Читать книгу The History of Painting in Italy - Luigi Lanzi - Страница 22
EPOCH I.
ОглавлениеThe old Masters.
The Sienese is the lively school of a lively people; and is so agreeable in the selection of the colours and the air of the heads, that foreigners are captivated, and sometimes even prefer it to the Florentine. But this gaiety of style forms not the only reason of this preference; there is another, which few have attended to, and none have ever brought forward. The choicest productions of the painters of Siena are all in the churches of that place; and he who wishes to become acquainted with the school, after having seen these, need not be very solicitous to visit the private collections, which are numerous and well filled. In Florence it is otherwise: no picture of Vinci, of Bonarruoti, of Rosso, is to be seen in public; none of the finest productions of Andrea, or of Frate, and few of any other master who has best supported the credit of the school: many of the churches abound in pictures of the third and fifth epochs; which are certainly respectable, but do not excite astonishment like the works of the Razzi, the Vanni, and other first rate artists, every where to be met with in Siena. They are, moreover, two different schools, and ought not to be confounded together in any work of art; possessing, for a long period of time, different governments, other heads of schools, other styles; and not affected by the same changes. A comparison between the two schools is drawn by P. della Valle,[247] whom we have mentioned, and shall afterwards mention with respect; and his opinion appears to be, that the Florentine is most philosophical, the Sienese the most poetical. He remarks on this head, that the school of Siena, from its very beginning, displays a peculiar talent for invention; animating with lively and novel images the stories it represents; filling them with allegory, and forming them into spirited and well constructed poetic compositions. This originates in the elevated and fervid genius of the people, that no less aids the painter, whose poetry is addressed to the eye, than the bard who yields it to the ear. In the latter, and also in extemporary poets, the city abounds, and still maintains in public estimation, those laurels, which, after Petrarca and Tasso, her Perfetti won in the capital. He likewise observes that those artists particularly attended to expression. Nor was this difficult, in a city so adverse to dissimulation as Siena, whose natural disposition and education have adapted the tongue and countenance to express the emotions of the heart. This vivacity of genius has perhaps prevented their attaining perfection in design, which is not the great attribute of those masters, as it is reckoned of the Florentines. To sum up all, the character of the school of Siena is not so original as that of some others; and we shall find, during its best period, that some of its artists distinctly imitated the style of other painters. With regard to the number of its artists, Siena has been prolific in the proportion of its population; its artists were numerous while it had many citizens; but on the decrease of the latter, its professors of the fine arts also diminished, until every trace of a school was lost.
The accounts of the early painters of Siena are rather confused during the three first centuries by the plurality of the Guidi, the Mini, the Lippi, the Vanni (abbreviations of Giacomo, Filippo, Giovanni), and such sort of proper names as are used without a surname: hence it is not sufficient to peruse only such accounts; we must reflect on them and compare them. They are scattered in many histories of the city, especially in Ugurgieri, who was pleased to entitle his work Le Pompe Sanesi; in the Diary of Girolamo Gigli; and in several works of the indefatigable Cav. Gio. Pecci, whom we have before noticed. Many manuscripts, rich in anecdotes of painting, still remain in the libraries: of this number are the histories of Sigismondo Tizio, of Castiglione, who lived at Siena from 1482 to 1528; the Cathedral of Siena, minutely described by Alfonzo Landi; the Treatise on old Paintings of Giulio Mancini; and some Memoirs of Uberto Benvoglienti, whom Muratori denominates diligentissimus rerum suæ patriæ investigator. From these, and other sources,[248] P. della Valle has drawn what is contained in the Lettere Sanesi, and repeated in the notes on Vasari concerning the school of Siena. By the work of Della Valle it has acquired a celebrity to which it has long been entitled. I take him for my guide in the documents and anecdotes which he has given to the public;[249] in the older authorities I follow Vasari and Baldinucci in many circumstances, but dissent from them in others: and hostile to error, and anxious for the truth, I shall pursue the same plan with regard to the historians of the school of Siena. I shall omit many names of old masters, of whom no works now remain, and here and there shall add a few modern artists who have come to my knowledge, by the examination of pictures, or by the perusal of books.
The origin of the Sienese school is deduced either from the crusades in the east, whence some Grecian painter has been brought to Siena; or from Pisa, which, as we have seen, had its first artists from Greece. On such a question every one may judge for himself: to me the data necessary for resolving it appear to be wanting. I know that Italy was never destitute of painters, and artists who wrought in miniature; that from such, without any Grecian aid, or example, some Italian schools took their origin. Siena must have had them in the twelfth century. The Ordo officiorum Senensis Ecclesiæ which is preserved in the library of the academy at Florence, was written in the beginning of the thirteenth century, and exhibits initial letters, surrounded with illuminations of little stories and ornaments of animals. They are painted in vermilion, in a very hard and meagre style; but they are valuable on account of their era, 1213, in which they were executed by Oderico Canonico of Siena.[250] Similar books were ornamented by the same painter in the parchment of the leaves, and painted on the covers without;[251] and afford a proof that thus the art of ornamenting with miniatures might lead to large compositions. All, however, more or less, savour of the Greek design; either because the Italians were originally disciples of the Greeks, dispersed over Italy, or because they regarded the Grecian masters as models, and ventured not to attempt much beyond them.
