About 1231, he sculptured at Bologna the urn of San Domenico, and from this, as a remarkable event, he was named "_Niccola of the Urn_." He afterwards executed in a much superior style, the Last Judgment, for the cathedral of Orvieto, and the pulpit in the church of San Giovanni, at Pisa; works that demonstrate to the world that design, invention, and composition, received from him a new existence. He was succeeded by Arnolfo Florentino, his scholar, the sculptor of the tomb of Boniface VIII. in San Pietro at Rome; and by his son Giovanni, who executed the monuments of Urban IV. and of Benedict IX. in Perugia. He afterwards completed the great altar of San Donato, at Arezzo, the cost of which was thirty thousand gold florins; besides many other works which remain in Naples and in several cities of Tuscany. Andrea Pisano was his a.s.sociate, and probably also his disciple in Perugia, who, after establishing himself in Florence, ornamented with statues the cathedral and the church of San Giovanni in that city; and in twenty-two years finished the great gate of bronze "to which we are indebted for all that is excellent, difficult, or beautiful in the other two, which are the workmanship of succeeding artists." He was, in fact, the founder of that great school that successively produced Orcagna, Donatello, and the celebrated Ghiberti, who fabricated those gates for the same church, which Michelagnolo p.r.o.nounced worthy to form the entrance of Paradise.

After Andrea, we may notice Giovanni Balducci, of Pisa, whose era, country, and style, all lead us to suppose him one of the same school.

He was an excellent artist, and was employed by Castruccio, Lord of Lucca, and by Azzone Visconti, Prince of Milan; where he flourished, and left, among other monuments of his art, the tomb of San Pietro Martire, at S. Eustorgio, which is so highly praised by Torre, by Lattuada, and by various other learned ill.u.s.trators of Milanese antiquities.[35] Two eminent artists, natives of Siena, proceeded from the school of Gio.

Pisano, namely, the two brothers, Agnolo and Agostino, who are greatly commended by Vasari as improvers of the art. Whoever has seen the sepulchre of Guido, bishop of Arezzo, which is decorated with an infinity of statues and ba.s.so-relievos, representing pa.s.sages of his life, will not only find reason to admire in them the design, which was the work of Giotto, but the execution of the sculpture. The brothers also executed many of their own designs in Orvieto, in Siena, and in Lombardy, where they brought up several pupils, who for a long period pursued their manner, and diffused it over Italy.

To the improvement of sculpture succeeded that of mosaic, through the efforts of another Tuscan, belonging to the order of minor friars, named Fra Jacopo, or Fra Mino da Turrita, from a place in the territory of Siena. It is not known whether he was instructed in his art by the Romans or by the Greek workers in mosaic,[36] but it is well ascertained that he very far surpa.s.sed them. On examining what remains of his works in Santa Maria Maggiore at Rome, one can hardly be persuaded that it is the production of so rude an age, did not history constrain us to believe it. It appears probable that he took the ancients for his models, and deduced his rules from the more chaste specimens of mosaic, still remaining in several of the Roman churches, the design of which is less crude, the att.i.tudes less forced, and the composition more skilful, than were exhibited by the Greeks who ornamented the church of San Marco, at Venice. Mino surpa.s.sed them in every thing. From 1225, when he executed, however feebly, the mosaic of the tribune of the church of San Giovanni, at Florence, he was considered at the head of the living artists in mosaic.[37] He merited this praise much more by his works at Rome, and it appears that he long maintained his reputation. Vasari has not been sufficiently just to the fame of Turrita, in noticing him only casually in the life of Tafi, but the verses he recites, and the commissions he mentions, demonstrate how greatly Turrita was esteemed by his contemporaries. It is maintained that he was also a painter, but this is a mistake which will be cleared up in the Sienese school, and both there and elsewhere I shall question the authority of any author who either greatly commends or underrates him.

From a deficiency of _specimens_, like those above recorded, painting long remained in a more rude state than mosaic, and was very far behind sculpture. But we must not imagine, that at the birth of Cimabue, in 1240, the race of artists was entirely extinct, as erroneously a.s.serted by Vasari: this must be deemed an exaggeration, for he himself has recounted several sculptors, architects, and painters then living; and the general scope of his less cautious expressions, against which so many writers have inveighed, and still continue to declaim, favours this opinion. I shall be constrained to advert, in almost every book, to their accusations, and to produce the names of the artists who then lived. I shall commence with those who then flourished in Tuscany. The city of Pisa, at this time, had not only painters, but a school for each of the fine arts[38]. The distinguished Signor Morrona, who has ill.u.s.trated the Pisan antiquities, deduces its origin immediately from Greece. The Pisans, already very powerful by sea and land, having resolved in 1063 to erect the vast fabric of their cathedral, had drawn thither artists in miniature, and other painters, at the same time with Buschetto the architect, and these men educated pupils for the city. The Greeks at that time were but ill qualified to instruct, for they knew little. Their first pupils in Pisa seem to have been a few anonymous artists, some of whose miniatures and rude paintings are still in existence. A parchment, containing the _exultet_, as usually sung on Sabbato Santo, is in the cathedral, and we may here and there observe, painted on it, figures in miniature, with plants and animals: it is a relique of the early part of the twelfth century, yet a specimen of art not altogether barbarous. There are likewise some other paintings of that century in the same cathedral, containing figures of our Lady, with the holy infant on her right arm: they are rude, but the progress of the same school may be traced from them to the time of Giunta. This artist lately received a fine eulogium, among other ill.u.s.trious Pisans, from Signor Tempesta, and he was fully ent.i.tled to it from the more early historians. His country possesses none of his undoubted pictures, except a crucifixion with his name, which is believed to be among his earliest productions, a print from which may be found in the third volume of _Pisa Ill.u.s.trata_. He executed better pictures in a.s.sisi, where he was invited to paint by Frat' Elia di Cortona, superior of the Minori, about the year 1230. From thence we are furnished with notices of his education, which is thus described by P. Angeli, the Historian of that cathedral: "Juncta Pisa.n.u.s ruditer a Graecis instructus, primus ex Italis, artem apprehendit circa An. Sal. 1210." In the church of the Angioli there is a better preserved work of the same master; it is a crucifixion, painted on a wooden cross; on the lateral edges and upper surface of which our Lady is represented, with two other half-length figures, and underneath the remains of an inscription are legible, which having copied on the spot, I do not hesitate to publish with its deficiencies now supplied:

_Iv_nTA PISa.n.u.s _Ivn_TINI ME _Fecit_.

