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And that this is true we see from the fact that Florence produced in one and the same age Filippo, Donato, Lorenzo, Paolo Uccello, and Masaccio, each most excellent in his own kind, and thus not only swept away the rough and rude manners that had prevailed up to that time, but incited and kindled so greatly, by reason of the beautiful works of these men, the minds of those who came after, that the work of those professions has been brought to that grandeur and to that perfection which are seen in our own times.
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.
The whole effect is very northern: not much less so than our own new National Gallery Mabuse. Mantegna also has a charming Madonna and Child, No. 1025, with pleasing pastoral and stone-quarrying activities in the distance. Uccello may possibly be recalled, but only for subject.
It is to a painter less mystical, but not less visionary, that we come in the work of Paolo Uccello, the great "Battle" , of which two variants exist, one in the Louvre, the other, the most beautiful of the three, in the National Gallery. It is, as some have thought, a picture of the Battle of S. Egidio, where Braccio da Montone made Carlo Malatesta and his nephew Galeotto prisoners in 1416.
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