Bernhard Berenson

FRANCESCO GRANACCI.

 

1477-1543. Pupil first of Credi, and then of Ghirlandajo, whom he assisted; influenced by Botticelli, Michelangelo Fra Bartolommeo, and Pontormo.

GIOTTO

 

Still another exemplification of his sense for the significant is furnished by his treatment of action and movement. The grouping, the gestures never fail to be just such as will most rapidly convey the meaning.

THE POLLAJUOLI.

 

Antonio. 1429-1498. Pupil of Donatello and Andrea del Castagno; strongly influenced by Baldovinetti. Sculptor as well as painter.

Piero. 1443-1496. Pupil of Baldovinetti; worked mainly on his brother’s designs. (Where the execution can be clearly distinguished as of either of the brothers separately, the fact is indicated).

ALESSIO BALDOVINETTI

 

This was literally the case with the oldest among the leaders of the new generation, Alessio Baldovinetti, in whose scanty remaining works no trace of purely artistic feeling or interest can be discerned; and it is only less true of Alessio’s somewhat younger, but far more gifted contemporaries, Antonio Pollaiuolo and Andrea Verrocchio.

XII.

 

MARIOTTO ALBERTINELLI.

 

1474-1515. Pupil of Cosimo Rosselli and Pier di Cosimo; influenced by Lorenzo di Credi; worked in partnership with Fra Bartolommeo.

COSIMO, see PIER DI COSIMO.

 

LEONARDO DA VINCI.

 

1452-1519. Pupil of Verrocchio.

III.

 

SCULPTURE, ETC.

 
  • Assisi.
    • S. Francesco. Altar-frontal embroidered probably from designs by Piero.
  • Florence.
    • Bargello. Bust of Young Warrior (Terra-cotta). Hercules and Antæus (Bronze).
    • Opera del Duomo. Enamels in Pedestal of Silver Crucifix. Finished 1459. Birth of Baptist (Relief in Silver).
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