I supply _Juntini_, because Signor da Morrona a.s.serts,[39] that about this time, a _Giunta da Giuntino_ is mentioned in the records of Pisa, whom by the aid of the _a.s.sisi_ inscription, I conjecture to be the painter we have now under notice. The figures are considerably less than life; the design is dry, the fingers excessively long, but these are _vitia non hominum sed temporum_; in short, this piece shews a knowledge of the naked figure, an expression of pain in the heads, and a disposition of the drapery, greatly superior to the efforts of the Greeks, his contemporaries. The handling of his colours is strong, although the flesh inclines to that of bronze; the local tints are judiciously varied, the chiaroscuro even shews some art, and the whole is not inferior, except in the proportions, to crucifixions with similar half figures usually ascribed to Cimabue. He painted at a.s.sisi another crucifixion, which is now lost, to which may be added, a portrait of Frat' Elia, with this inscription, "_F. Helias fecit fieri. Jesu Christe pie miserere precantis Heliae. Juncta Pisa.n.u.s me pinxit, An. D. 1236.

Indit. IX._" The inscription has been preserved by P. Wadingo in his annals of the Franciscan order for that year, and the historian describes the crucifixion as _affabre pictum_. The fresco works of Giunta were executed in the great church of the Franciscans, and according to Vasari he was there a.s.sisted by certain Greeks. Some busts and history pieces still remain in the gallery and the contiguous chapels, among which is the crucifixion of San Pietro, noticed in the _Etruria Pittrice_. Some believe that those paintings have been here and there injudiciously retouched, and this may serve to excuse the drawing, which may have been altered in many places, but the feebleness of the colouring cannot be denied. When they are compared with what Cimabue executed there about forty years afterwards, it seems that Giunta was not sufficiently forcible in this species of painting; perhaps he might have improved, but he is not mentioned after 1235; and it is conjectured that he died while yet a young man, at a distance from his native country. I am induced to believe so from observing, that Giunta di Giuntino is noticed in the records of Pisa, in the early part of that century, but not afterwards; and that Cimabue was sent for to paint the altar-piece and portrait of San Francesco of Pisa, about the year 1265, before he went to a.s.sisi. It is more likely that Giunta would have executed this, had he returned home from that city, where he had seen and perhaps painted the portrait of the Holy Father.[40]

From this school the art is believed to have spread in these early times over all Tuscany, although it must not be forgotten that there were miniature painters there as well as in the other parts of Italy, who, transferring their art from small to large works, like Franco of Bologna, betook themselves, and incited others to painting on walls and on panel. Whatever we may choose to believe, Siena, at this period, could boast her Guido, who painted from the year 1221, but not entirely in the manner of the Greeks, as we shall find under the Sienese school.

Lucca possessed in 1235 one Bonaventura Berlingieri. A San Francesco painted by him still exists in the castle of Guiglia, not far from Modena, which is described as a work of great merit for that age.[41]

There lived another artist about the year 1288, known by his production of a crucifixion which he left at San Cerbone, a short distance from the city with this inscription; "_Deodatus filius Orlandi de Luca me pinxit_, A. D. 1288." Margaritone of Arezzo was a disciple and imitator of the Greeks, and by all accounts he must have been born several years before Cimabue. He painted on canvas, and if we may credit Vasari, made the first discovery of a method of rendering his pictures more durable, and less liable to cracking. He extended canvas on the panel, laying it down with a strong glue, made of shreds of parchment, and covered the whole with a ground of gypsum, before he began to paint. He formed diadems and other ornaments of plaster, giving them relief from gilding and burnishing them. Some of his crucifixions remain in Arezzo, and one of them is in the church of the Holy Cross at Florence, near another by Cimabue; both are in the old manner, and not so different in point of merit, but that Margaritone, however rude, may be p.r.o.nounced as well ent.i.tled as Cimabue to the name of painter.

While the neighbouring cities had made approaches towards the new style, Florence, if we are to credit Vasari and his followers, was without a painter; but subsequent to the year 1250 some Greek painters were invited to Florence by the rulers of the city, for the express purpose of restoring the art of painting in Florence, where it was rather wholly lost than degenerated. To this a.s.sertion I have to oppose the learned dissertation of Doctor Lami, which I have just commended. Lami observes, that mention is made in the archives of the chapters of one Bartolommeo who painted in 1236, and that the picture of the Annunciation of our Lady, which is held in the highest veneration in the church of the Servi, was painted about that period. It is retouched in some parts of the drapery; it possesses, however, much originality, and for that age is respectably executed. When I prepared my first edition I had no knowledge of the work of Lami, which was not then published, and hence was unable to proceed further than to refute the opinion of those who ascribed this sacred figure to Cavallini, a pupil of Giotto. I reflected that the style of Cavallini appeared considerably more modern in his other works which I had examined at a.s.sisi, and at Florence; yet, various artists whom I consulted, and among others Signor Pacini, who had copied the Annunciation, disputed with me this diversity of style. I further adduced the form of the characters written there in a book, _Ecce Virgo concipiet, &c._ which resemble those of the thirteenth century; nor have they that profusion of lines which distinguishes the German, commonly denominated the Gothic character, which Cavallini and other pupils of Giotto always employed. I rejoice that the opinion of Lami confirms my conjecture, and stamps its authenticity; and it seems to me highly probable that the Bartolommeo, whom he indicates, is the individual to whom the memorandums of the Servi ascribe the production of their Annunciation about the year 1250. The same religious fraternity preserve, among their ancient paintings, a Magdalen, which appears from the design and inscription, a work of the thirteenth century; and we might instance several coeval pictures that still exist in their chapter house, and in other parts of the city.[42]

