This was literally the case with the oldest among the leaders of the new generation, Alessio Baldovinetti, in whose scanty remaining works no trace of purely artistic feeling or interest can be discerned; and it is only less true of Alessio's somewhat younger, but far more gifted contemporaries, Antonio Pollaiuolo and Andrea Verrocchio. These also we should scarcely suspect of being more than men of science, if Pollaiuolo once or twice, and Verrocchio more frequently, did not dazzle us with works of almost supreme art, which, but for our readiness to believe in the manifold possibilities of Florentine genius, we should with exceeding difficulty accept as their creation--so little do they seem to result from their conscious striving. Alessio's attention being largely devoted to problems of vehicle--to the side of painting which is scarcely superior to cookery--he had time for little else, although that spare time he gave to the study of landscape, in the rendering of which he was among the innovators. Andrea and Antonio set themselves the much worthier task of increasing on every side the effectiveness of the figure arts, of which, sculpture no less than painting, they aimed to be masters. [Page heading: POLLAIUOLO AND VERROCCHIO] To confine ourselves, however, as closely as we may to painting, and leaving aside for the present the question of colour, which, as I have already said, is, in Florentine art, of entirely subordinate importance, there were three directions in which painting as Pollaiuolo and Verrocchio found it had greatly to advance before it could attain its maximum of effectiveness: landscape, movement, and the nude. Giotto had attempted none of these. The nude, of course, he scarcely touched; movement he suggested admirably, but never rendered; and in landscape he was satisfied with indications hardly more than symbolical, although quite adequate to his purpose, which was to confine himself to the human figure. In all directions Masaccio made immense progress, guided by his never failing sense for material significance, which, as it led him to render the tactile values of each figure separately, compelled him also to render the tactile values of groups as wholes, and of their landscape surroundings--by preference, hills so shaped as readily to stimulate the tactile imagination. For what he accomplished in the nude and in movement, we have his "Expulsion" and his "Man Trembling with Cold" to witness. But in his works neither landscape nor movement, nor the nude, are as yet distinct sources of artistic pleasure--that is to say, in themselves life-enhancing. Although we can well leave the nude until we come to Michelangelo, who was the first to completely realise its distinctly artistic possibilities, we cannot so well dispense with an enquiry into the sources of our aesthetic pleasure in the representation of movement and of landscape, as it was in these two directions--in