Achievements seem to have consisted in giving to the figure movement and expression and the face individuality. Existing works find no trace of sacrifice made to dexterity and naturalism, although it is clear that science and craft were prevalent in his day.

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Otherwise would not have been able to render a figure like the St. Francis in his Uffizi altar-piece, where tactile values and movement expressive usually call individual perhaps for the first time combined or to attain to such triumphs as St. John and St. Francis

As to his sense for the significant in the individual, in other words, his power as a portrait-painter, we have in the Pitti one or two heads to witness, perhaps, the first great achievements in this kind of the Renaissance.

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No such difficulties as we have encountered in the study of Uccello, Castagno, and Veneziano meet us as we turn to Fra Filippo. His works are still copious, and many of them are admirably preserved; we therefore have every facility for judging him as an artist, yet nothing is harder than to appreciate him at his due

If attractiveness, and attractiveness of the best kind, sufficed to make a great artist, then Filippo would be one of the greatest, greater perhaps than any other Florentine before Leonardo. Where shall we find faces more winsome, more appealing, than in certain of his Madonnas one in the Uffizi, for instance more momentarily evocative of noble feeling than in his Louvre altar piece