A history of painting . of thesculptor, reared in Donatellos atmosphere, and his know-ledge of anatomy is fully revealed in his grip of the humanform and his skill in stating the human movement, just asthe younger Pieros colour-faculty reveals the painter. VERROCCHIO 1435 - 1488The most famous pupil of the two Pollaiuoli wasAndrea del Verrocchio. But it was to his pupilage underDonatello that Verrocchio was most deeply indebted for hismastery. Most famous as a sculptor—he is immortal asthe creator of one of the great equestrian statues of theRenaissance, the world-known figure of the great con
A history of painting . of thesculptor, reared in Donatellos atmosphere, and his know-ledge of anatomy is fully revealed in his grip of the humanform and his skill in stating the human movement, just asthe younger Pieros colour-faculty reveals the painter. VERROCCHIO 1435 - 1488The most famous pupil of the two Pollaiuoli wasAndrea del Verrocchio. But it was to his pupilage underDonatello that Verrocchio was most deeply indebted for hismastery. Most famous as a sculptor—he is immortal asthe creator of one of the great equestrian statues of theRenaissance, the world-known figure of the great condottiereColleone at Venice (1479)—he also came to high reputeas a painter; and as such had a far-reaching and strong96 BOTTICELLI14+4 - 1510 SPRING (In the Florence Academy) The date of this painting is much debated. It may probably be about1478, before the Roman visit. Reading from the left the figures areMercury, the Three Graces, Venus, Primavera the Spring-maiden, Flora,and Zephyrus. Painted in tempera on OF PAINTING influence upon the great art of Florence. And no less WHICHfamous than as sculptor and painter was he as master. SHOWSLeonardo da Vinci, Lorenzo di Credi, and many others THE KIN- CUT T T) f~\T~* who came to hi°:h fame were his pupils. • r PAINTING Verrocchio reveals an exquisite sense of the values of M„ light and shade, which added prodigiously to the develop- ment of the Florentine achievement in the mastery of the tuRE depth in painting—or the mirrored design. Of the rare paintings from his hand that have comedown to us, is the celebrated Baptism of Christ at theAcademy of Florence, in which the angel was painted byVerrocchios greatest pupil, Leonardo da Vinci. Verrocchio has been held to be the first of the Florentineswho understood landscape; of a truth he realised the partplayed in landscape by light and air, and their influence onforms. But the Italian genius for landscape must everbe spoken of with reservations. Twenty years beforeVer
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