Painting

All that Giotto and Masaccio had attained in the rendering of tactile values, all that Fra Angelico or Filippo had achieved in expression, all that Pollaiuolo had accomplished in movement, or Verrocchio in light and shade, Leonardo, without the faintest trace of that tentativeness, that painfulness of effort which characterised his immediate precursors, equalled or surpassed.

• 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).
    

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.