The most ancient pictures in the city, the Madonna of the Graces, the Madonna of Tressa, the Madonna of Bethlehem, a S. Peter in the church dedicated to that saint, and a S. John the Baptist, surrounded by many small historical representations at S. Petronilla, are believed to be older than 1200; but it is by no means clear that they are the works of Italians, though often believed such from their initial characters, plaister, and design. On the two last the names of the saints near the figures are in Latin characters; a circumstance, however, which does not prove an Italian painter. On the mosaic works at Venice, on the Madonna of Camerino, brought from Smyrna,[252] and on other pictures executed by the Greeks for Italian cities, ignorant of their language, they wrote, or got others to write, inscriptions in Latin; and they did the same on statues.[253] The method of painting on gilt plaister, which we observe in some old pictures, decidedly Italian, is no argument; for I have several times observed a similar practice in what was unquestionably the work of a Greek artist. The drawing of the features in those pictures, the grimness of the aspect, and the composition of the stories, all accord with the productions of the Greeks. They may, therefore, have been painted by Greek artists, or by a scholar, or, at least, by an imitator of the Greeks. Who, then, can determine whence the artist came, whether he was a restorer of painting, and whether he executed those paintings at Siena, or sent them from some other place? This is certain, that painting quickly established itself at Siena, sent out roots, and rapidly multiplied its blossoms.
The series of painters known by name commences with Guido, or Guidone, already noticed in the beginning of this volume. He flourished before Cimabue of Florence saw the light; and seems to have been at the same time an illuminator of manuscripts and a painter. The writers of Siena have declaimed against Vasari and Baldinucci for omitting this artist; notices of whom could not have escaped the former, who was many times at Siena; nor the latter, who was made acquainted with them before the publication of his Decennali. Cav. Marmi, a learned and celebrated Florentine, thus notices the omission in one of his letters.[254] "Baldinucci laboured to make us credit the restoration of painting by Cimabue and Giotto; and to give stability to his hypothesis, it is probable that he omitted to make any mention of the painters who, independent of the two just named, departed from the raw and feeble manner of the Greeks." And Guido certainly left it not a little behind, in his picture of the Virgin, now hung up in the Malevolti chapel in the church of S. Domenico. On it he has thus inscribed his name and the date:
Me Guido de Senis diebus depinxit amenis Quem Christus lenis nullis velit agere poenis. An. 1221.
And this example was often followed by the masters of this school, to the great benefit of the history of painting. The countenance of the Virgin is lovely, and participates not in the stern aspect that is characteristic of the Greeks; we may discover some trace of a new style in the drapery. The Madonnas of Cimabue which are at Florence, the one in the church of the Trinity, the other in S. Maria Novella, are not, however, inferior. In them we may discern the improvement of the art; a more vivid colouring, flesh tints more true; a more natural attitude of the head of the infant, while the accompaniments of the throne, and of the glory of angels, proclaim a superior style.
On this subject I make two remarks, in which I widely dissent from the opinion of the author of the Sienese Letters, without committing any breach of our long established friendship. The one is, that to prove Guido superior to Cimabue, he frequently compares the Madonna of S. Domenico, which is the only one of his pictures which he mentions,[255] with the paintings of Cimabue, which are numerous, and full of subject; and without setting any value on the colouring, the fertility of invention, and the various other qualities in which the Florentine surpassed the artist of Siena, he dwells on certain little particulars, in which it appears that Guido was superior. An artist of whom it is not known that he ever attempted any picture but Madonnas, might become more or less perfect in this subject; but painting is not so much indebted to him, as to one who has carried it to the higher walks of the art; a merit which Marco of Siena, a writer not inclined to favour the Florentines, denies not to Cimabue, as we shall find in the fourth book. The other circumstance alluded to is, that when he mentions a picture which does honour to the fame of Cimabue, he attempts to discredit its history, and the tradition; as I have already observed with regard to the two large pictures in the church of Assisi, and am now under the necessity of remarking with regard to the two Madonnas at Florence above mentioned. He "strongly suspects"[256] them to be the work of Mino da Turrita, since mosaic, in which Mino was expert, is there represented by a skilful hand; and Cimabue was not dexterous in that art; as if a painter could not represent buildings without being an architect, or garments without knowing how to cut them out, or drapery without being versed in the art of weaving. He even doubts whether Giotto visited France, for, had this been the case, he, and not Simone da Siena, would have painted the portrait of Laura, as if history did not inform us that Giotto visited that country about 1316, long before the period when Petrarca first became enamoured of that beauty. He has introduced some other speculations, which he would not have admitted, had he not been betrayed into it, almost involuntarily, by a system which has some probable foundation, but is carried to an extravagant length. I should have been silent on this subject; but when writing of these artists it became me to recollect that the unicuique suum was no less the duty of the historian than the judge.
The authors of chronicles require correction on the era of this painter. The most undoubted picture of Guido is that bearing the date 1221, for the other in the church of S. Bernardino, dated 1262, is ascribed to him without sufficient evidence. It is hardly probable that he who was so eminent in a new art in 1221, was still alive in 1295, as is affirmed by some,[257] on the faith of a sum of money paid to one Guido, a painter. The celebrated Guido must then have been at least 105 years of age: it is more probable that he was dead, and the name applied to another Guido, without any danger of a mistake.
