enter a debt? This rule earned for him from Lorenzo the nickname of
"Il Caparra" (earnest money). Another of Grosso's eccentricities was
to refuse to work for Jews.

Within the palace, up stairs, is the little chapel which Gozzoli made
so gay and fascinating that it is probably the very gem among the
private chapels of the world. Here not only did the Medici perform
their devotions--Lorenzo's corner seat is still shown, and anyone
may sit in it--but their splendour and taste are reflected on the
walls. Cosimo, as we shall see when we reach S. Marco, invited Fra
Angelico to paint upon the walls of that convent sweet and simple
frescoes to the glory of God. Piero employed Fra Angelico's pupil,
Benozzo Gozzoli to decorate this chapel.

In the year 1439, as chapter II related, through the instrumentality
of Cosimo a great episcopal Council was held at Florence, at which
John Palaeologus, Emperor of the East, met Pope Eugenius IV. In that
year Cosimo's son Piero was twenty-three, and Gozzoli nineteen,
and probably upon both, but certainly on the young artist, such
pomp and splendour and gorgeousness of costume as then were visible
in Florence made a deep impression. When therefore Piero, after
becoming head of the family, decided to decorate the chapel with
a procession of Magi, it is not surprising that the painter should
recall this historic occasion. We thus get the pageantry of the East
with more than common realism, while the portraits, or at any rate
representations, of the Patriarch of Constantinople (the first king)
and the Emperor (the second king) are here, together with those of
certain Medici, for the youthful third king is none other than Piero's
eldest son Lorenzo. Among their followers are (the third on the left)
Cosimo de' Medici, who is included as among the living, although,