Having inserted these notices of ancient painters, and some others, which will be found scattered throughout the work, I turn to Vasari, and to the accusations laid to his charge. He is defended by Monsignor Bottari in a note at the conclusion of the life of Margaritone, taken from Baldinucci. He affirms, from his own observation, "That though each city had some painters, they were all as contemptible and barbarous as Margaritone, who, if compared to Cimabue, is unworthy of the name of painter." The examples already cited do not permit me to a.s.sent to this proposition; even Bottari himself will scarcely allow me to do so, as he observes, in another note on the life of Cimabue, "That he was the first who abandoned the manner of the Greeks, or at least who avoided it more completely than any other artist." But if others, such as Guido, Bonaventura, and Giunta, had freed themselves from it before his time, why are they not recorded as the first, in point of time, by Vasari? Did not their example open the new path to Cimabue? Did they not afford a ray of light to reviving art? Were they not in painting what the two Guidos were in poetry, who, however much surpa.s.sed by Dante, are ent.i.tled to the first place in a history of our poets? Vasari would therefore have acted better had he followed the example of Pliny, who commences with the rude designers, Ardices of Corinth, and Telephanes of Sicyon; he then minutely narrates the invention of Cleophantes the Corinthian, who coloured his designs with burnt earth; next, that of Eumarus the Athenian, who first represented the distinction of age and s.e.x. Then comes that of Cimon of Cleonae, who first expressed the various att.i.tudes of the head, and aimed at representing the truth, even in the joints of the fingers and the folds of the garments. Thus, the merits of each city, and every artist, appear in ancient history; and it seems to me just, that the same should be done, as far as possible, in modern history. These observations may, at present, suffice in regard to a subject that has been made a source of complaint and dispute among many writers.

Nevertheless it cannot be denied that there is no city to which painting is more indebted than to Florence, nor any name more proper to mark an epoch, whatever may be the opinion of Padre della Valle,[43] than that of Cimabue. The artists whom I have before mentioned had few followers; their schools, with the exception of that of Siena, languished, and were either gradually dispersed, or united themselves to that of Florence.

This school in a short time eclipsed every other, and has continued to flourish in a proud succession of artists, uninterrupted even down to our own days. Let us then trace it from its commencement.

Giovanni Cimabue, descended from ill.u.s.trious ancestors,[44] was both an architect and a painter. That he was the pupil of Giunta is conjectured in our times, only because the Greeks were less skilful than the Italians. It ought to be a previous question, whether the supposed scholar and master ever resided in the same place, which it would seem, after the observations before adduced, can scarcely be admitted.[45] It appears from history, that he learnt the art from some Greeks who were invited to Florence, and painted in S. Maria Novella, according to Vasari. It is an error to a.s.sert that they painted in the chapel of the Gondi, which was built a century after, together with the church; it was certainly in another chapel, under the church, where those Greek paintings were covered with plaister, and their place supplied by others, the work of a painter of the thirteenth century.[46]

Not long since a part of the new plaister fell down, and some of the very rude figures of those Greek painters became again visible. It is probable that Cimabue imitated them in early life, and perhaps at that time painted the S. Francesco and the little legends which surround it in the church of S. Croce. But, if I mistake not, it is doubtful who painted this picture; at least it neither has the manner nor the colouring of the works of Cimabue, even when young. I may refer to the S. Cecilia, with the implements of her martyrdom, in the church dedicated to that Saint, and which was afterwards removed to that of San Stefano, a picture greatly superior to that of S. Francesco.

However this may be, like other Italians of his age, Giovanni got the better of his Greek education, which seems to have consisted in one artist copying another without ever adding any thing to the practice of his master. He consulted nature, he corrected in part the rectilinear forms of his design, he gave expression to the heads, he folded the drapery, and he grouped the figures with much greater art than the Greeks. His talent did not consist in the graceful. His Madonnas have no beauty, his angels in the same piece have all the same forms. Wild as the age in which he lived, he succeeded admirably in heads full of character, especially in those of old men, impressing an indescribable degree of bold sublimity, which the moderns have not been able greatly to surpa.s.s. Vast and inventive in conception, he executed large compositions, and expressed them in grand proportions. His two great altar-pieces of the Madonna, at Florence, the one in the church of the Dominicans, the other in that of the Trinity, with the grand figures of the prophets, do not give so good an idea of his style as his fresco paintings in the church of a.s.sisi, where he appears truly magnificent for the age in which he lived. In these histories of the Old and New Testament, such as remain, he appears an Ennius, who, amid the rudeness of Roman epic poetry, gave flashes of genius not displeasing to a Virgil. Vasari speaks of him with admiration for the vigour of his colouring, and justly so of the pictures in the ceiling. They are still in a good state of preservation, and although some of the figures of Christ, and of the Virgin in particular, retain much of the Greek manner, others representing the Evangelists, and Doctors instructing the Monks of the Franciscan Order, from their chairs, exhibit an originality of conception and arrangement that does not appear in contemporary works. The colouring is bold, the proportions are gigantic even in the distance, and not badly preserved; in short, painting may there be said to have almost advanced beyond what the mosaic worker at first attempted to do. The whole of these, indeed, are steps in the progress of the human intellect not to be recounted in one history, and form beyond question the distinguishing excellence of the Florentine artist, when put into compet.i.tion with either the Pisans or the Sienese. Nor do I perceive how, after the authority of Vasari, who a.s.signs the work of the ceiling to Cimabue, confirmed by the tradition of five centuries, P.

della Valle is justified at this day, in ascribing that painting to Giotto, a painter of a milder genius. If he was induced to prefer other artists to Cimabue, because they gave the eyes less fierceness, and the nose a finer shape, these circ.u.mstances appear to me too insignificant to degrade Cimabue from that rank which he enjoys in impartial history.[47] He has moreover a.s.serted, that Cimabue neither promoted nor injured the Florentine school by his productions, a harsh judgment, in the opinion of those who have perused so many old writers belonging to the city who have celebrated his merits, and of those who have studied the works of the Florentine artists before his time, and seen how greatly Cimabue surpa.s.ses them.

