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Updated: June 24, 2025
So Leonardo entered the studio as a pupil, and learned all that could be taught him with the same quickness with which he learned anything that he cared to know. Every one who saw his work declared that he would be the wonder of the age, but Verocchio shook his head. 'He is too wonderful, he said. 'He aims at too great perfection.
To regret that Donatello lacked Ghiberti's exquisite sense of beauty, is tantamount to wishing that two of the greatest artists of the world had made one man between them. Donatello did not, in the strict sense of the term, found a school. Andrea Verocchio, goldsmith, painter, and worker in bronze, was the most distinguished of his pupils.
Ugolino of Siena constructed the wonderful reliquary at Orvieto; this, is in shape somewhat similar to the façade of the cathedral. Verocchio, the instructor of Leonardo da Vinci, accomplished several important pieces of jewelery in his youth: cope-buttons and silver statuettes, chiefly, which were so successful that he determined to take up the career of a sculptor.
The annals of sculpture assign to Verocchio, of Florence, the principal share in this statue: but Verocchio died before it was cast; and even granting that he designed the model, its execution must be attributed to his collaborator, the Venetian Leopardi.
The palace of the Medici formed a museum, at that period unique, considering the number and value of its art treasures bas-reliefs, vases, coins, engraved stones, paintings by the best contemporary masters, statues in bronze and marble by Verocchio and Donatello. Its library contained the costliest manuscripts, collected from all quarters of Europe and the Levant.
The celebrated monument in the church of S. Giovanni Paulo, at Venice, which Ruskin says is the finest monument in the world, if my recollection serves me correctly, is in white marble, and its beauty comes entirely from the sculptor's art. Such monuments give you much better than any words of mine ample suggestions for marble treatment. I may quote such names as Nicolo Pisano and Verocchio.
Yet we perceive that, though he felt in his own way the naturalistic impulse of the age, he had scarcely anything in common with masters like Uccello or Verocchio. Still less had Fra Angelico. Of all the painters of this period he most successfully resisted the persuasions of the Renaissance, and perfected an art that owed little to sympathy with the external world.
All day long he could now work at his beloved painting and learn fresh wonders as he watched the great men use the brush and pencil. In the studio of the painter Verocchio he met the men of whose fame he had so often heard, and whose work he looked upon with awe and reverence.
Here accordingly the finest bronze equestrian statue in Italy, if we except the Marcus Aurelius of the Capitol, was reared upon its marble pedestal by Andrea Verocchio and Alessandro Leopardi. Colleoni's liberal expenditure of wealth found its reward in the immortality conferred by art.
The second group of distinguished craftsmen Verocchio, Luca della Robbia, Rossellino, Da Maiano, Civitali, Desiderio da Settignano expired at the commencement of the century. It seemed as though a gap in the ranks of plastic artists had purposely been made for the entrance of a predominant and tyrannous personality.
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