dwellers in these Umbrian valleys, and a Foligno artist, named Pier Antonio, who had worked with the Florentine master at Montefalco, handed on these traditions to Bonfigli and his companions at Perugia.
Meanwhile Benozzo returned to Florence, where the Medici welcomed him with open arms. Andrea del Castagno and Pesellino had died lately, Fra Angelico was no more, and Fra Filippo had gone to Prato in disgrace. The moment was a fortunate one and Benozzo soon found himself entrusted with the important task of decorating the Chapel of the Medici Palace. The subject chosen by his patrons was the Adoration of the Magi, that favourite theme of Florentine painters, which Gentile da Fabriano had already surrounded with romantic charm, and which Benozzo now set forth in one great fresco on the walls of this little oratory. All the festive pomp and splendour of court-pageants which the Medici had brought into the simple life of old Florence, all the beauty of the May time and the glamour of faery romance are gathered up in this triumphal procession of the Three Kings, journeying over hill and vale on their way to the manger of Bethlehem. They ride out, richly attired in brocades and shining armour, mounted on chargers adorned with sumptuous trappings and resplendent with gold and jewels, while fair-haired pages hold their horses' bridles or lead their greyhounds in leash. Following in their steps are a brilliant train of courtiers, with horses, dogs and leopards, winding their way over the rocky Apennines and down the green slopes, where tall bell-towers and white villas and chapels peep out among the olive
