Gozzoli, who lived and worked through the middle of the fifteenth century, is chiefly known by his large and graceful compositions in the Pisan Campo Santo. These masterpieces are fast crumbling into mildewed rubbish. He had as much vigor and audacity as Ghirlandaio, with more grace and freshness of invention. He has, however, nothing of his dramatic power. His genius is rather idyllic and romantic. Although some of the figures in these Medici palace frescos are thought to be family portraits, still they hardly seem very lifelike. The subjects selected are a Nativity, and an Adoration of the Magi. In the neighborhood of the window is a choir of angels singing Hosanna, full of freshness and vernal grace. The long procession of kings riding to pay their homage, "with tedious pomp and rich retinue long," has given the artist an opportunity of exhibiting more power in perspective and fore-shortening than one could expect at that epoch. There are mules and horses, caparisoned and bedizened; some led by grinning blackamoors, others ridden by showy kings, effulgent in brocade, glittering spurs, and gleaming cuirasses. Here are horsemen travelling straight towards the spectator,--there, a group, in an exactly opposite direction, is forcing its way into the picture,--while hunters with hound and horn are pursuing the stag on the neighboring hills, and idle spectators stand around, gaping and dazzled; all drawn with a free and accurate pencil, and colored with much brilliancy;--a triumphant and masterly composition, hidden in a dark corner of what has now become a great dusty building, filled with public offices. XI. FIESOLE. Here sits on her hill the weird old Etrurian nurse of Florence, withered, superannuated, feeble, warming her palsied limbs in the sun, and looking vacantly down upon the beautiful child whose cradle she rocked. Fiesole is perhaps the oldest Italian city. The inhabitants of middle and lower Italy were Pelasgians by origin, like the earlier races of Greece. The Etrurians were an aboriginal stock,--that is to say, as far as anything can be definitely stated regarding their original establishment in the peninsula; for they, too, doubtless came, at some remote epoch, from beyond the Altai mountains. In their arts they seem to have been original,--at least, until at a later period they began to imitate the culture of Greece. They were the only ancient Italian people who had the art-capacity; and they supplied the wants of royal Rome, just as Greece afterwards supplied the republic and the empire with the far more elevated creations of her plastic genius.