If Cimabue was the Michelangiolo of that age, Giotto was the Raffaello.

Painting, in his hands, became so elegant, that none of his school, nor of any other, till the time of Masaccio, surpa.s.sed, or even equalled him, at least in gracefulness of manner. Giotto was born in the country, and was bred a shepherd; but he was likewise born a painter; and continually exercised his genius in delineating some object or other around him. A sheep which he had drawn on a flat stone, after nature, attracted the notice of Cimabue, who by chance pa.s.sed that way: he demanded leave of his father to take him to Florence, that he might afford him instruction; confident, that in him, he was about to raise up a new ornament to the art. Giotto commenced by imitating his master, but quickly surpa.s.sed him. An Annunciation, in the possession of the Fathers of Badia, is one of his earliest works. The style is somewhat dry, but shews a grace and diligence, that announced the improvement we afterwards discern. Through him symmetry became more chaste, design more pleasing, and colouring softer than before. The meagre hands, the sharp pointed feet, and staring eyes, remnants of the Grecian manner, all acquired more correctness under him.

It is not possible to a.s.sign the cause of this transition, as we are able to do in the case of later painters; but it is reasonable to conclude that it was not wholly produced, even by the almost divine genius of this artist, unaided by advent.i.tious circ.u.mstances. There is no necessity for sending him, as some have done, to be instructed at Pisa; his history does not warrant it, and an historian is not a diviner. Much less ought we to refer him to the school of F. Jacopo da Turrita, and give him Memmi and Lorenzetti for fellow pupils, who are not known to have been in Rome when F. Jacopo was distinguished for his best manner. But P. della Valle thinks he discovers in Giotto's first painting, the style and composition of Giunta, (Preface to Vasari, p.

17,) and in the pictures of Giotto at S. Croce, in Florence, which "_he has meditated upon a hundred times_," he recognizes F. Jacopo, and finds "_reason for opining_" that he was the master of Giotto. (Vide tom. ii.

p. 78.) When a person becomes attached to a system, he often sees and opines what no one else can possibly see or opine. In the same manner Baldinucci wished to refer to the school of Giotto, one Duccio da Siena, Vital di Bologna, and many others, as will be noticed; and he too argues upon a resemblance of style, which, to say truth, neither I nor any one I know can perceive. If I cannot then agree with Baldinucci, can I value his imitator? and more particularly as it is no question here of Vitale, or any other artist of mediocrity, almost unknown to history, but of Giotto himself. Is it likely, with a genius such as his, and born in an age not wholly barbarous, with the advantages enjoyed under Cimabue, especially in point of colouring, that he would take Giunta for his model, or listen to the instruction of Fra Mino, in order to excel his master. Besides, what advantage can be obtained from thus disturbing the order of chronology, violating history, and rejecting the tradition of Giotto's native school, in order to account for his new style?

It is most probable that, as the great Michelangiolo, by modelling and studying the antique, quickly surpa.s.sed in painting his master, Ghirlandaio, the same occurred with regard to Giotto. It is at least known that he was also a sculptor, and that his models were preserved till the time of Lorenzo Ghiberti. Nor was he without good examples.

There were specimens of antique sculpture at Florence, which may be yet seen near the cathedral, (not to mention those which he afterwards saw at Rome); and their merit, then already established by the practice of Niccola and Giovanni of Pisa, could not be unknown to Giotto, to whom nature had granted such a taste for the exquisite and the beautiful.

When one contemplates some of his heads of men; some of his forms, proportioned far beyond the littleness of his contemporaries; his taste in flowing, natural, and becoming drapery; some of his att.i.tudes after the manner of the antique, breathing grace and tranquillity, it is scarce possible to doubt that he derived no small advantage from ancient sculpture. His very defects discover this. A good writer (the author of the Guide of Bologna) remarks in him a style which partakes of statuary, contrary to the practice of contemporary foreign artists; a circ.u.mstance very common, as we shall observe, under the Roman school, to those painters who designed from statues. I shall be told that he probably derived a.s.sistance from the sculpture of the two Pisani; especially as Baldinucci has discovered a strong resemblance between his style and that of Giovanni, and some others also have noticed the circular compositions, the proportions and casting of the drapery which one perceives in the ba.s.so-relievos of the early Pisan school. I would not deny that he also availed himself of them; but it was perhaps in the manner that Raffaello profited by Michelangiolo, whose example taught him to imitate the antique. Nor let it be objected to me that the dryness of the design, the artifice of concealing the feet by long garments, the inaccuracy of the extremities, and similar defects, betray rather a Pisan than an Attic origin. This only proves, that when he became the founder of a style, he did not aim at giving it the perfection of which it was susceptible, and which it could hardly be expected to obtain amid the numerous avocations in which he appears to have been engaged; in short, I cannot persuade myself, that without the imitation of the antique, he could in so short a time have made such a progress, as to have been admired even by Bonarruoti himself.[48]

The first histories of the patriarch S. Francesco, at a.s.sisi, near the paintings of his master, shew how greatly he excelled him. As his work advanced he became more correct; and towards the conclusion, he already manifested a design more varied in the countenances, and improved in the extremities; the features are more animated, the att.i.tudes more ingenious, and the landscape more natural. To one who examines them with attention, the composition appears the most surprising; a branch of the art, in which he seems not only to surpa.s.s himself, but even sometimes appears unrivalled. In many historical pictures, he often aimed at ornamenting with buildings, which he painted of a red, or azure, or a yellow, the colours employed in staining houses, or of a dazzling white, in imitation of Parian marble. One of his best pictures in this work is that of a thirsty person, to the expression of which scarcely any thing could be added by the animating pencil of Raffaello d'Urbino himself.

