CHAPTER V.

ITALIAN PAINTING.

GOTHIC PERIOD. 1250-1400.

BOOKS RECOMMENDED: As before, Burckhardt, Crowe and Cavalcaselle, Eastlake, Lafenestre, Lanzi, Lindsay, Reber; also Burton, _Catalogue of Pictures in the National Gallery, London_ (_unabridged edition_); Cartier, _Vie de Fra Angelico_; Forster, _Leben und Werke des Fra Angelico_; Habich, _Vade Mec.u.m pour la Peinture Italienne des Anciens Maitres_; Lacroix, _Les Arts au Moyen-Age et a la epoque de la Renaissance_; Mantz, _Les Chefs-d'oeuvre de la Peinture Italienne_; Morelli, _Italian Masters in German Galleries_; Morelli, _Italian Masters, Critical Studies in their Works_; Rumohr, _Italienische Forschungen_; Selincourt, _Giotto_; Stillman, _Old Italian Masters_; Vasari, _Lives of the Most Eminent Painters_; consult also General Bibliography (p.

xv).

SIGNS OF THE AWAKENING: It would seem at first as though nothing but self-destruction could come to that struggling, praying, throat-cutting population that terrorized Italy during the Mediaeval Period. The people were ignorant, the rulers treacherous, the pa.s.sions strong, and yet out of the Dark Ages came light. In the thirteenth century the light grew brighter, but the internal dissensions did not cease. The Hohenstaufen power was broken, the imperial rule in Italy was crushed. Pope and emperor no longer warred each other, but the cries of "Guelf" and "Ghibelline" had not died out.

Throughout the entire Romanesque and Gothic periods (1000-1400) Italy was torn by political wars, though the free cities, through their leagues of protection and their commerce, were prosperous. A commercial rivalry sprang up among the cities. Trade with the East, manufactures, banking, all flourished; and even the philosophies, with law, science, and literature, began to be studied. The spirit of learning showed itself in the founding of schools and universities.

Dante, Petrarch, and Boccaccio, reflecting respectively religion, cla.s.sic learning, and the inclination toward nature, lived and gave indication of the trend of thought. Finally the arts, architecture, sculpture, painting, began to stir and take upon themselves new appearances.

SUBJECTS AND METHODS: In painting, though there were some portraits and allegorical scenes produced during the Gothic period, the chief theme was Bible story. The Church was the patron, and art was only the servant, as it had been from the beginning. It was the instructor and consoler of the faithful, a means whereby the Church made converts, and an adornment of wall and altar. It had not entirely escaped from symbolism. It was still the portrayal of things for what they meant, rather than for what they looked. There was no such thing then as art for art's sake. It was art for religion's sake.

The demand for painting increased, and its subjects multiplied with the establishment at this time of the two powerful orders of Dominican and Franciscan monks. The first exacted from the painters more learned and instructive work; the second wished for the crucifixions, the martyrdoms, the dramatic deaths, wherewith to move people by emotional appeal. To offset this the ultra-religious character of painting was encroached upon somewhat by the growth of the painters' guilds, and art production largely pa.s.sing into the hands of laymen. In consequence painting produced many themes, but, as yet, only after the Byzantine style. The painter was more of a workman than an artist. The Church had more use for his fingers than for his creative ability. It was his business to transcribe what had gone before. This he did, but not without signs here and there of uneasiness and discontent with the pattern. There was an inclination toward something truer to nature, but, as yet, no great realization of it. The study of nature came in very slowly, and painting was not positive in statement until the time of Giotto and Lorenzetti.

[Ill.u.s.tration: FIG. 22.--GIOTTO, FLIGHT INTO EGYPT. ARENA CHAP.

PADUA.]

The best paintings during the Gothic period were executed upon the walls of the churches in fresco. The prepared color was laid on wet plaster, and allowed to soak in. The small altar and panel pictures were painted in distemper, the gold ground and many Byzantine features being retained by most of the painters, though discarded by some few.

CHANGES IN THE TYPE, ETC.: The advance of Italian art in the Gothic age was an advance through the development of the imposed Byzantine pattern. It was not a revolt or a starting out anew on a wholly original path. When people began to stir intellectually the artists found that the old Byzantine model did not look like nature. They began, not by rejecting it, but by improving it, giving it slight movements here and there, turning the head, throwing out a hand, or shifting the folds of drapery. The Eastern type was still seen in the long pathetic face, oblique eyes, green flesh tints, stiff robes, thin fingers, and absence of feet; but the painters now began to modify and enliven it. More realistic Italian faces were introduced, architectural and landscape backgrounds encroached upon the Byzantine gold grounds, even portraiture was taken up.

