TYPES OF BENOZZO AND LEONARDO DA VINCI The angels of Benozzo Gozzoli (got´-so-lee) are of similar characters. They have not a particle of sweetness about them, and would never be called "pretty"; but what fine sentiment and decided individuality they have! They are part of a famous fresco in the Riccardi Palace at Florence, one of the finest and best preserved frescos in all Italy. The little chapel where they are had its walls entirely covered by Benozzo with a fresco representing the Adoration of the Kings. The gorgeous procession of the kings and their attendants (made up of portraits of the Medici and their friends, with Lorenzo the Magnificent riding as one of the kings) covers three walls of the chapel. The splendid cavalcade winds along, and finally comes up to the fourth wall, where was once shown the Madonna and Child with Joseph. This group of the Holy Family has disappeared; but the band of worshiping angels is on the side wall, still intact. The angels are kneeling and standing amid flowers which one does not see at first because of the bright colors and the golden halos. What beautiful faces, naïve forms, and praying hands are here! This is sincerity in art, and true enough sentiment into the bargain. One will travel far before seeing its better. [Illustration: BOTTICINI: MADONNA AND CHILD (detail of angels)] A historic and even a sentimental interest attaches to Leonardo da Vinci's (lay-o-nahrd´-o dah vin´-chee) little angel in the Baptism of Christ by Andrea Verocchio (vay-rok´-kee-o). Vasari (vah-sah´-ree) recites the story of how Verocchio, when ill perhaps, told his pupil, the young Leonardo, to finish this picture by painting in the second angel, and that Leonardo did it so well that it was superior to the other parts of the picture. "Perceiving this, Andrea resolved never again to take pencil in hand; since Leonardo, though still so young, had acquitted himself better in the art than he had done." This is a pretty story, which has been pooh-poohed and denied by recent criticism, but without reason. The angel with the profile was certainly done by a different hand than the angel with the full face. It is different from any other part of the picture, and there is every reason to believe it done by Leonardo as Vasari states. The charm of the angel, the type, the graceful contours, the light and shade, all foreshadow the later work of Leonardo. What a lovely creation, not only in face and feature, but in serenity and fine feeling! THE CHARMING ANGELS OF PERUGINO