Читать книгу A Popular Handbook to the National Gallery, Volume I, Foreign Schools - National Gallery (Great Britain) - Страница 7

"Since we are teachers to unlearned men, who know not how to read, of the marvels done by the power and strength of holy religion, … and since no undertaking, however small, can have a beginning or an end without these three things, – that is, without the power to do, without knowledge, and without true love of the work; and since in God every perfection is eminently united; now, to the end that in this our calling, however unworthy it may be, we may have a good beginning and a good ending in all our works and deeds, we will earnestly ask the aid of the Divine grace, and commence by a dedication to the honour of the Name, and in the Name of the most Holy Trinity" (Extract from the Statutes of the Painters' Guild of Siena, 1355).

The school of Siena, though in the main closely resembling that of Florence, has yet an independent origin and a distinct character. There is a "Madonna" at Siena, painted in 1281, which is decidedly superior to such work as Margaritone's (564). But the start which Siena obtained at first was soon lost; and at a time when Florentine art was finding new directions, that at Siena was running still in the old grooves. This was owing to the markedly religious character of its painting, shown in the tone of the statutes above quoted. Such religious fervour seems at first sight inconsistent with the character of a people who were famed for factious quarrels and delicate living.20 But "the contradiction is more apparent than real. The people of Siena were highly impressible and emotional, quick to obey the promptings of their passion, whether it took the form of hatred or of love, of spiritual fervour or of carnal violence. The religious feeling was a passion with them, on a par with all the other movements of their quick and mobile temperament."21 Sienese art reflects this spirit; it is like the religion of their St. Catherine, rapt and ecstatic. The early Florentine pictures are not very dissimilar; but in Siena the same kind of art lasted much longer. In the work, for instance, of Matteo di Giovanni (see 1155), there is still the same expression of religious ecstasy, and the same prodigal use of gold in the background, as marked the works of the preceding century; yet he was contemporary with the Florentine Botticelli, who introduced many new motives into art. Matteo was the best Sienese painter of the fifteenth century, and with him the independent school of Siena comes to an end. Girolamo del Pacchia (246) betrays the influence of Florence; whilst Il Sodoma (1144), who settled at Siena and had many pupils, was not a native, and shows in his style no affinity with the true Sienese School. Peruzzi (218), on the other hand, was a native of Siena, but belongs in his artistic development to the Roman School.