Benozzo Gozzoli (Italian, Florence ca. 1420–1497 Pistoia) – Saint Peter and Simon Magus Metropolitan Museum: part 2

The composition presents a scene unfolding within a defined architectural space, likely intended to evoke a public forum or plaza. A central narrative event dominates: a confrontation between two figures, one prostrate on the ground and the other seemingly suspended in the air above. The fallen figure is draped in dark green robes, his face pressed into the earth, suggesting defeat and humiliation. He appears surrounded by scattered objects, possibly symbolic of lost power or possessions.
A group of onlookers, clad in a variety of garments ranging from simple tunics to elaborate armor and regal attire, are arranged around this central drama. Their expressions vary; some appear concerned, others seem to observe with detached curiosity, while still others actively gesture towards the aerial figure. The arrangement suggests a hierarchical structure within the crowd, with figures in richer clothing positioned closer to the action.
Above, hovering in the upper portion of the scene, is a luminous figure radiating light and extending its arms outwards. This individual appears to be the source of the event unfolding below, exerting an influence that directly impacts the fallen man. The sky behind this figure displays a patterned blue coloration, adding to the sense of otherworldly presence.
A prominent architectural element – a tall, white column – provides verticality and anchors the composition on the right side. A wooden framework stands near the prostrate figure, its purpose unclear but potentially symbolic of constraint or entrapment. A cluster of spears is positioned behind the column, adding a sense of military presence and potential threat.
The color palette is vibrant, with strong contrasts between the dark greens and browns of the fallen man’s attire and the brighter yellows, reds, and blues worn by the onlookers and the aerial figure. The artists use of light emphasizes the central figures and directs the viewers attention to the unfolding narrative.
Subtly embedded within this visual arrangement are indications of power dynamics and spiritual authority. The fallen man’s posture and surroundings suggest a loss of influence, while the elevated figure embodies divine intervention or superior power. The varied reactions of the crowd hint at differing perspectives on the events significance – ranging from disbelief to reverence. The architectural setting itself contributes to the sense of public spectacle and underscores the importance of the narrative being depicted.