With similar skill he painted in the inferior church, and this is perhaps the best performance which has reached our times, though specimens remain in Ravenna, in Padua, in Rome, in Florence, and in Pisa. It is a.s.suredly the most spirited of all, for he has there, with the most poetical images, depicted the saint shunning vice, and a follower of virtue; it is my opinion that he here gave the first example of symbolical painting, so familiar to his best followers.

His inventions, which, according to the custom of the age, were employed in scripture history, are repeated by him in nearly the same style in several places; and are generally most pleasing when the proportions of the figures are the least. His small pictures of the Acts of St. Peter and St. Paul, with some representations of our Saviour, and of various saints, in the sacristy of the Vatican, appear most elegant and highly finished miniatures; as likewise are some others in the church of the Holy Cross at Florence, taken from scriptural history, or from the life of St. Francis. The real art of portrait painting commenced with him; to whom we are indebted for correct likenesses of Dante, of Brunetto Latini, and of Corso Donati. It was indeed before attempted, but, according to Vasari, no one had succeeded. He also improved the art of working in mosaic; a piece wrought by him in the Navicella, or ship of St. Peter, may be seen in the portico of that cathedral; but it has been so much repaired, that now the design is wholly different, and appears the work of another artist. It is believed that the art of miniature painting, so much prized in that age for the ornamenting of missals, received great improvement from him.[49] Architecture undoubtedly did; the admirable belfry of the cathedral of Florence is the work of Giotto.

After collecting all the notices he could of the scholars of Cimabue and Giotto, Baldinucci endeavours to make us believe that all the benefits which accrued to painting, sculpture, and architecture in Italy, and even throughout the world, came directly or indirectly from Florence.

The following is the manner in which he expresses himself in his first pages, with the proofs which he adduces. "During my researches, I have ascertained beyond all doubt the truth of an opinion I always considered as indisputable, and which is not controverted by respectable ancient historians; that these arts in the first place were restored by Cimabue and Giotto, and afterwards diffused over the world by their disciples; and I conceived the idea of making it evident by the help of a tree, which at a glance might shew their progress from the earliest to the present times." He published the first small part of this tree, just as I exhibit it to the reader; and promised in each succeeding volume to give another part, that would establish the connexion with the princ.i.p.al root (Cimabue), or with the branches derived from it; a promise from which he adroitly delivered himself; therefore we are without any more than these few branches that follow:

CIMABUE.

_____________________________________________________

Arnolfo,

Oderigi,

Gaddo. Tafi, Giotto, Ugolino.

Franco F. Ristoro,

Bolognese, F. Sisto, Fra Mino, Gio. Pisano a miniature and a worker a sculptor painter.

F. Giovanni, in and architects. mosaic. architect.

But with all his pains he has not satisfied the public expectation, as is observed by Signor Piacenza, who published the splendid Turin edition of Baldinucci as far as the life of Franciabigio, accompanied with very useful notes and dissertations.[50] It is alleged, that to make this tree fair and flourishing, he has inserted in it branches dexterously stolen from his neighbours, who have not failed to reclaim their property. I rejoice to write in an age when the opinions of Baldinucci have few followers even in Florence. The excellent work ent.i.tled "_Etruria Pittrice_," composed and applauded in that city in proportion as it is free from the prejudice of former times, proves this sufficiently. Following in like manner the light of history and of reason, unswayed by party spirit, I shall in the first place observe, that among all the scholars of Cimabue, I do not find any named by Vasari, but Giotto and Arnolfo di Lapo, concerning whom it is certain that the historian was in error. Lapo and Arnolfo are the names of two different sculptors, _disciples_ of Niccol Pisano, who, being already versed in the art, a.s.sisted him in 1266 to adorn with history pieces the pulpit of the cathedral at Siena, an authentic doc.u.ment of which remains in the archives of the work.[51] Thus this branch of the tree belongs to Pisa, unless Cimabue have a claim to it, by contributing in some degree to the instruction of Arnolfo in the principles of architecture. Andrea Tafi was the pupil of Apollonius, a Greek artist, and a.s.sisted him in the church of St. John, in some pieces of mosaic, from scriptural history, which, according to Vasari, are without invention and without design; but he improved as he proceeded, for the last part of the work was less despicable than the beginning. Cimabue is not named in these works, nor in what Tafi afterwards executed without a.s.sistance; and as he was old when Cimabue began to teach, I cannot conceive how he can be reckoned the scholar of the latter, or a branch from that root. Gaddo Gaddi, says Vasari, was contemporary with Cimabue, and was his intimate friend, as well as that of Tafi; through their friendship he received hints for his improvement in mosaic. At first he followed the manner of the Greeks, mingled with that of Cimabue. After long working in this manner, he went to Rome, and there improved his style, while employed on the facade of S. Maria Maggiore, by his own genius, a.s.sisted in my opinion by imitating the ancient workers in mosaic. He also painted some altar-pieces, and I saw at Florence one of his crucifixions, of a square figure, and very respectable workmanship. This circ.u.mstance induces me to consider Gaddo, in some measure, among the imitators of Cimabue, but not one of his pupils; for it appears to me unjust, should a contemporary communicate with an artist either as a friend, or for the sake of advice on the art, to set him immediately down as a branch from that stock. Vasari relates of Ugolino Senese, that he was a tenacious follower of the Greek style, and inclined more to imitate Cimabue than Giotto. He does not on this account, indeed, expressly say, that he had been his scholar; he rather hints that he had other instructors at Siena, for which reason it will be better to consider him under that school, there being no reason to doubt that he belonged to it. In that of Bologna we should also cla.s.s Oderigo, who, as a miniature painter, was more likely to employ some other master than a painter in fresco like Cimabue. In the mean time it is useful to reflect, that were the method of Baldinucci to be pursued, nothing authentic would remain in a history of painting; and the schools of the early masters would increase beyond all limits, were the scholars of each master to be confounded with his friends, acquaintances, and contemporaries, who paid attention to his maxims.

