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Updated: July 23, 2025
But more careful looking will show that his greatest qualities, so balanced and so clear in him, are shared though often masked by the ungainlinesses of hurried artistic growth by Pollaiolo, Baldovinetti, Pesellino, let alone Uccello, Castagno, and Masaccio; are, in a word, Tuscan, Florentine.
In his portrait of Pippo Spana, now in S. Apollonia, Florence, Andrea di Castagno also imitated and emphasised it, as also did Botticelli in his carved background of the "Calumny," and Perugino in many of his paintings.
Andrea del Castagno was a painter in Florence in the fifteenth century; and he had a friend, likewise a painter, Domenico of Venice. The latter had the secret of painting in oils, and yielded to Castagno's entreaties to impart it to him.
Much that is repulsive in the pictures of the Pollajuoli and Andrea del Castagno, the leaders in this branch of realism, is due to admiration for the newly studied mechanism of the human form. They seem to have cared but little to select their types or to accentuate expression, so long as they were able to portray the man before them with fidelity.
For instance, the fifteenth century movement that began with Masaccio, Uccello, and Castagno opened up a rich vein of rather inferior ore; whereas the school of Raffael was a blind alley. Cézanne discovered methods and forms which have revealed a vista of possibilities to the end of which no man can see; on the instrument that he invented thousands of artists yet unborn may play their own tunes.
So I came once more over Falterona, down to Castagno, that mountain village where Andrea del Castagno, the follower of Masaccio, was born, to S. Godenzo, between two streams, where Dante knew the castle of the Guidi, and where Conte Tegrimo of Porciano received Henry VII. Here, at last, I was in the very footsteps of Dante; for in the church there, in the choir set high above the old crypt, he signed the deed of alliance between the Guidi and the Ubaldini on 8th June 1302, "Actum in choro Sancti Gaudentii de pede Alpium."
With Andrea di Castagno his work, both in outward form and in spirit, has something in common; and no doubt Signorelli was impressed by paintings which themselves show so much the influence of Donatello.
Andrea del Castagno "The Last Supper" The stolen Madonna Fra Angelico's frescoes "Little Antony" The good archbishop The Buonuomini Savonarola The death of Lorenzo the Magnificent Pope Alexander VI The Ordeal by Fire The execution The S. Marco cells The cloister frescoes Ghirlandaio's "Last Supper" Relics of old Florence Pico and Politian Piero di Cosimo Andrea del Sarto.
Florence has two "Last Suppers" by this artist one at the Ognissanti and this. The two works are very similar and have much entertaining interest, but the debt which this owes to Castagno is very obvious: it is indeed Castagno sweetened.
But the race of genius born too "near the sun" have found their increased sensibility flame into crimes of a deeper dye crimes attesting the treachery and the violence of the professors of an art which, it appears, in softening the souls of others, does not necessarily mollify those of the artists themselves. The dreadful story of ANDREA DEL CASTAGNO seems not doubtful.
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