It is generally believed that the elder Guido instructed F. Mino, or Giacomino da Turrita, the celebrated artist in mosaic, of whom we have spoken in the first book. On the era of Mino also much has been written without sufficient authority. Baldinucci says he died about 1300; and omits to mention in his life that he was employed in 1225; although this date is legible on the mosaic of Mino in the church of S. Giovanni at Florence, in letters a cubit in length.[258] This circumstance has likewise escaped the historians of Siena, some of whom have prolonged his life to the year 1298, on the authority of payment made to Minuccio, a painter; and others have extended it to about 1200, on account of the tomb of Boniface VIII. which is said to be the work of Turrita. The utmost period that can be granted them is about 1290: for Titi observes, in his Description of the Paintings in Rome, that Mino finished the mosaic of S. Maria Maggiore in 1289, and died, after beginning another in S. Giovanni Laterano, which was completed by Gaddo Gaddi in 1292. This renders it extremely doubtful that F. Mino was taught painting by Guido, that he imparted it not only to Giotto, whom, for other reasons, we have excluded from his school (p. 20) but to the Sienese artists, Memmi and Lorenzetti,[259] and even that he was a painter; all which is founded on the following memorandum, under the year 1289, in a manuscript in the library of Siena: "Paid on the twelfth day of August, nineteen lire to Master Mino, the painter, who painted the Virgin Mary, and other SS. in the council room of the public palace, the balance, &c."
He who is here denominated Maestro Mino, not Fra Mino; who is sometimes called Minuccio, a diminutive not fitted for an old monk; and appears to have been employed in Siena when Fra Mino was at Rome, is another artist. Thus we discover another eminent painter of the name of Mino, or Minuccio, who seems to be in reality the author of the picture of 1289, above alluded to, which remained in the council hall even within my memory, and of others, down to 1298. He there represented the Virgin and Child, surrounded by angels, and under a canopy, supported by Apostles and the patron saints of the city. The size of the figures, the invention and the distribution of the work, are surprising for that age; of the other qualities one cannot speak with certainty; for it was repaired in 1321 by Simone da Siena, and there are beauties in the features and the drapery that can be ascribed only to the restorer. The mistake thus occasioned by the same name being cleared up, the system of the learned author of the Lettere Sanesi, is in part confirmed, and in part falls to the ground. He is right in refusing to Giotto certain Sienese pupils, referred to him only from traces of a more modern style; for we here discover an artist who made some advances towards the new manner even previous to Giotto, who, in 1289, was only thirteen years of age. Now this Mino, and Duccio, of whom we shall soon treat, might certainly have formed pupils able to compete with the school of Giotto, and even in length of years to surpass Giotto himself. There is no reason, however, to prefer the Sienese painters to Cimabue, on the strength of this painting, as the author in question has so often done. Comparison ought to be employed between painter and painter, between contemporary and contemporary. F. Mino, to whom this single picture was attributed, is now shewn to have been merely a mosaic worker: Mino or Minuccio began to be known when Cimabue was fifty years of age; and is the author of a single work, not so free from retouches, nor so large as that of Assisi, already described. The comparison then is not just.
Every school thinks itself sufficiently honoured when it can produce two or three painters of the thirteenth century: the school of Siena is peculiarly rich in them, and these are recorded in the twenty-fifth letter On the disciples of Guido. As usual I shall omit the names of those least entitled to recollection. I will not affirm that all of them proceeded from the school of Guido; for in a city where the fine arts flourished so rapidly, masters unknown to us may have been produced. Much less will I ascribe artists of other cities to this school. In the manuscripts of Mancini, one Bonaventura da Lucca is mentioned, who is the Berlingieri already mentioned.[260] I neither assign him to Guido nor to Giunta. Who can tell whether Lucca had not also in those early times an original school, now unknown to us? Setting aside uncertain points therefore, we can only assert, that after the middle of the century, Siena abounded in painters, more, perhaps, than any other city of Italy; and the causes of this are as follows.
The cathedral was begun several years before, in a style of magnificence suited to the lordly views of the citizens. It was not a work to be completed in a short time: hence it was frequently interrupted, and a long period had elapsed before it was finished. During this time many architects (magistri lapidum) and sculptors either were invited from other places, or were reared up in the city; and in 1250 they formed a corporate body, and required particular laws.[261] Although nothing is ascertained with regard to their mode of study, it is natural to suppose that the study of sculpture contributed to the advancement of painting, a sister art. The celebrated battle of Monte Aperto, in which the people of Siena defeated the Florentines, happened in 1260. This victory produced an era of peace and opulence to the city, and encouraged both in public and in private the arts depending on luxury. The victory was ascribed to the interference of the blessed Virgin Mary, to whom the city was consecrated; the adoration of her votaries increased, and her images were multiplied in the streets, and in all other places; and thence painting obtained fresh encouragement, and new followers.
Ugolino da Siena should be referred to this era; he died decrepid in 1339, and consequently might have been born before 1260. We cannot agree with Vasari, who insinuates that he was the scholar of Cimabue; nor with Baldinucci, who ingrafts him on his Tree; nor yet with others who assert that he was the pupil of Guido; for the latter must have been dead when Ugolino was very young. That he was educated in Siena, seems to me highly probable, from the number of masters then in that city, and because the colouring of his Madonna of Orsanmichele at Florence is in the style of the old school of Siena; less strong and less true than that of Cimabue and the Florentines. This fact appears to me of importance, for it depends on the mechanism of the art, which was different in different schools. Design at that early period savoured more or less of the Greeks; and in this respect Ugolino adhered to them too closely. "He painted pictures and chapels over all Italy," says Vasari; and if I am not mistaken he came to Florence after his travels, and at length died at Siena.
