Chap. XI. UCCELLI’S HAWKWOOD. 291 Orsanmichele, it might have induced the spectator to be lieve that his glance was truly directed towards a natural creation of plastic art. The beholder sees in fact an imitation, first: of a stone sepulchre leaning on brackets high up on the wall and properly drawn as if seen from below; secondly: a pedestal resting on the sepulchre; and thirdly: the profile of a stepping horse on which Hawk- wood with the batoon of command rides with security and ease. If executed in 1436, this work proves that Uccelli was thus early master of his craft, and far ad vanced beyond the period of groping and trial which witnessed the production of the foregoing pieces. Natural in movement, broadly designed, as well as nobly conceived, executed with consistent power, this statue of Hawk- wood reveals Uccelli possessor of the arts of foreshorten ing and perspective, and conscious of human and brute forms in their best proportions. It shows us the high standard of scientific knowledge which had been attained by Florentine painters about the middle of the fifteenth century; 1 but, above all, it displays Uccelli’s style founded essentially upon the study of statuary corrected by the study of nature. In other examples, such as the frescos of the cloisters in S. M. Novella, where bas-relief is again imitated not only by the use of dead colour, but, as in bas-relief, by the distribution of the scenes into distinct parts within given spaces, Uccelli discloses still more concretely the various phases of his acquirements and inherent defects. Without poetic thought, he subjects incidents hitherto re presented with religious tenderness and feeling, to a coarser contact with humanity. He reminds us of the imperfections 1 This piece originally executed in fresco, has been since trans ferred to canvass, and is some what damaged by the operation. The back-ground, the saddle, and bridle, are red. The painter’s name may still be read: “Pauli Uccelli opus.” In 8. M. del Fiore, Uccelli also painted the face of the clock in side the church (Vas. Vol. III. p. 95.). Four heads at the angles of the square circumscribing the dial may still be traced, but they are so damaged that they give no clue to the master’s style. 18*