It is still more strange to peruse the account of the connexion between the first and secondary branches of the tree, or if one may use the expression, between the children and grandchildren of Cimabue. There is nothing natural in their succession, and the labour is wholly useless which derives the professors of every fine art, of whatever country, past, present, and to come, from one individual. F. Ristoro and F. Sisto were eminent architects, who rebuilt the grand bridges of the Carraja and the Holy Trinity, about 1264, when Cimabue was twenty-four years of age. Baldinucci writes of both, that they were, perhaps, disciples or imitators of Arnolfo, from the state of their works. But how comes he to found on a _perhaps_, what he, a little before, had vaunted as a _clear demonstration_? And then, on what does this _perhaps_ rest? Is it not more probable that Arnolfo, and Cimabue himself, imitated them? That Fra Mino da Turrita should appear in his tree as a scholar of Tafi, and as posterior to Cimabue, is no less absurd. In 1225, a date omitted by Baldinucci, Mino wrought in mosaic at Florence, fifteen years before Cimabue was born. In his old age he commenced a similar work in the cathedral of Pisa, "in the same style in which he had executed his other labours," says Vasari, who adds, that Tafi and Gaddi (both his inferiors in age and reputation) a.s.sisted him. The work was "little more than begun," from which we may infer that they were not long a.s.sociated. It seems to me extraordinary how Baldinucci could a.s.sert, "it appears that Vasari imagined that Mino was the pupil of Andrea Tafi," which is contrary to fact: instead of the "_clear demonstration_," which he promised, he has amused us with "_it appears_," which is evident only to himself. At length, wishing to make us believe that Giovanni Pisano the sculptor is a _pupil_ of Giotto the painter, he again turns to Vasari, from whom he brings evidence that Giovanni, having completed his work in the cathedral of Arezzo, and being then established at Orvieto, came to Florence to examine the architecture of S. Maria del Fiore, and to become acquainted with Giotto: he further notices two pieces which he executed at Florence, the one a Madonna between two little angels, over the gate of the cathedral; the other a small baptism of St. John; this happened in 1297. Here Baldinucci hazards a reflection, that "if one compares the other works of this artist with the above mentioned figure of the Virgin Mary ... we may recognize in it such improvement ... and so much of the manner of Giotto, that there cannot remain a doubt but he is to be reckoned a disciple of this master, both in respect of his imitation of him, and his observance of his precepts, _which he followed during so many years in the exercise of the profession_." Every attentive reader will discover here not a clear demonstration of the a.s.sumption, but a ma.s.s of difficulties. He compares this to the other figures made by Pisano at Florence, before he was acquainted with Giotto; and yet this was the first which he there executed. He wishes to make Giovanni, already sixty years of age, an imitator of Giotto, then twenty-one, when it is much more probable that Giotto would follow him, the best sculptor of the age. There is no foundation for the supposed instruction which Giovanni received from Giotto, who, shortly after, departed for Rome; where, after some other works, he executed the mosaic of the _boat_ in 1298. In short, the whole question of preceptorship rests on no better authority than a single figure. How great are the inconsistencies in this account, and how absurd the explanations and repet.i.tions which are offered! What further shall we say? Is it not lamentable thus to see so many old and honoured artists compelled, in spite of history, to become pupils to masters so much younger and less celebrated than themselves? I know that various writers have censured Baldinucci as an historian of doubtful fidelity, artful in concealing or misrepresenting facts, captious in expounding the opinions of Vasari, and more intent on captivating than instructing his readers. I am not ignorant that his system was controverted even in his own country, as appears from his work published there, ent.i.tled _Delle Veglie_; and that Signor Marmi, a learned Florentine, strongly suspected his fair dealing, of which we shall adduce a proof under the Sienese school. Nevertheless I take into account that he wrote in an age less informed in regard to the history of painting, and that he defended an opinion then much more common in Italy than at present. He had promised Cardinal Leopoldo de'

Medici to demonstrate it incontrovertibly for the honour of his country, and of the house of Medici, and had received advice and a.s.sistance from him in order to encourage him to defend it, and to refute the contrary opinion. Under the necessity of answering Malvasia,[52] a severe writer against Vasari, and of proving his a.s.sertion, that the people of Bologna, no less than those of Siena, of Pisa, and other places, had learned the art from the Florentines, he formed a false system, the absurdity of which he did not immediately perceive; but he at last discovered it, as Signor Piacenza observes, and succeeded in escaping from its trammels. The most ingenious builders of systems have subjected themselves very frequently to the same disadvantage, and the history of literature abounds with similar instances.

Having examined this sophism, I cannot subscribe to the opinion of Baldinucci; but shall comprise my own opinion in two propositions:--The first is, That the improvement of painting is not due to Florence alone.

It has been remarked, that the career of human genius, in the progress of the fine arts, is the same in every country. When the man is dissatisfied with what the child learned, he gradually pa.s.ses from the ruder elements to what is less so, and from thence, to diligence and precision; he afterwards advances to the grand, and the select, and at length attains facility of execution.

Such was the progress of sculpture among the Grecians, and such has been that of painting in our own country. When Correggio advanced from laborious minuteness to grandeur, it was not necessary for him to know that such was the progress of Raffaello, or, at any rate, to have witnessed it: in like manner, nothing more was wanting to the painters of the thirteenth and fourteenth centuries, than to learn that hitherto they had pursued a wrong path; this was sufficient to guide them into a better path, and it was not then untried; for sculpture had already improved design. We have, in fact, seen the Pisani, and their scholars, preceding the Florentines; and, as their precursors, diffusing a new system of design over Italy. It would be injustice to overlook them in the improvement of painting, in which design is of such importance; or to suppose that they did not signally contribute to its improvement. But if Italy be indebted solely to Cimabue and Giotto for its progress, all the good artists should have come from Florence. And yet, in the cathedral of Orvieto (to instance the finest work, perhaps, of that age), we find, from the beginning of the fourteenth century, many artists from various other places, who would not have been called to ornament such a building, had they not previously enjoyed the reputation of able masters.[53] Add to this, if we are to derive all painters from those two masters, every style of painting should resemble that of their Florentine disciples. But on examining the old paintings of Siena, of Venice, of Bologna, and of Parma, they are found to be dissimilar in idea, in choice of colouring, and in taste of composition. All, then, are not derived from Florence.