Duccio di Boninsegna is another master of this age, of whom I shall speak in another place, as the inventor of a new species of painting. Tizio says he was the pupil of Segna, an artist now almost unknown in Siena. He must, however, have enjoyed great celebrity in his day among his countrymen; for Tizio informs us that he painted a picture at Arezzo, containing a figure which he pronounces excellent and highly esteemed. He has transmitted to us the following remarkable testimony concerning Duccio: "Ducius Senensis inter ejusdem opificii artifices eâ tempestate primarius; ex cujus officinâ veluti ex equo Trojano pictores egregii prodierunt."
The eâ tempestate refers to 1311, when Giotto was at Avignon; and when Duccio was employed on the picture that still exists in the opera-house, which was completed in three years, and almost forms an era in the art. It was large enough to have formed a picture for the great altar of the metropolitan church for which it was intended. On the side facing the people he painted large figures of the Virgin, and of various saints; on that fronting the choir he represented scriptural subjects, in many compartments, in which he introduced a vast number of figures a palm in length. Pius II. relates in his Annals of Siena, which were never published, that it cost 2,000 florins; others raise it to 3,000; but not so much on account of the workmanship as the profusion of gold and ultramarine. The style is generally thought to approach the Greek manner; the work, however, is the most copious in figures, and among the best executed productions of that age. Duccio was employed in many parts of Tuscany, and in the church of the Trinity at Florence he painted an Annunciation which, in the opinion of Baldinucci, "leaves no doubt that he was a scholar of Giotto, or of his disciples." But this will not be granted or believed by those who have seen it; for both the colouring and the style are totally dissimilar. Chronology, too, opposes the conclusion; unless we introduce here also a confusion, arising from artists with similar names: Duccio painted from 1282,[262] and died about 1340.[263]
The history becomes more complete, when we arrive at the celebrated Simone Memmi, or Simone di Martino,[264] the painter of Laura, and the friend of Petrarca, who has celebrated him in two sonnets that will hand him down to the latest posterity. The poet has also eulogized him in his letters, where he thus speaks: "duos ego novi pictores egregios … Joctum Florentinum civem, cujus inter modernos fama ingens est, et Simonem Senensem;" which is not, however, comparing him to Giotto, to whom he pays a double compliment, but it is giving Memmi the next rank. In such a convenient place the poet would not, in my opinion, have omitted Jocti discipulum, had he been acquainted with such a circumstance: but he appears to have no knowledge of it; and this renders it doubtful whether Simone was the pupil of Giotto at Rome, notwithstanding the assertion of Vasari, who adds that the latter was then engaged in the mosaic of the Navicella. The writers of Siena contradict him with good reason; for in 1298 Simone was only fourteen years of age.[265] They reckon him the scholar of their Mino, and certainly he derived much from the large fresco before noticed: but as he retouched it himself we cannot put much faith on the resemblance. His colouring is more vivid than that of the followers of Giotto, and in floridness it seems a prelude to Baroccio. But if he was not the scholar of Giotto, he may have assisted him in some of his works, or, perhaps, studied him closely, as many eminent painters have often done with the best masters. This may account for his imitating Giotto so admirably in S. Peter's at Rome; a merit which procured him an invitation to the papal court at Avignon, where he died. The picture of the Vatican has perished; but some of his other works still exist in Italy; and they are not so numerous at Siena as in Pisa and Florence. In the Campo Santo of Pisa we find various actions of S. Ranieri, and the celebrated Assumption of the Virgin, amid a choir of angels, who seem actually floating in the air, and celebrating the triumph. Memmi was excellent in this species of composition, as I believe, from the numerous pictures of this subject which he painted at Siena, where there is one at the church of S. John, which is more copious but not more beautiful than that at Pisa. Some of his larger works may be seen in the chapter house of the Spanish Friars at Florence; several histories of Christ, of S. Domenico, and of S. Peter Martyr; and there the Order of the Preaching Friars are poetically represented as engaged in the service of the church, in rejecting innovators, and in luring souls to paradise. Vasari, to whom the inventions of Memmi appear "not those of a master of that age, but of a most excellent modern artist," especially praises the last: and, indeed, it might be supposed that it was suggested by Petrarch, did not a comparison of dates refute such an idea. The picture was painted in 1332, and Simone went not to France till 1336; what is said about the portrait of Laura in the chapterhouse is a mere fable. Taddeo Gaddi, an undoubted pupil of the improved and dignified school of Giotto, was there his competitor; and as far surpassed Memmi in the qualities of that school, as he was excelled by the latter in spirit, in variety of the heads and attitudes, in fancy of the draperies, and in originality of composition. Simone paved the way to more complex pictures, and extended them over a whole façade, so as to be taken in at one glance of the eye; whereas Giotto used to divide a large surface into many compartments, in each of which he painted an historical picture.
Although I do not usually dwell on miniature painting, I cannot resist mentioning one which is to be seen in the Ambrosian library at Milan, which appears to me a singular production. In that place, there is a manuscript of Virgil, with the commentary of Servius, which formerly belonged to Petrarca. In the frontispiece is a miniature that is reasonably conjectured to have been suggested to Simone by the poet, who has subjoined the following verses:
Mantua Virgilium qui talia carmina finxit, Sena tulit Simonem digito qui talia pinxit.
