-coloured world of inexhaustible delight were sufficient sources of inspiration. It should be mentioned lastly that he enjoyed the patronage and friendship of the Medicean princes.