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Updated: June 1, 2025
No. 8, called officially School of Verrocchio, and by one firm of photographers Botticini, and by another Botticelli, is a fine free thing, low in colour, with a quiet landscape, and is altogether a delight.
Thus Giovan Francesco Rustici, a Florentine citizen, acquitting himself very well in drawing and working in clay in his boyhood, was placed by that Magnificent Lorenzo, who recognized him as a boy of spirit and of good and beautiful genius, to learn under Andrea del Verrocchio, with whom there was also working Leonardo da Vinci, a rare youth and gifted with infinite parts.
Lastly we have what is in many ways the most interesting picture in Florence No. 71, the Baptism of Christ for it is held by some authorities to be the only known painting by Verrocchio, whose sculptures we saw in the Bargello and at Or San Michele, while in one of the angels that surely on the left we are to see the hand of his pupil Leonardo da Vinci. Their faces are singularly sweet.
Afterwards, having returned to Tuscany, he made a marble tomb, with a very beautiful scene, in the Pieve of Montepulciano, and a lavatory of marble, on which Andrea Verrocchio also worked, in the Sacristy of S. Lorenzo in Florence; and in the house of Lorenzo della Stufa he wrought some heads and figures that are very spirited and vivacious.
Pietro Perugino was a fellow-pupil with Leonardo, and they two soon surpassed their master in painting, and at last, when Verrocchio was painting a picture for the monks of Vallambrosa, and desired Leonardo to execute an angel in it, the work of his pupil was so much better than his own that the old painter desired to throw his brush aside forever.
Present from the first incorporeally in Leonardo's thought, dimly traced in the designs of Verrocchio, she is found present at last in Il Giocondo's house. That there is much of mere portraiture in the picture is attested by the legend that by artificial means, the presence of mimes and flute-players, that subtle expression was protracted on the face.
This he brought to perfect completion with great loveliness and a high finish, and it contained an infinite number of different heads, many of them portrayed from life, among which was the head of Andrea del Verrocchio, his master.
There are few men, few great artists, even, who do not, before attaining their proper idiom and gesture, adopt those of their teachers and predecessors. Shakespeare writes first in the style of Kyd and Marlowe, Beethoven in that of Haydn and Mozart; Leonardo at first imitates Verrocchio.
A noble statue Bartolommeo Colleoni Verrocchio A Dominican church Mocenigo Doges The tortured Bragadino The Valier monument Leonardo Loredano Sebastian Venier The Chapel of the Rosary Sansovino An American eulogy Michele Steno Tommaso Mocenigo A brave re-builder The Scuola di S. Marco.
This wholly charming boy, a little nearer life perhaps than Donatello's, although not quite so radiantly distinguished, illustrates the association of Verrocchio and Leonardo as clearly as any of the paintings do; for the head is sheer Leonardo.
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