The artist has represented Virgil sitting in the attitude of writing, and with his eyes raised to heaven, invoking the favour of the Muses. Æneas is before him in the garb and with the demeanour of a warrior, and, pointing with his sword, intimates the subject of the Æneid. The Bucolics are represented by a shepherd, and the Georgics by a husbandman; both of whom are on a lower foreground of the piece, and appear listening to the strain. Servius, in the mean time, appears drawing aside a veil of great delicacy and transparency, to intimate that his readings unveil what would otherwise have remained obscure and doubtful to the reader of that divine poet. An account of this picture is contained in a letter of the secretary Ab. Carlo Bianconi,[266] where the author praises the originality of the idea, the colouring and harmony of the picture, the propriety and variety in the costume according with the subject. He also remarks a little rudeness in the design, more of truth than of beauty in the heads, and the largeness of the hands; that usually, indeed, were the characteristics of every school at this period.
Simone had a relation named Lippo Memmi, whom he himself instructed in the art. Although he was not equal in genius to Simone, he succeeded admirably in imitating his manner, and, aided by his designs, produced pictures that might have passed for the work of the former, had he not inscribed them with his name. When he wrought without such assistance there is a manifest mediocrity in his invention and design; but he is still a good colourist. A picture executed by them both is preserved in S. Ansano di Castelvecchio of Siena.[267] In Ancona, Assisi, and other places, pictures existed that were begun by the former, and finished by the latter. There is a picture wholly the work of Lippo in Siena; and the author of the Description of Pisa records one at the church of S. Paul in that place, which is not without merit. In my first edition, implicitly following the writers of chronicles, I mentioned a Cecco di Martino as the brother of Simone. But on considering that he flourished about 1380, and that there was a less celebrated Simon Martino, in Siena, about 1350, mentioned by Cittadini, I do not judge it right to follow their authority.
An artist named Lorenzo, and familiarly Lorenzetto, was the father of another family of painters: he had a son named Ambrogio, who is surnamed Lorenzetti by historians. A large picture by this artist, on which he subscribes himself Ambrosius Laurentii, is to be seen in the public palace, and may be designated a poem of moral precepts. The vices of a bad government are there represented under different aspects, and with appropriate symbols; accompanied by verses explanatory of their nature and consequences. The Virtues, too, are there personified with suitable emblems: and the whole is adapted to form governors and politicians for the republic, animated by the spirit of genuine patriotism alone. Had there been a greater variety in the countenances of the figures, and a superior arrangement in the piece, it would have been little inferior to the finest pictures in the Campo Santo of Pisa. Siena possesses many of his frescos and large pictures; but they are not so surprising as his smaller works, in which he appears as the forerunner of B. Angelico, whom we have commended in another place. I have observed nothing similar in his contemporaries; and it possesses a nationality of character that prevents his being confounded with the followers of Giotto: the ideas, the colouring, and the draperies, are wholly different. In a similar taste is a picture in the possession of Sig. Abate Ciaccheri, librarian to the university of Siena, where Ambrogio painted some very original works, in which he very far surpassed the Orcagni. His style was admired in Florence; where, to please his friends, who were desirous of seeing a specimen of his art, he painted several pieces from the life of S. Nicholas, in the church of S. Proculus, that were afterwards transferred to the abbey.
Another son of Lorenzo was called Pietro, and, in conjunction with his brother, painted the Presentation, and Nuptials of Our Lady, in the hospital of Siena, on which the following inscription was legible: Hoc opus fecit Petrus Laurentii et Ambrosius ejus frater, 1335. The inscription is preserved by Cav. Pecci, who in 1720, when the painting was destroyed, transcribed it most opportunely for correcting Vasari, who had read Petrus Laurati instead of Laurentii in another inscription; from which he concluded this artist not to be the brother of Ambrogio; and from some similarity between his style and that of Giotto, had concluded that he was the disciple of the latter: but it is highly improbable that with such a father and such a brother, Pietro would have gone from home for instruction. Vasari gives, however, a most favourable opinion of this illustrious Sienese, which may suffice to vindicate his impartiality. He says of one of his pictures, "that it was executed with a better design and in a superior manner to any thing that Tuscany had then seen;" and in another place he asserts, that Pietro "became a better master than either Cimabue or Giotto." What could he have said further? might it have been asserted that he was, if not the disciple of Giotto, at least his fellow student in the school of F. Mino? (Vasari, tom. ii. p. 78. ed. Sen.) But granting that Giotto was not his master, how are we to believe him his fellow student? The first pictures of Giotto are traced to 1295; those of Pietro to 1327. And where, when, or to whom did F. Mino teach painting? Pietro's historical picture of the Fathers dell' Eremo remains in the Campo Santo of Pisa, where, in conformity with ecclesiastical history, he has painted the various discipline of those recluses. This picture, if I am not mistaken, is richer in ideas, more original, and better conceived than any one in that place. In the ducal gallery there is a copy of this picture, if not a duplicate by the artist himself: the taste of the colouring certainly belongs not to the Florentine, but to the Sienese school, of that period.
