382 THE FIFTEENTH CENTURY. Chap. XVI. CHAPTER XVI. THE POLLAIUOLI. We have reason to believe that the lives of Antonio and Piero Pollaiuolo have been, to some extent, falsely interwoven; and that, whilst history assigns the largest share of fame to Antonio as a goldsmith and painter, the claims of Piero to attention have been somewhat neglected. Antonio and Piero were the first and last bom of four children. Their father Jacopo d’Antonio was a gold smith at Florence, the same perhaps whose name is re corded among the assistants of Bartoluccio and Ghiberti in the first gate of the Baptistery at Florence. 1 They were born severally in 1433 and 1443, 2 Antonio being articled to his father, and closing his apprenticeship in 1459, 3 Piero entering at tender years, if at all, the atelier of Andrea del Castagno, and joining his brother a little later. 4 1 It is not certain that Jacopo d’Antonio who worked under Ghi berti, and whose name in records bears the addition of “da Bo logna” (vide commentary Vas. Vol. III. p. 128), is the same as Jacopo d’Antonio, the father of the Pollaiuoli, but the identity of name and of profession sug gest that they are one person. We might presume, if this were once admitted, that what Vasari relates as to the connection of Antonio Pollaiuolo with Bartoluc cio and Ghiberti applies to his father, Jacopo. At all events, Antonio could not have taken part in the work of the Baptistery gates; as he was hut 14 years of age when the last of them was completed. (Vas. Vol. V. p. 91.) 2 These dates are given by Ja copo d’Antonio in his return to the Catasto in 1457, and may na turally he preferred to those given hy Antonio in his own return of 1480. (Vide Gaye, Carteggio, ub. sup 4 Vol. I. p. 265.) 3 This fact is stated hy Anto nio himself in the return of 1480. (Ibid.) 4 Besides Antonio and Piero,