DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68073#0048
22
OLD WORLD MASTERS
pupil, Bertoldo, and invited all young sculptors to study there. Among
those who did so were Lorenzo di Credi, Michelangelo, and many
others afterwards famous.”—Col. G. F. Young, The Medici (London,
1909).
The roll-call is large and marvellous; and when we think of the
troubles of the time,—the quarrels, the conspiracies, the dangers of
murder, and the constant visitations of the Plague, we almost com-
prehend refuge in the cloister rather than such extraordinary activity
in Art and Learning. Let us look at the greatest names.
Domenico Veneziano (1400-1461), a native of Venice, as his name
plainly shows, but employed by Piero il Gottoso, classed in his day
with Fra Angelico and Fra Filippo Lippi, a delightful musician, play-
ing on the lute and singing well, and said by Vasari, to have introduced
into Florence the Flemish method of using oils. Veneziano taught
Piero della Francesca, the Umbrian painter. Then there is Fra An-
gelico, already mentioned, and there is Fra Filippo Lippi (1406?-
1469), a monk, but not a saint like Fra Angelico,—wild and ad-
venturous yet a superlative painter, whose reputation continues to
increase and whose Madonnas, usually with the face of Lucrezia Buti,
are justly admired (see page 42).
Francesco Pesellino (1422-1457), whose real name was Francesco
di Stefano, pupil of his grandfather, Giuliano, and a follower of Fra
Filippo Lippi, famous for his decorative qualities and his animals,
rare and valued to-day. Another painter of decorative taste, charm-
ing and refined, is Alesso Baldovinetti (1425-1499), a follower of
Domenico Veneziano and teacher of Ghirlandaio (see page 48).
Then come the famous brothers, workers in gold, silver, and bronze,
painters of heroic frescoes, and celebrated as draughtsmen—Antonio
Pollaiuolo (1432-1498) and Piero Pollaiuolo (1443-1496), sons, too,
of a goldsmith, all three busy, at various times, on the Ghiberti
doors (see page 51).
Then there is Pier Francesco Fiorentino, an Umbrian, born in Borgo
San Sepolcro about 1430, pupil of Domenico Veneziano, and said to
have assisted Ghirlandaio at S. Giminiano in 1475. Next comes
Andrea Verrocchio (1435-1488), goldsmith and sculptor, pupil and
OLD WORLD MASTERS
pupil, Bertoldo, and invited all young sculptors to study there. Among
those who did so were Lorenzo di Credi, Michelangelo, and many
others afterwards famous.”—Col. G. F. Young, The Medici (London,
1909).
The roll-call is large and marvellous; and when we think of the
troubles of the time,—the quarrels, the conspiracies, the dangers of
murder, and the constant visitations of the Plague, we almost com-
prehend refuge in the cloister rather than such extraordinary activity
in Art and Learning. Let us look at the greatest names.
Domenico Veneziano (1400-1461), a native of Venice, as his name
plainly shows, but employed by Piero il Gottoso, classed in his day
with Fra Angelico and Fra Filippo Lippi, a delightful musician, play-
ing on the lute and singing well, and said by Vasari, to have introduced
into Florence the Flemish method of using oils. Veneziano taught
Piero della Francesca, the Umbrian painter. Then there is Fra An-
gelico, already mentioned, and there is Fra Filippo Lippi (1406?-
1469), a monk, but not a saint like Fra Angelico,—wild and ad-
venturous yet a superlative painter, whose reputation continues to
increase and whose Madonnas, usually with the face of Lucrezia Buti,
are justly admired (see page 42).
Francesco Pesellino (1422-1457), whose real name was Francesco
di Stefano, pupil of his grandfather, Giuliano, and a follower of Fra
Filippo Lippi, famous for his decorative qualities and his animals,
rare and valued to-day. Another painter of decorative taste, charm-
ing and refined, is Alesso Baldovinetti (1425-1499), a follower of
Domenico Veneziano and teacher of Ghirlandaio (see page 48).
Then come the famous brothers, workers in gold, silver, and bronze,
painters of heroic frescoes, and celebrated as draughtsmen—Antonio
Pollaiuolo (1432-1498) and Piero Pollaiuolo (1443-1496), sons, too,
of a goldsmith, all three busy, at various times, on the Ghiberti
doors (see page 51).
Then there is Pier Francesco Fiorentino, an Umbrian, born in Borgo
San Sepolcro about 1430, pupil of Domenico Veneziano, and said to
have assisted Ghirlandaio at S. Giminiano in 1475. Next comes
Andrea Verrocchio (1435-1488), goldsmith and sculptor, pupil and