After painting had attained so high a degree of excellence in Siena, it was liable to decline, both from the usual lot of the most auspicious eras, to which an age of servile imitation, and of hurried execution, generally succeeds, and also from the terrible plague which, in 1348, desolated Italy and Europe; sweeping off distinguished masters and pupils in every school. Siena, however, did not lose her Lorenzetti, who constituted her ornament for several years; but if her population at one time equalled 75,000, it was afterwards greatly diminished. She could, however, still vie in the number of her artists with Florence itself. This clearly appears from The Statutes of the Painters of Siena,[268] published by P. della Valle, in his first volume, letter sixteen. They are drawn up with the characteristic simplicity, clearness, and precision of the thirteenth century; and are a very admirable body of regulations for the due propriety and direction of artists, and for the honour of the art. We can discern that this society consisted of cultivated and well educated persons; and it does not excite astonishment to find that, democratic in government as Siena then was, the highest magistrates of the republic were sometimes elected from among the professors of the art. They formed a body-corporate; not merely a fraternity, nor an academy of design; and received their charter, not from the bishop but from the city, or the republic in 1355. Some have conjectured that those statutes are as old as the preceding century; and that they were translated into Italian from the Latin about 1291: for Tizio informs us that, in this year, "Statuta maternâ linguâ edita sunt ad ambiguitates tollendas." But Tizio must have meant the statutes concerning wool, and others then existing; and those of the artists may have been framed at a subsequent period. Indeed, the manner in which they are drawn up, without a reference to preceding ordinances, indicates a first edition. If there were statutes published in the vulgar tongue in 1291, why was the sanction of the law deferred for 66 years? or why are the new not distinguished from the old, as is usual in similar codes?
In the code to which I refer, the names of a great number of artists are inscribed, who lived after 1350 and at the beginning of the next century. With the exception of a few who merit some consideration I shall pass them over in silence as I did in the Florentine school. I find among them Andrea di Guido,[269] Jacomo di Frate Mino, and Galgano di Maestro Minuccio; and I bring these forward to confirm what I have before observed, that painters of the same name have introduced confusion into the history of this school. I also find there N. Tedesco, Vannino da Perugia, Lazzaro da Orvieto, Niccolò da Norcia, Antonio da Pistoia, and other foreign artists: thence I infer that Siena, like a university for painting, had furnished masters to various cities of Italy, and other countries. We here meet with some painters of whom there still remains some trace in history, or in the inscriptions on pictures. Martino di Bartolommeo is the artist who, in 1405, painted the Translation of the Body of S. Crescentius at the cathedral, and of whom a still better picture remains at S. Antonio Abate. His family name brings to mind Bartolommeo Bolonghino, or Bolgarino, mentioned by Vasari as the best pupil of Pietro Laurati, and the painter of some excellent pictures in Siena, and other parts of Italy. He was a man of rank, and obtained the honour of the magistracy. Andrea di Vanni is undoubtedly the painter of the S. Sebastian in the convent of S. Martin, and of the Madonna surrounded by saints in that of S. Francis; an artist not unknown beyond the limits of his native country, especially in Naples, where he painted before 1373. He was likewise employed in public embassies, and, like another Rubens, was a magistrate, and ambassador of the republic to the Pope: and was honored by S. Catherine of Siena, who, in one of her letters, gives him some excellent advice on the subject of government.
About the year 1370 flourished Berna, (i.e. Bernardo) da Siena, of whom Vasari says, that "he was the first who painted animals correctly;" and at the same time allows him no common merit in the human figure, especially in what regards expression. One of his frescos remains in the parish church of Arezzo, more praiseworthy on account of the extremities, in which he was superior to many of that age, than for the drapery or the colouring, in which many artists surpassed him. He died in the prime of life, about the year 1380, at S. Gimignano, after having made considerable progress in a copious work, consisting of some subjects from sacred history, that still remains in that parish church. The work was continued with a superior colouring, but with a less pure design, by Giovanni d'Asciano, who is his reputed scholar. The whole still exists, and thirteen of the pictures, or perhaps more, are the work of the scholar who exercised his art at Florence, under the protection of the Medicean family, much respected by his fellow artists. As those two painters lived long abroad, I find no mention of them in the catalogue just quoted. There is a well executed altar-piece in Venice, with the name Bernardinus de Senis. Some of his pictures have been discovered in the diocese of Siena, by the Archbishop Zondadari, who has formed a good collection of ancient pictures of the Sienese school. In these pictures Berna appears to be a pretty good colourist, a talent which he does not display in his frescos. Luca di Tomè, another scholar of Berna, noticed by Vasari, is there mentioned. One of his Holy Families remains at S. Quirico, in the convent of the Capuchins, and bears the date of 1367. It has not sufficient softness, but in other respects is very reputable.
