“Afterwards this art declined again, because everyone imitated the pictures that were already done; thus it went on from century to century until Tomaso, of Florence, nicknamed Masaccio, showed by his perfect works how those who take for their standard any one but nature—the mistress of all masters—weary themselves in vain.” J. P. Richter “_Literary Works of L. da V._,” Vol. I. p. 660. But Leonardo approves also imitation of antiquity (Richter, Vol. II, ¶1445). “The imitation of antique things is better than that of modern things.” He would probably have sanctioned Masaccio’s devout study of Giotto. The warning is against slavish imitation of immediate predecessors. VASARI ON PAOLO UCCELLO The admirable and self sacrificing ardor of these first realists is best exemplified in the case of Paolo Uccello. “For the sake of these investigations [in perspective] he kept himself in seclusion and almost a hermit, having little intercourse with anyone, and staying weeks and months in his house without shaving himself. And although those were difficult and beautiful problems, if he had spent that time in the study of figures, he would have brought them to absolute perfection; for even so he made them with passing good draughtsmanship. But, consuming his time in these researches, he remained throughout his whole life more poor than famous; wherefore the sculptor Donatello, who was very much his friend, said to him very often—when Paolo showed him Mazzocchi (facetted head-fillets) with pointed ornaments, and squares drawn in perspective from diverse aspects; spheres with seventy-two diamond-shaped facets, with wood-shavings wound round sticks on each facet; and other fantastic devices on which he spent and wasted his time—‘Ah, Paolo, this perspective of thine makes thee abandon the substance for the shadow; those are things that are only useful to men who work at the inlaying of wood, seeing that they fill their borders with chips and shavings, with spirals both round and square, and with other similar things.’” Vasari, in Schele de Vere’s translation; Vol. II. p. 132, 3. AN APPRAISAL OF BALDOVINETTI’S FRESCOES Here I may illustrate a common practice of the times in an appraisal of Baldovinetti’s frescoes in the choir of the Trinità by fellow artists including Benozzo Gozzoli, Cosimo Rosselli and Pietro Perugino. “In the name of God—on the 19 of January 1496 (n. s. ’97)