. Leonardo da Vinci, artist, thinker and man of science;. the guild of painters of Florence ; 1 Among the artists of the sixteenth century who made use of clay models similar tothose of Leonardo, we may mention Garofalo and Tintoretto (see my LHistore de VAitpendant la Renaissance, vol. iii. p. 148). - Miiller-Walde puts the date at 1466, which is quite within the range of probability,Leonardo being then fourteen years old. F 2 :^f^ LEONARDO DA \INCI in 1473, as is proved by a study to which I shall revert imme-diately, he already used the pen with perfect mastery ; we mayadd that the intercou
. Leonardo da Vinci, artist, thinker and man of science;. the guild of painters of Florence ; 1 Among the artists of the sixteenth century who made use of clay models similar tothose of Leonardo, we may mention Garofalo and Tintoretto (see my LHistore de VAitpendant la Renaissance, vol. iii. p. 148). - Miiller-Walde puts the date at 1466, which is quite within the range of probability,Leonardo being then fourteen years old. F 2 :^f^ LEONARDO DA \INCI in 1473, as is proved by a study to which I shall revert imme-diately, he already used the pen with perfect mastery ; we mayadd that the intercourse between the two artists was kept up till1476 at least. Shall I be accused of temerity if, armed with these dates, I ventureto maintain, contrary to common opinion, that between pupil andmaster there was an interchange of ideas particularly advantageous tothe latter ; that Leonardo gave to Verrocchio as much, if not more, thanhe received from him ? By the time that a fragrance of grace andbeauty began to breathe from Verrocchios work, Leonardo was no. THREK DANCERS. (Accademia, Venice.) longer an apprentice, but a consummate master. The Baptism ofChrist, to which I shall refer later, is not the only work in which thecollaboration of the two artists is palpable, and the contrast betweenthe two manners self-evident ; this contrast is still more strikingbetween the works of Verrocchio which are anterior to Leonardosentry into his studio, and those he produced later. In their drawings, we have an invaluable criterion whereby tomeasure the respective value of the work of the master and that of hisdisciple. It is true that Morelli and his followers have excluded fromthe works of Verrocchio the twenty-five sheets of the Sketch Book INFLUENCE OF LEONARDO ON VERROCCHIO 37 SO long attributed to him. (In the Louvre, at the Ecole des BeauxArts, at Chantilly, etc.) We will accept their verdict, and only takeinto consideration the Five Genii at Play of the Louvre, and the Headof an Angel
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