My second proposition is, That no people then excelled in, nor contributed, by example, so much to the progress of art as the Florentines. Rival cities may boast artists of merit, even in the first era of painting; their writers may deny the fame of Giotto and his disciples; but truth is more powerful than declamation. Giotto was the father of the new method of painting, as Boccaccio was called the father of the new species of prose composition. After the time of the latter, any subject could be elegantly treated of in prose; after the former, painting could express all subjects with propriety. A Simon da Siena, a Stefano da Firenze, a Pietro Laurati, added charms to the art; but they and others owe to Giotto the transition from the old to a new manner. He essayed it in Tuscany, and while yet a young man, greatly improved it, to the general admiration of all cla.s.ses. He did not leave a.s.sisi until called to Rome by Boniface VIII., nor did he take up his residence at Avignon, until invited to France by Clement V. Before going there, he was induced to stop at Padua, and on returning some years after, he again resided at the same place. At that time many parts of Italy were under a republican form of government; but abounded in potent families, that bore sway in various quarters, and which, while adorning their country, aimed at its subjugation. Giotto, beyond every other, was in universal request, both at home and abroad. The Polentani of Ravenna, the Malatesti of Rimino, the Estensi of Ferrara, the Visconti of Milan, the Scala of Verona, Castruccio of Lucca, and also Robert, king of Naples, sought to engage him with eagerness, and for some period retained him in their service. Milan, Urbino, Arezzo, and Bologna, were desirous to possess his works; and Pisa, that, in her _Campo Santo_, afforded an opportunity for the choicest artists of Tuscany to vie with one another,[54] as of old they contended at Corinth, and in Delphi,[55]

obtained from him those historic paintings from the life of Job, which are greatly admired, though they are amongst his early productions. When Giotto was no more, similar applause was bestowed on his disciples: cities contended for the honour of inviting them, and they were even more highly estimated than the native artists themselves. We shall find Cavallini and Capanna in the Roman School; in that of Bologna the two Faentini, Pace, and Ottaviano, with Guglielmo da Forli; Menabuoi at Padua; Memmi, who was either a scholar or a.s.sistant of Giotto, at Avignon; and we shall find traces of the successors of the same school throughout all Italy. This work will indicate the names of some of them; it will point out the style of others; without including the great number who, in every province, have been withdrawn from our view, for the purpose of replacing old pictures with others in the new manner.

Giotto thus became the model for students during the whole of the fourteenth century, as was Raffaello in the sixteenth, and the Caracci in the subsequent century: nor can I find a fourth manner that has been so generally received in Italy as that of those three schools. There have been some who, from the inspiration of their own genius, had adopted a new manner, but they were little known or admired beyond the precincts of their own country. Of the Florentines alone can it be a.s.serted, that they diffused the modern style from one extremity of Italy to the other: in the restoration of painting, though not all, yet the chief praise belongs to them; and this forms my second proposition.

I proceed more willingly to the sequel of my work, having escaped from that part of it in which, amid the contradictory sentiments of authors, I have often suspended my pen, mindful of the maxim, _Historia nihil falsi audeat dicere, nihil veri non audeat_. Resuming the subject of Florence, after the death of her great artist in 1336, I find painters had there prodigiously multiplied, as I shall presently, from undoubted testimony, proceed to prove. Not long afterwards, that is, in 1349, the painters a.s.sociated themselves into a religious fraternity, which they denominated the Society of St. Luke, first established in S. Maria Nuova, but afterwards in S. Maria Novella. This was not the first that had arisen in Italy, as Baldinucci affirms: in 1290 there was a company of painters previously established at Venice, of which St. Luke was the patron, the laws of which, it is believed, are still preserved in the church of St. Sophia.[56] But neither this, the Florentine, nor that of Bologna, can be called academies for design; they were only the results of Christian devotion, a sort of school, such as formerly existed, and still exist in many of the arts. They did not consist of painters alone; these always possessed the most elevated rank; but in the same place were a.s.sembled artists "in metal and in wood, whose works partook, more or less, of design;" as is related by Baldinucci, in describing the Florentine a.s.sociation. In that of Venice were comprehended basket-makers, gilders, and the lowest daubers; in that of Bologna were included even saddlers, and scabbard-makers; who were only divided from the painters by means of lawsuits and decisions. That unrefined age did not as yet acknowledge the dignity of painting; it denominated those artists master workmen, whom we now call professors of the art, and it called shops what we name studies. I have often doubted, whether the progress of the arts was so rapid among us as in Greece, because, there, painting, either from the beginning or a very early era, was considered as a liberal art: with us its dignity was much longer in being acknowledged.

He who desires to discover the origin of those a.s.sociations, will find it in the works composed of different arts then most in use, of which I shall treat somewhat fully, for the sake of ill.u.s.trating the history. A little above I mentioned basket-makers: at that time, all kinds of furniture, such as cupboards, benches, and chests, were wrought by mechanics, and then painted, especially when intended as the furniture of new married women. Many ancient cabinet pictures have been cut out of such pieces of furniture, and, by this means, preserved to later ages.

