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And since Domenico was of the opinion that pictures painted in distemper preserved their freshness better than those painted in oils, saying that it seemed to him that the works of Luca da Cortona, of the Pollaiuoli, and of the other masters who painted in oils in those days, had suffered from age more than those of Fra Giovanni, Fra Filippo, Benozzo, and the others before their time who painted in distemper for this reason, I say, having to paint an altar-piece for the Company of S. Bernardino on the Piazza di S. Francesco, he resolved to do it in distemper; and in this way he executed it excellently well, painting in it Our Lady with many Saints.
Florentine art, that had expressed itself so charmingly, and at last so passionately and profoundly, in sculpture, where design, drawing, that integrity of the plastic artist, is everything, and colour almost nothing at all, shows itself in painting, where it is most characteristic, either as the work of those who were sculptors themselves, or had at least learned from them Giotto, Orcagna, Masaccio, the Pollaiuoli, Verrocchio, and Michelangelo or in such work as that of Fra Angelico, Fra Lippo Lippi, Botticelli, and Leonardo, where painting seems to pass into poetry, into a canticle or a hymn, a Trionfo or some strange, far-away, sweet music.
So if we admit that Leonardo and Michelangelo were rather universal than Florentine, the most characteristic work of the school lies in the fourteenth and fifteenth centuries, in the work of Giotto, so full of great, simple thoughts of life; in that of the Pollaiuoli, so full of movement; but most of all perhaps in the work of Angelico, Lippo Lippi, and Botticelli, where the significance of life has passed into beauty, into music.
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