This looks very much like realism, but we must not lay too much stress upon it. The painters were taking notes of natural appearances. It showed in features like the hands, feet, and drapery; but the anatomy of the body had not yet been studied, and there is no reason to believe their study of the face was more than casual, nor their portraits more than records from memory.

No one painter began this movement. The whole artistic region of Italy was at that time ready for the advance. That all the painters moved at about the same pace, and continued to move at that pace down to the fifteenth century, that they all based themselves upon Byzantine teaching, and that they all had a similar style of working is proved by the great difficulty in attributing their existing pictures to certain masters, or even certain schools. There are plenty of pictures in Italy to-day that might be attributed to either Florence or Sienna, Giotto or Lorenzetti, or some other master; because though each master and each school had slight peculiarities, yet they all had a common origin in the art traditions of the time.

[Ill.u.s.tration: FIG. 23.--ORCAGNA, PARADISE (DETAIL). S. M. NOVELLA, FLORENCE.]

FLORENTINE SCHOOL: Cimabue (1240?-1302?) seems the most notable instance in early times of a Byzantine-educated painter who improved upon the traditions. He has been called the father of Italian painting, but Italian painting had no father. Cimabue was simply a man of more originality and ability than his contemporaries, and departed further from the art teachings of the time without decidedly opposing them. He retained the Byzantine pattern, but loosened the lines of drapery somewhat, turned the head to one side, infused the figure with a little appearance of life. His contemporaries elsewhere in Italy were doing the same thing, and none of them was any more than a link in the progressive chain.

Cimabue's pupil, Giotto (1266?-1337), was a great improver on all his predecessors because he was a man of extraordinary genius. He would have been great in any time, and yet he was not great enough to throw off wholly the Byzantine traditions. He tried to do it. He studied nature in a general way, changed the type of face somewhat by making the jaw squarer, and gave it expression and n.o.bility. To the figure he gave more motion, dramatic gesture, life. The drapery was cast in broader, simpler ma.s.ses, with some regard for line, and the form and movement of the body were somewhat emphasized through it. In methods Giotto was more knowing, but not essentially different from his contemporaries; his subjects were from the common stock of religious story; but his imaginative force and invention were his own. Bound by the conventionalities of his time he could still create a work of n.o.bility and power. He came too early for the highest achievement. He had genius, feeling, fancy, almost everything except accurate knowledge of the laws of nature and art. His art was the best of its time, but it still lacked, nor did that of his immediate followers go much beyond it technically.

Taddeo Gaddi (1300?-1366?) was Giotto's chief pupil, a painter of much feeling, but lacking in the large elements of construction and in the dramatic force of his master. Agnolo Gaddi (1333?-1396?), Antonio Veneziano (1312?-1388?), Giovanni da Milano (fl. 1366), Andrea da Firenze (fl. 1377), were all followers of the Giotto methods, and were so similar in their styles that their works are often confused and erroneously attributed. Giottino (1324?-1357?) was a supposed imitator of Giotto, of whom little is known. Orcagna (1329?-1376?) still further advanced the Giottesque type and method. He gathered up and united in himself all the art teachings of his time. In working out problems of form and in delicacy and charm of expression he went beyond his predecessors. He was a many-sided genius, knowing not only in a matter of natural appearance, but in color problems, in perspective, shadows, and light. His art was further along toward the Renaissance than that of any other Giottesque. He almost changed the character of painting, and yet did not live near enough to the fifteenth century to accomplish it completely. Spinello Aretino (1332?-1410?) was the last of the great Giotto followers. He carried out the teachings of the school in technical features, such as composition, drawing, and relief by color rather than by light, but he lacked the creative power of Giotto. In fact, none of the Giottesque can be said to have improved upon the master, taking him as a whole.

Toward the beginning of the fifteenth century the school rather declined.

SIENNESE SCHOOL: The art teachings and traditions of the past seemed deeper rooted at Sienna than at Florence. Nor was there so much attempt to shake them off as at Florence. Giotto broke the immobility of the Byzantine model by showing the draped figure in action. So also did the Siennese to some extent, but they cared more for the expression of the spiritual than the beauty of the natural. The Florentines were robust, resolute, even a little coa.r.s.e at times; the Siennese were more refined and sentimental. Their fancy ran to sweetness of face rather than to bodily vigor. Again, their art was more ornate, richer in costume, color, and detail than Florentine art; but it was also more finical and narrow in scope.

