You had only to study the previous two centuries of Florentine drawing, from the rocky pillars of Masaccio to the twisting perfection of Michelangelo, to see how knowledge grew through a contest in observation.

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Yet he also absorbed the daring new techniques that were emerging at the time, illustrated here by the work of Masaccio and Uccello with their grasp of three- dimensional form and the rules of perspective.

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For Berenson, looking at a picture was always an emotional experience, a new discovery and only then to be placed in the continuum of Italian Renaissance painting from Duccio, Masaccio and Giotto through Botticelli, Titian, Leonardo and Michelangelo.

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