In the beginning of the fifteenth century, not only individual painters, but whole families of artists had multiplied, in which the art for a long series of years descended from father to son. This circumstance contributed greatly to the progress of painting: for the master, who is likewise the father, teaches without any feeling of jealousy, and generally aims at forming a pupil superior to himself. The family of the Fredi, or the Bartoli, became celebrated beyond all the rest. The reputation of Taddeo, who began to be distinguished in the fourteenth century, rose very high. In the records he is styled Thaddæus magistri Bartholi magistri Fredi,[270] from his father[271] and grandfather, artists of some name. By him, "as the best master of the age," says Vasari, the chapel of the public palace was painted, where some historical pieces representing our Lady, are yet to be seen; and in 1414 he ornamented the adjoining hall. Besides some pictures from sacred history, he there formed, as it were, a gallery of illustrious men, chiefly republicans; and for the edification of the citizens, added some Latin and Italian verses; a mode of instruction very liberally employed in this school. The chief merit of the work lies in the dignity and originality of its invention, which was afterwards imitated in part by Pietro Perugino, in the hall of the Exchange, at Perugia. The portraits are ideal; they are dressed in the costume of Siena, even when they represent Romans and Grecians, and their attitudes are not happy. His pictures at Pisa and in Volterra, mentioned by Vasari, still exist; and that of the Arena in Padua, in the tribune of the church, is well preserved. In it we discover practical skill, little variety, and less grace in the heads, feeble tints, and imitations of Giotto, that lose their value on a comparison with the original. Some of his small pictures do him greater honour; and in them an imitation of Ambrogio, his great prototype, is conspicuous, and also the subdued but agreeable colouring of this school; which, like all the others in Italy, excelled about this period more in small than in large proportions.
The manner of Taddeo was first pursued and afterwards meliorated, and greatly aggrandized by Domenico Bartoli, his nephew and disciple. Foreign connoisseurs behold with delight the various fresco pictures which he painted in the pilgrim's ward of the hospital, representing the circumstances of its foundation, and the exercises of christian charity bestowed upon the sick, the dying, and the indigent. On comparing these, one with another, the artist displays considerable improvement, and a greater freedom than usual from the old dryness: his design and perspective are better, his compositions more scientific; without taking into account the richness and variety of ideas, which he has in common with the artists of this school. From those pictures Raffaello and Pinturicchio, while painting at Siena, took many of their notions of national costume, and, perhaps, of some other particulars: for it is characteristic of great minds to derive advantage even from examples not above mediocrity.
Thus the art was gradually advancing in the republic, when new opportunities were afforded for producing works on a grand scale; occasions in which genius is developed and invigorated. Siena gave Pius II. to the chair of S. Peter, who, to the most ardent love of his country, united a taste for magnificence; and during his residence in the city, it was embellished with architecture, and every kind of ornament. He would have been still more profuse, had he not, disgusted with the ingratitude of the people, turned his attention and beneficence to Rome. Among other advantages he conferred on the state of Siena, was that of adding to its territory the city of Corsignano, his native place; which from him was afterwards called Pienza. The new city received from him another form, and new edifices, among which was the cathedral. It was erected in 1462, and for its decoration he invited the best artists of Siena, Ansano and Lorenzo di Pietro, Giovanni di Paolo, and Matteo his son. Their style was laborious and minute; the universal character of that age: for the manner of painting was introduced and transferred from one country into another, without our being able to discover where it originated; but in the arts depending on design, as we have before remarked, when the path is once opened, the natural genius of each school will regulate its further progress. These four artists are mentioned in the catalogue of Sienese artists; and Ansano, or Sano, at one time enjoyed the highest reputation. About 1422 he had painted the beautiful fresco which still remains over the Roman gate; and which represents the Coronation of the Virgin: it is much in the style of Simone, and in some respects it surpasses him. A picture by this artist of inferior merit remains in the church of Pienza. Lorenzo di Pietro, surnamed Il Vecchietta, was eminent in sculpture and in casting in bronze; and he is noticed by Vasari. He was less successful in painting, and offends by hardness, as far as we can determine from the small remains of him in Siena, for there are none existing at Pienza. A picture of his, with the date 1457, was lately added to the Medicean gallery. Giovanni di Paolo makes a good figure in Pienza; and a still better in a Descent from the Cross, painted four years afterwards in the Osservanza of Siena; in which the defects of the age are counterbalanced by qualities, at that time by no means common, displaying a considerable knowledge of the naked figure.
Matteo di Giovanni was then young, but surpassed them all in the extent of his genius. This is the Matteo denominated by some the Masaccio of this school, although there is a great distance between him and the Florentine Masaccio. The new style of Matteo begins to be recognized in one of his two pictures in the cathedral. He afterwards improved it in his works in the church of S. Domenico, at Siena, in Madonna della Neve, and in some other churches; and it was he who first excited the Neapolitan school to attempt a less antiquated style. Having learnt the process of painting in oil, he imparted sufficient softness to his figures; and from his intimacy with Francesco di Giorgio, a celebrated architect,[272] he imbibed a good taste in buildings, and diversified them very ingeniously with alto and basso-relievos. He foreshortened level objects well; he cast draperies with more of nature, and with less frippery than was common in that age; if he imparted little beauty to the features, he attained, at least, variety of expression; and was sufficiently attentive in marking the muscles and veins in his figures. He did not always aim at novelty and display in his invention; on the contrary, after painting a Murder of the Innocents, which was his best composition,[273] he often repeated it in Siena, and in Naples, but always with improvements: his most studious picture on this subject is that at the Servi of Siena, painted in 1491, which must have been near the close of his life. He was accustomed to introduce into his pictures some episode, unconnected with the principal story, in small figures, a style in which he excelled. The noble house of Sozzini and some other families in Siena, possess several of his small pictures. As an artist, he is inferior to Bellini, to Francia, or Vannucci; but surpasses many others. Another eminent Sienese, who flourished in the first ages of oil painting, is made known to us by Ciriaco Anconitano,[274] who was acquainted with him in 1449, at the court of Leonello, Marquis of Este. This artist was named Angelo Parrasio: he painted the nine muses in the palace of Belfiore, near Ferrara, in imitation of the manner of Giovanni and Ruggieri da Bruggia.