[Ill.u.s.tration: FIG. 24.--A. LORENZETTI. PEACE (DETAIL). TOWN-HALL, SIENNA.]

There was little advance upon Byzantinism in the work of Guido da Sienna (fl. 1275). Even Duccio (1260?----?), the real founder of the Siennese school, retained Byzantine methods and adopted the school subjects, but he perfected details of form, such as the hands and feet, and while retaining the long Byzantine face, gave it a melancholy tenderness of expression. He possessed no dramatic force, but had a refined workmanship for his time--a workmanship perhaps better, all told, than that of his Florentine contemporary, Cimabue.

Simone di Martino (1283?-1344?) changed the type somewhat by rounding the form. His drawing was not always correct, but in color he was good and in detail exact and minute. He probably profited somewhat by the example of Giotto.

The Siennese who came the nearest to Giotto's excellence were the brothers Ambrogio (fl. 1342) and Pietro (fl. 1350) Lorenzetti. There is little known about them except that they worked together in a similar manner. The most of their work has perished, but what remains shows an intellectual grasp equal to any of the age. The Sienna frescos by Ambrogio Lorenzetti are strong in facial character, and some of the figures, like that of the white-robed Peace, are beautiful in their flow of line. Lippo Memmi (?-1356), Bartolo di Fredi (1330-1410), and Taddeo di Bartolo (1362-1422), were other painters of the school. The late men rather carried detail to excess, and the school grew conventional instead of advancing.

TRANSITION PAINTERS: Several painters, Starnina (1354-1413), Gentile da Fabriano (1360?-1440?), Fra Angelico (1387-1455), have been put down in art history as the makers of the transition from Gothic to Renaissance painting. They hardly deserve the t.i.tle. There was no transition. The development went on, and these painters, coming late in the fourteenth century and living into the fifteenth, simply showed the changing style, the advance in the study of nature and the technic of art. Starnina's work gave strong evidence of the study of form, but it was no such work as Masaccio's. There is always a little of the past in the present, and these painters showed traces of Byzantinism in details of the face and figure, in coloring, and in gold embossing.

Gentile had all that nicety of finish and richness of detail and color characteristic of the Siennese. Being closer to the Renaissance than his predecessors he was more of a nature student. He was the first man to show the effect of sunlight in landscape, the first one to put a gold sun in the sky. He never, however, outgrew Gothic methods and really belongs in the fourteenth century. This is true of Fra Angelico. Though he lived far into the Early Renaissance he did not change his style and manner of work in conformity with the work of others about him. He was the last inheritor of the Giottesque traditions. Religious sentiment was the strong feature of his art. He was behind Giotto and Lorenzetti in power and in imagination, and behind Orcagna as a painter. He knew little of light, shade, perspective, and color, and in characterization was feeble, except in some late work. One face or type answered him for all cla.s.ses of people--a sweet, fair face, full of divine tenderness. His art had enough nature in it to express his meanings, but little more. He was pre-eminently a devout painter, and really the last of the great religionists in painting.

[Ill.u.s.tration: FIG. 25.--FRA ANGELICO. ANGEL (DETAIL). UFFIZI.]

The other regions of Italy had not at this time developed schools of painting of sufficient consequence to mention.

PRINc.i.p.aL WORKS: FLORENTINES--Cimabue, Madonnas S. M.

Novella and Acad. Florence, frescos Upper Church of a.s.sisi (?); Giotto, frescos Upper and Lower churches a.s.sisi, best work Arena chapel Padua, Bardi and Peruzzi chapels S. Croce, injured frescos Bargello Florence; Taddeo Gaddi, frescos entrance wall Baroncelli chapel S. Croce, Spanish chapel S.

