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. These also we should scarcely suspect of being more than men of science, if Pollaiuolo once or twice, and Verrocchio more frequently, did not dazzle us with works of almost supreme art, which, but for our readiness to believe in the manifold possibilities of Florentine genius, we should with exceeding difficulty accept as their creation—so little do they seem to result from their conscious striving. Alessio’s attention being largely devoted to problems of vehicle—to the side of painting which is scarcely superior to cookery—he had time for little else, although that spare time he gave to the study of landscape, in the rendering of which he was among the innovators. Andrea and Antonio set themselves the much worthier task of increasing on every side the effectiveness of the figure arts, of which, sculpture no less than painting, they aimed to be masters.