[247] See Lettere Sanesi, tom. ii. let. 23, addressed to the author of this work.
[248] See Lett. Sen. tom. ii. p. 23, et sequent.
[249] In regard to these documents the public is much indebted to the Abate Ciaccheri, the learned librarian of the city, who employed himself for many years in collecting them; but his eyes failing him, it became necessary that others should publish them: the excellent historian has frequently made mention of him.
[250] The work was published by Trombelli, at Bologna, in 1766. Della Valle, tom. i. p. 278. What he adds, that this very Oderico may be the Oderigi da Gubbio, noticed by Dante in the xith canto of his Purgatorio, ought not to be admitted. Dante might, for the sake of rhyme, change Oderico into Oderigi; but he has said, in the middle of the verse, that the celebrated miniature painter was a native of Gubbio. Moreover, the latter, who died about 1300, could not have painted in 1213.
[251] See Della Valle, tom. ii. p. 273.
[252] This is an Annunciation, with the following verse:
Virgo parit Christum velut Angelus intimat ipso.
The error in the last word stands on the picture.
[253] Hard by the cathedral of that city there are two lions, on one of which, in a mixture of Greek and Latin characters, is written,
Mahister Thexde fevit (fecit) & fevit fieri ambos istos.
[254] See Lettere Sanesi, tom. i. p. 243.
[255] Tom. ii. p. 15.
[256] P. 288.
[257] See Lett. Sen. tom. ii. p. 276.
[258] Vigintiquinque Christi cum mille ducentis, &c. Vide Piacenza, tom. i. p. 70. Baldinucci was extremely diligent in his research of epochs; but he took care not to mention this, inasmuch as it overturned his system.
[259] History only gives him some assistants in mosaic; at Pisa Tafi and Gaddo Gaddi; at Rome, in S. Maria Maggiore, a Franciscan monk, who there executed a portrait of himself, and inscribed his name, that is now illegible, and his native place, which was Camerino. One F. Giacomo da Camerino painted in the cathedral of Orvieto in 1321, and it is probable that this is the same artist.
[260] See ante, p. 14.
[261] See Lett. Sen. p. 279.
[262] Lett. Sen. tom. i. p. 277.
[263] Ibid. tom. ii. p. 69.
[264] Martino was the father of Simone; Memmo or Guglielmo his father-in-law; and in the inscriptions on his pictures he sometimes assumes the one name, and sometimes the other. Benvoglienti.
[265] I conjecture this on the authority of Vasari, who says, that he died in 1345, at the age of 60. In the genuine books at S. Domenico, of Siena, we find this sentence "Magister Simon Martini pictor mortuus est in curiâ; cujus exequias fecimus … 1344." Since Vasari approaches so near the truth in the time of the painter's death, we may reasonably credit him also in his age. Mancini says he was born about 1270; which gives occasion for P. della Valle to mention Simone as a contemporary, and a competitor of Giotto at Rome. I cannot agree with him on this date, and the information drawn by him from books belonging to the Sienese hospital, that Simone was in Siena in 1344, only a few months before his death, at the court of the Pope at Avignon, strengthens my opinion. I cannot believe that an old man of seventy-four would transfer his residence from Siena to Avignon. If we credit Vasari the difficulty vanishes, inasmuch as Simone, being then scarcely sixty, might be equal to undertake so long a journey.
[266] See Lett. Senesi, tom. ii. p. 101.
[267] There is on it A. D. 1333, Simon Martini et Lippus Memmi de Senis me pinxerunt. It is now in the ducal gallery at Florence. It may be remarked on the chronology of this painter, that where we find not Memmi but only Lippo or Filippo, it does not always seem intended for him. Thus the M. Filippo, who received a sum of money in 1308, and that Lippo, who, in 1361, is said to be the assistant of another artist, (Lett. Sen. tom. ii. p. 110), most probably are not to be identified with Memmi. He was younger than his relation, and according to Vasari, survived him 14 years.
[268] Statuti dell' arte de' Pittori Senesi.
[269] This Guido da Siena is, perhaps, the one mentioned by Sacchetti in his eighty-fourth tale, and of whom there remains a picture in the church of S. Antonio, painted in 1362. Baldinucci.
[270] Manfredi.
[271] In the parish church of S. Gimignano is an historical fresco of this artist, dated 1356, and in that of S. Agostino, a painting in a much better style, according to Vasari, executed in 1388, which date P. della Valle gives as 1358.
[272] He was a good sculptor; and, according to the custom of the time of uniting the three sister arts, he also practised painting, but not with great success. I have not seen any of his pictures but a Nativity, in which he chiefly appears emulous of Mantegna. It is in the possession of Sig. Abate Ciaccheri, whose collection will greatly assist any one desirous of becoming acquainted with this school.
[273] An engraving of it is in the third volume of Lettere Sanesi.
[274] In the fragment of a letter, quoted by Sig. Abate Colucci in Antichità Picene, tom. xv. p. 143. "Cujus nempe inclytæ artis et eximii artificum ingenii egregium equidem imitatorem Angelum Parrasium Senensem, recens picturæ in Latio specimen vidimus," &c.