M. Novella (designed by Gaddi (?)); Agnolo Gaddi frescos in choir S. Croce, S. Jacopo tra Fossi Florence, panel pictures Florence Acad.; Giovanni da Milano, Bewailing of Christ Florence Acad., Virgin enthroned Prato Gal., altar-piece Uffizi Gal., frescos S. Croce Florence; Antonio Veneziano, frescos in ceiling of Spanish chapel, S. M. Novella, Campo Santo Pisa; Orcagna, altar-piece Last Judgment and Paradise Strozzi chapel S. M. Novella, S. Zen.o.bio Duomo, Saints Medici chapel S. Croce, Descent of Holy Spirit Badia Florence, altar-piece Nat. Gal. Lon.; Spinello Aretino, Life of St. Benedict S. Miniato al Monte near Florence, Annunciation Convent degl' Innocenti Arezzo, frescos Campo Santo Pisa, Coronation Florence Acad., Barbarossa frescos Palazzo Publico Sienna; Andrea da Firenze, Church Militant, Calvary, Crucifixion Spanish chapel, Upper series of Life of S. Raniera Campo Santo Pisa.

SIENNESE--Guido da Sienna, Madonna S. Domenico Sienna; Duccio, panels Duomo and Acad. Sienna, Madonna Nat. Gal.

Lon.; Simone di Martino, frescos Palazzo Pubblico, Sienna, altar-piece and panels Seminario Vescovile, Pisa Gal., altar-piece and Madonna Opera del Duomo Orvieto; Lippo Memmi, frescos Palazzo del Podesta S. Gemignano, Annunciation Uffizi Florence; Bartolo di Fredi, altar-pieces Acad. Sienna, S. Francesco Montalcino; Taddeo di Bartolo, Palazzo Pubblico Sienna, Duomo, S. Gemignano, S. Francesco Pisa; Ambrogio Lorenzetti, frescos Palazzo Pubblico Sienna, Triumph of Death (with Pietro Lorenzetti) Campo Santo Pisa, St. Francis frescos Lower Church a.s.sisi, S. Francesco and S.

Agostino Sienna, Annunciation Sienna Acad., Presentation Florence Acad.; Pietro Lorenzetti, Virgin S. Ansano, altar-pieces Duomo Sienna, Parish Church of Arezzo (worked with his brother Ambrogio).

TRANSITION PAINTERS: Starnina, frescos Duomo Prato (completed by pupil); Gentile da Fabriano, Adoration Florence Acad., Coronation Brera Milan, Madonna Duomo Orvieto; Fra Angelico, Coronation and many small panels Uffizi, many pieces Life of Christ Florence Acad., other pieces S. Marco Florence, Last Judgment Duomo, Orvieto.

CHAPTER VI.

ITALIAN PAINTING.

EARLY RENAISSANCE. 1400-1500.

BOOKS RECOMMENDED: As before, Burckhardt, Crowe and Cavalcaselle, Eastlake, Lafenestre, Lanzi, Habich, Lacroix, Mantz, Morelli, Burton, Rumohr, Stillman, Vasari; also Crowe and Cavalcaselle, _History of Painting in North Italy_; Berenson, _Florentine Painters of Renaissance_; Berenson, _Venetian Painters of Renaissance_; Berenson, _Central Italian Painters of Renaissance_; _Study and Criticism of Italian Art_; Boschini, _La Carta del Navegar_; Calvi, _Memorie della Vita ed opere di Francesco Raibolini_; Cibo, _Niccolo Alunno e la scuola Umbra_; Citadella, _Notizie relative a Ferrara_; Cruttwell, _Verrocchio_; Cruttwell, _Pollaiuolo_; Morelli, Anonimo, _Notizie_; Mezzanotte, _Commentario della Vita di Pietro Vanucci_; Mundler, _Essai d'une a.n.a.lyse critique de la Notice des tableaux Italiens au Louvre_; Muntz, _Les Precurseurs de la Renaissance_; Muntz, _La Renaissance en Italie et en France_; Patch, _Life of Masaccio_; Hill, Pisanello, _Publications of the Arundel Society_; Richter, _Italian Art in National Gallery, London_; Ridolfi, _Le Meraviglie dell' Arte_; Rosini, _Storia della Pittura Italiana_; Schnaase, _Geschichte der bildenden Kunste_; Symonds, _Renaissance in Italy--the Fine Arts_; Vischer, _Lucas Signorelli und die Italienische Renaissance_; Waagen, _Art Treasures_; Waagen, _Andrea Mantegna und Luca Signorelli_ (in _Raumer's Taschenbuch_, (1850)); Zanetti, _Della Pittura Veneziana_.

