Bernhard Berenson

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.

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.

• 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).
    

To confine ourselves, however, as closely as we may to painting, and leaving aside for the present the question of colour, which, as I have already said, is, in Florentine art, of entirely subordinate importance, there were three directions in which painting as Pollaiuolo and Verrocchio found it had greatly to advance before it could attain its maximum of effectiveness: landscape, movement, and the nude. Giotto had attempted none of these.