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Bernhard Berenson

Masaccio’s death left Florentine painting in the hands of three men older, and two somewhat younger than himself, all men of great talent, if not of genius, each of whom—the former to the extent habits already formed would permit, the latter overwhelmingly, felt his influence. The older, who, but for Masaccio, would themselves have been the sole determining personalities in their art, were Fra Angelico, Paolo Uccello, and Andrea del Castagno; the younger, Domenico Veneziano and Fra Filippo.

1397-1475. Influenced by Donatello.

Andrea del Sarto approached perhaps as closely to a Giorgione or a Titian as could a Florentine, ill at ease in the neighbourhood of Leonardo and Michelangelo. As an artist he was, it is true, not endowed with the profoundest sense for the significant, yet within the sphere of common humanity who has produced anything more genial than his “Portrait of a Lady”—probably his wife—with a Petrarch in her hands?

1425-1499. Pupil of Domenico Veneziano; influenced by Paolo Uccello.

1449-1494. Pupil of Baldovinetti; influenced slightly by Botticelli and more strongly by Verrocchio.

1475-1564. Pupil of Ghirlandaio; influenced by the works of Jacopo della Quercia, Donatello, and Signorelli.

Fra Angelico we know already as the painter who devoted his life to picturing the departing mediæval vision of a heaven upon earth. Nothing could have been farther from the purpose of Uccello and Castagno. Different as these two were from each other, they have this much in common, that in their works which remain to us, dating, it is true, from their years of maturity, there is no touch of mediæval sentiment, no note of transition.

About 1400-1461. Probably acquired his rudiments at Venice; formed under the influence of Donatello, Masaccio, and Fra Angelico.

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