THE ITALIAN MIND: There is no way of explaining the Italian fondness for form and color other than by considering the necessities of the people and the artistic character of the Italian mind. Art in all its phases was not only an adornment but a necessity of Christian civilization. The Church taught people by sculpture, mosaic, miniature, and fresco. It was an object-teaching, a grasping of ideas by forms seen in the mind, not a presenting of abstract ideas as in literature. Printing was not known. There were few ma.n.u.scripts, and the majority of people could not read. Ideas came to them for centuries through form and color, until at last the Italian mind took on a plastic and pictorial character. It saw things in symbolic figures, and when the Renaissance came and art took the lead as one of its strongest expressions, painting was but the color-thought and form-language of the people.

[Ill.u.s.tration: FIG. 26.--FRA FILIPPO. MADONNA. UFFIZI.]

And these people, by reason of their peculiar education, were an exacting people, knowing what was good and demanding it from the artists. Every Italian was, in a way, an art critic, because every church in Italy was an art school. The artists may have led the people, but the people spurred on the artists, and so the Italian mind went on developing and unfolding until at last it produced the great art of the Renaissance.

THE AWAKENING: The Italian civilization of the fourteenth century was made up of many impulses and inclinations, none of them very strongly defined. There was a feeling about in the dark, a groping toward the light, but the leaders stumbled often on the road. There was good reason for it. The knowledge of the ancient world lay buried under the ruins of Rome. The Italians had to learn it all over again, almost without a precedent, almost without a preceptor. With the fifteenth century the horizon began to brighten. The Early Renaissance was begun. It was not a revolt, a reaction, or a starting out on a new path. It was a development of the Gothic period; and the three inclinations of the Gothic period--religion, the desire for cla.s.sic knowledge, and the study of nature--were carried into the art of the time with greater realization.

The inference must not be made that because nature and the antique came to be studied in Early Renaissance times that therefore religion was neglected. It was not. It still held strong, and though with the Renaissance there came about a strange mingling of crime and corruption, aestheticism and immorality, yet the Church was never abandoned for an hour. When enlightenment came, people began to doubt the spiritual power of the Papacy. They did not cringe to it so servilely as before. Religion was not violently embraced as in the Middle Ages, but there was no revolt. The Church held the power and was still the patron of art. The painter's subjects extended over nature, the antique, the fable, allegory, history, portraiture; but the religious subject was not neglected. Fully three-quarters of all the fifteenth-century painting was done for the Church, at her command, and for her purposes.

But art was not so wholly pietistic as in the Gothic age. The study of nature and the antique materialized painting somewhat. The outside world drew the painter's eyes, and the beauty of the religious subject and its sentiment were somewhat slurred for the beauty of natural appearances. There was some loss of religious power, but religion had much to lose. In the fifteenth century it was still dominant.

[Ill.u.s.tration: FIG. 27.--BOTTICELLI. CORONATION OF MADONNA. UFFIZI.]

KNOWLEDGE OF THE ANTIQUE AND NATURE: The revival of antique learning came about in real earnest during this period. The scholars set themselves the task of restoring the polite learning of ancient Greece, studying coins and marbles, collecting ma.n.u.scripts, founding libraries and schools of philosophy. The wealthy n.o.bles, Palla Strozzi, the Albizzi, the Medici, and the Dukes of Urbino, encouraged it. In 1440 the Greek was taught in five cities. Immediately afterward, with Constantinople falling into the hands of the Turks, came an influx of Greek scholars into Italy. Then followed the invention of printing and the age of discovery on land and sea. Not the antique alone but the natural were being pried into by the spirit of inquiry. Botany, geology, astronomy, chemistry, medicine, anatomy, law, literature--nothing seemed to escape the keen eye of the time.

Knowledge was being acc.u.mulated from every source, and the arts were all reflecting it.

The influence of the newly discovered cla.s.sic marbles upon painting was not so great as is usually supposed. The painters studied them, but did not imitate them. Occasionally in such men as Botticelli and Mantegna we see a following of sculpturesque example--a taking of details and even of whole figures--but the general effect of the antique marbles was to impress the painters with the idea that nature was at the bottom of it all. They turned to the earth not only to study form and feature, but to learn perspective, light, shadow, color--in short, the technical features of art. True, religion was the chief subject, but nature and the antique were used to give it setting. All the fifteenth-century painting shows nature study, force, character, sincerity; but it does not show elegance, grace, or the full complement of color. The Early Renaissance was the promise of great things; the High Renaissance was the fulfilment.

FLORENTINE SCHOOL: The Florentines were draughtsmen more than colorists. The chief medium was fresco on the walls of buildings, and architectural necessities often dictated the form of compositions.