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The soft contours soothe as well as enrapture the eye: the tenderness of the Madonnas, the gentleness of the Florentine ladies and youths, as Verrocchio and Mino da Fiesole, Donatello, and Pollaiuolo moulded them, calm one where the perfection of Phidias and Praxiteles excites.
If I can do anything for you let me know; I will do it willingly. Remember me to Simone il Pollaiuolo." Bramante was not far wrong in what he said about vault painting.
The bronze-coloured body of the god is magnificently modelled, with a solidity unequalled even in the Orvieto frescoes. The style of Pollaiuolo is noticeable, in the attitude of the youth lying at his feet, particularly in the treatment of the legs.
Finiguerra, Pollaiuolo, Cione, Michelozzi, Verrocchio, and Cennini made the lower parts and the bas-reliefs of the front, while the cross, executed in 1456, is by Betto di Francesco, and the base of it by Milano di Domenico dei and Antonio Pollaiuolo.
Thus the fine genius and inspiration of Pier dei Franceschi and the grace of Perugino saved him from becoming too rigorously realistic under the influence of the scientific Florentines, Donatello and Pollaiuolo, working upon his own uncompromising nature.
The influence of Antonio Pollaiuolo was still more important, and is so evident in the whole mass of his painting, that with no other warrant we may feel certain that he spent a considerable time either as pupil or assistant to the Florentine master. The passion of Pollaiuolo was to discover the science of movement in the human frame.
Luca Signorelli, born in Cortona, the pupil of Piero della Francesca, passes as an Umbrian painter, and indeed his best work may be found there. But he was much influenced by Antonio Pollaiuolo, and is altogether out of sympathy with the mystical art of Umbria.
The influence of Pollaiuolo is more evident in his two next productions, the two small panels of Holofernes and the Portrait of a Man with a Medal, in the Uffizi, and again in the S. Sebastian now at Berlin, which was painted in 1473.
Compare the embroidery and gold thread work in "The Virgin adoring the Infant Christ," ascribed to Andrea Verrocchio, No. 296, Room V; "The Annunciation" by Carlo Crivelli, No. 739, Room VIII; in "The Angel Raphael accompanies Tobias on his Journey into Media" attributed to Botticini, No. 781, Room V; in "Portrait of a Lady," school of Pollaiuolo, No. 585, Room V; in "A Canon of the Church with his Patron Saints" by Gheeraert David, No. 1045, Room XI; or indeed the general run of the gold embroidery of the period as shown in our gallery.
Although much of it was the work of not the greatest modellers in the second half of the fourteenth century, three masters at least contributed later: Michelozzo adding the statue of the Baptist, Pollaiuolo the side relief depicting his birth, and Verrocchio that of his death, which is considered one of the most remarkable works of this sculptor, whom we are to find so richly represented at the Bargello.
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