Uccello, as I have said, was the first representative of two strong tendencies in Florentine painting—of art for dexterity’s sake, and art for scientific purposes. Andrea del Castagno, while also unable to resist the fascination of mere science and dexterity, had too much artistic genius to succumb to either. He was endowed with great sense for the significant, although, it is true, not enough to save him completely from the pitfalls which beset all Florentines, and even less from one more peculiar to himself—the tendency to communicate at any cost a feeling of power. To make us feel power as Masaccio and Michelangelo do at their best is indeed an achievement, but it requires the highest genius and the profoundest sense for the significant. The moment this sense is at all lacking, the artist will not succeed in conveying power, but such obvious manifestations of it as mere strength, or, worse still, the insolence not infrequently accompanying high spirits. Now Castagno, who succeeds well enough in one or two such single figures as his Cumæan Sibyl or his Farinata degli Uberti, which have great, if not the greatest, power, dignity, and even beauty, elsewhere condescends to mere swagger,—as in his Pipo Spano or Niccolo di Tolentino—or to mere strength, as in his “Last Supper,” or, worse still, to actual brutality, as in his Santa Maria Nuova “Crucifixion.” Nevertheless, his few remaining works lead us to suspect in him the greatest artist, and the most influential personality among the painters of the first generation after Masaccio.