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If this story be true, Uccello must have painted the picture referred to in his old age. The fame and success of Cimabue and Giotto, brought forth painters in abundance, and created schools all over Italy.
Mediaeval Motives exhausted New Impulse toward Technical Perfection Naturalists in Painting Intermediate Achievement needed for the Great Age of Art Positive Spirit of the Fifteenth Century Masaccio The Modern Manner Paolo Uccello Perspective Realistic Painters The Model Piero della Francesca His Study of Form Resurrection at Borgo San Sepolcro Melozzo da Forli Squarcione at Padua Gentile da Fabriano Fra Angelico Benozzo Gozzoli His Decorative Style Lippo Lippi Frescoes at Prato and Spoleto Filippino Lippi Sandro Botticelli His Value for the Student of Renaissance Fancy His Feeling for Mythology Piero di Cosimo Domenico Ghirlandajo In what sense he sums up the Age Prosaic Spirit Florence hitherto supreme in Painting Extension of Art Activity throughout Italy Medicean Patronage.
This picture is a complete contrast to the Uccello: for that is all tapestry, richness, and belligerence, and this is so pale and gentle, with its lovely light green, a rare colour in this gallery. The Uffizi III: Botticelli
Four other tombs of the Scaligeri are here, among which the "Notices" particularly mention that of Alboin della Scala: "He was one of the Ghibelline party, as the arms on his urn schew, that is a staircase risen by an eagle wherefore Dante said, In sulla Scala porta il santo Uccello."
They reflect the difference between the bustling intellectual activity of Florence and the dreamy existence but broader horizon of the dwellers in the upper valley of the Tiber. Piero shared with Paolo Uccello the eager desire to discover the secrets of perspective; but in addition he seems to have been influenced by the study of nature herself, in the open air, as Uccello never was.
To pore over all these matters, Paolo would remain alone, almost like a hermit, shut up in his house for weeks and months without suffering himself to be approached." Uccello was employed to decorate one of the cloisters of the monastery of San Miniato, situated without the city of Florence, with subjects from the lives of the Holy Fathers.
Indeed, wherever, in the art of the fifteenth century, we find a beginning of innovation in the conception and arrangement of a Scripture history, we shall find also the beginning of the new technical method which has suggested such a partial innovation. Thus, in the case of one of the greatest, but least appreciated, masters of the early Renaissance, Paolo Uccello.
Of this, among the old craftsmen, we may see an example in Paolo Uccello, who, striving against the limitations of his powers, in order to advance, did nothing but go backwards. The same has been done in our own day, no long time since, by Jacopo da Pontormo, and it has been proved by the experience of many others, as we have shown before and will point out yet again.
Often, it seems, the stir and excitement provoked by the ultimately disastrous scientific discoveries were a cause of good art. It was the disinterested adoration of perspective, I believe, that enabled Uccello and the Paduan Mantegna to apprehend form passionately. The artist must have something to get into a passion about.
He taught them, and likewise had charge of the works in the garden, and of many drawings, cartoons, and models by the hand of Donato, Pippo, Masaccio, Paolo Uccello, Fra Giovanni, Fra Filippo, and other masters, both native and foreign.
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