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296 THE FIFTEENTH CENTURY. Chap. XI. of Shem in the last of Uccelli’s frescos. We may assume therefore that the cloister of S. Maria Novella was painted by Uccelli about 1446—8. The historian may regret that he cannot record the time when Donatello, Brunelleschi, and Antonio Manetti were gathered together by Uccelli as in a gallery with Giotto at their head. The genius of Giotto, it is clear, was still acknowledged by the painters of the fifteenth century. The sources of his power were beyond the ken of the single artist, it is true; but the realist painter and sculptor, the daring architect, the mathematician, who helped by science the solution of perspective problems, were willing, it would seem, to admit that a combination of gifts had found place in the early Florentine master, and entitled him to stand at their head. Little of the original work remains in the series of portraits of these men, now in the Louvre under the name of Uccelli. * 1 The impression which it creates is that of an old copy of the time of Pontormo. 2 The inscription is modern. Yet the portraits correspond with Vasari’s descriptions and the wood-cuts in his original edition; and a close inspection may permit the critic to admit that the picture is a genuine one of the time, and really by Uccelli. A wide divergence of thought and of talent separated Paolo from Masaccio. But one should have thought the latter not unworthy to be classed amongst the geniuses whom we have but now seen brought together in one picture. Some concealed record may yet come to light, from which we shall learn that Masaccio and Uccelli were not unacquainted. We have it indeed on fair authority that the latter painted the predella of an altarpiece in S. Maria Maggiore at Florence, of which the principal panel was by Masaccio. But this, and many other works degli Archivi Toscani ub. sup. | See com. to life of Dello in 1860. 3 d quarter p. 10. These paintings were executed with funds left for the purpose as far back as the year 1348 by Torino di Baldese, a merchant of Florence, repainted. Vas. ub. sup. Yol. III. p. 54. 1 No. 184. Louvre Catal. 2 So completely is the picture
