and Leonardo.  Baldovinetti’s pupil, Piero Pollaiuoli (1443-96), the younger brother of Antonio (1429-98), whose work in sculpture is so full of life, was, with his brother’s help and guidance, giving to painting some of the power and reality of movement which we look for in vain till his time.  In a picture of St. James, with St. Vincent and St. Eustace on either side (1301), you may see Piero’s work, the fine, rather powerful than beautiful people he loved.  It is, however, in the work of one whom he influenced, Andrea Verrocchio, the pupil of Donatello and Baldovinetti, that, as it seems to me, what was best worth having in his work comes to its own, expressed with a real genius that is always passionate and really expressive.  The Baptism in the Accademia, a beautiful but not very charming work, perhaps of his old age, received, Vasari tells us, some touches from the brush of Leonardo, and for long the Annunciation of the Uffizi (1286) passed as Leonardo’s work.  Repainted though it is, in almost every part (the angel’s wings retain something of their original brightness), this Annunciation remains one of the loveliest pictures in the gallery, full of the eagerness and ardour of Verrocchio.  In a garden at sunset, behind the curiously trimmed cypresses under a portico of marble, Madonna sits at her prie dieu, a marvellously carved sarcophagus of marble, while before her Gabriel kneels, holding the lilies, lifting his right hand in blessing.  The picture comes from the Church of Monte Oliveto, not far away.

[Illustration:  THE ANNUNCIATION

By Andrea Verrocchio, Uffizi Gallery

Anderson]

Verrocchio was the master of Lorenzo di Credi and of Leonardo, while, as it is said, Perugino passed through his bottega.  There are many works here given to Lorenzo, who seems to have been a better painter than he was a sculptor:  the Madonna and Child (24), the Annunciation (1160), the Noli me Tangere (1311), and above all, the Venus (3452), are beautiful, but less living than one might expect from the pupil of Verrocchio.  Verrocchio’s true pupil, if we may call him a pupil of any master at all who was an universal genius, wayward and altogether personal in everything he did, was Leonardo da Vinci.  Of Leonardo’s rare work (Mr. Berenson finds but nine paintings that may pass as his in all Europe) there is but one example in the Uffizi, and that is unfinished.  It is the Adoration of the Magi (1252), scarcely more than a shadow, begun in 1478.  Leonardo was a wanderer all his life, an engineer, a musician, a sculptor, an architect, a mathematician, as well as a painter.  This Adoration is the only work of his left in Tuscany, and there are but three other paintings from his hand in all Italy.  Of these, the fresco of the Last Supper, at Milan, has been restored eight times, and is about to suffer another repainting; while of the two pictures in Rome, the St. Jerome of the Vatican is unfinished, and the Profile of a Girl, in the possession of Donna Laura Minghetti, is “not quite finished” either, Mr. Berenson tells us.  It is to the Louvre that we must go to see Leonardo’s work as a painter.