As for images on altars, through the whole of the fourteenth century, they were not formed, as at present, on a separate piece from the surrounding ornaments. There were made little altars, or dittici,[57] in many parts of Italy, called _Ancone_; they first shaped the wood, and laboriously ornamented it with carving. The design was conformed to the Teutonic, or, as it is called, the Gothic architecture, seen in the facades of churches built in that age. The whole work was a load of minuteness, consisting of little tabernacles, pyramids, and niches; and various doors and windows, with semi-circular and pointed arches, were represented on the surface of the panel; a style very characteristic of that period. I have sometimes there observed, in the middle, little statues in mezzo-relievo.[58] Most frequently the painter designed these figures or busts of saints: sometimes there were also prepared various sorts of little forms, or moulds--formelle--in which to represent histories. Often there was a step added to the little altar, where, in several compartments, were likewise exhibited histories of our Saviour, of the Virgin, and of the martyrs, either real or feigned.[59] Sometimes various compartments were prepared, in which their lives were represented. The carvers in wood were so vain of their craft, that they often inscribed their own names before that of the painter.[60]

Even pictures for rooms were fashioned by the carvers into triangular and square forms, which they surrounded with heavy borders, with rude foliage, lace, or Arabesque ornaments around them. In that age, pictures were rarely committed to canva.s.s alone, though some such are to be seen at Florence, and more among the Venetians and people of Bologna; but panels were most frequently employed. The borders often inclosed portions of canva.s.s, not unfrequently of parchment, and sometimes of leather, which, in all probability, were prepared by those who usually wrought in such materials; and this is the reason why such artists, and even in some instances saddlers, were sometimes a.s.sociated with painters.

History informs us that shields for war, or the tournament, and also various equestrian accoutrements, as the saddles and trappings of horses, were ornamented with painting, a custom which was retained till the time of Francia, as Vasari mentions in his life; hence, armourers and saddlers became a.s.sociated with painters. Among them in like manner might be included those who prepared walls for painting in fresco, and who covered them with a reddish ground, which not unfrequently is still discovered in the flaws. On this colour the figures were designed, and such walls were the cartoons of the old masters. The stucco workers also a.s.sisted them in those relieved ornaments we see in fresco paintings. I believe they used moulds in those works, which seem nothing else than globules, flowerets, and little stars, formed with a stamp, such as we see on gilt plaister, on leather, on board, and on playing-cards. On whatever substance they painted, some gold was usually added; with it they ornamented the ground of their pictures, the glories of their saints, their garments, and fringes. Although painters themselves were skilled in such labours, it appears that they sought the a.s.sistance of gilders, and therefore gilders were cla.s.sed with painters, and like them inscribed works with their names.

This was the practice of Cini and Saracini, just before recorded, and particularly of a native of Ferrara, who, in the pictures of the Vivarini, at Venice, subscribes his name before theirs. (_See Zanetti, Pittura Ven._ p. 15.) And in the cathedral of Ceneda, below an Incoronation of the Virgin, in which the artist did not care to exhibit himself to posterity, the engraver, already noticed, left the following inscription, which Signor Lorenzo Giustiniani, a Venetian patrician of great taste and cultivation of mind, has very politely communicated to me; "1438, A DI 10. FREVER CHRISTOFALO DA FERARA INTAJO."

Towards the end of the fourteenth century, when the gothic style was disappearing from architecture, the design of the carvers improved, and they began to erect over altars oblong panels, divided by part.i.tions, which were fashioned into pilasters, or small columns, and often between these last feigned gates or windows, so that the ancona or altar bore some resemblance to the facade of a palace or a church; over them was placed a frieze, and above the frieze was a place like a stage with some figures. The saints were placed below, and their histories were painted in the compartments; and often there appeared their histories painted upon some little form, or upon the steps. The part.i.tions were gradually removed, the proportions of the figures enlarged, and the saints were disposed in a single piece around the throne of our Lord, not so erect as formerly, after the manner of statues, but in different actions and positions, a custom which prevailed even in the sixteenth century. The practice of gilding grounds declined towards the end of the fifteenth century, but it was increased on the garments, and fringes were never so deep as at that period. About the close of that century gold was more sparingly employed, and it was almost wholly abandoned in the following.

No little benefit would be conferred upon the art by any one who would undertake to point out with accuracy what were the colours, gums, and other mixtures employed by the Greeks. They were undoubtedly in possession of the best methods transmitted to them by a tradition, which though in some measure corrupted, was confessedly derived from their ancestors. Even subsequent to the invention of oils, their colouring is in some degree deserving of our admiration. In the Medicean Museum there is a Madonna, subscribed with the following Latin inscription, _Andreas Rico de Candia pinxit_, the forms of which are stupid, the folds inelegant, and the composition coa.r.s.e; but with all this, the colour is so fresh, vivid, and brilliant, that there is no modern work that would not lose by a comparison; indeed, the colouring is so extremely strong and firm, that when tried with the iron, it does not liquefy, but rather scales off, and breaks in minute portions. The frescos, likewise, of the earliest Greek and Italian painters, are surprisingly strong, and more particularly in upper than in lower Italy. There are some figures of saints upon the pilasters of the church of San Niccolo, at Trevigi, quite remarkable for their durability, an account of which is given in the first volume of Padre Federici, (p. 188). I have understood from professors that such a degree of _consistency_ must have been produced by a certain portion of wax, which was employed at that period, as will be explained in the subsequent chapter, on the subject of painting in oil. It must, however, be admitted, that we are very little advanced in these inquiries into the ancient methods of preparing colour. Were they once satisfactorily explored, it would prove highly useful in the restoration of ancient pictures, nor superfluous in regard to the adoption of that firm, fused, and lucid colouring, which we shall have occasion to commend in various Lombard and Venetian pictures, and more especially in those of Coreggio.

These observations will not be useless to the connoisseur, who doubts the age of a picture on which there are no characters. Where there are letters he may proceed with still greater certainty. The letters vulgarly called gothic, began to be used after the year 1200, in some places more early than in others; and characters were loaded with a superfluity of lines, through the whole of the fourteenth, until about the middle of the fifteenth century, when the use of the Roman alphabet was revived. What forms were adopted by artists in subscribing their names, will be more conveniently explained in the course of a few pages further. I have judged it proper to give here a sort of paleology of painting; because inattention to this has been, and still is, a fruitful source of error. The reader, however, may observe, that though the rules here proposed, afford some light to resolve doubtful points, they are not to be considered as infallible and universal, and he may further recollect, that in matters of antiquity nothing is more dangerous and ridiculous, than to form general rules, which a single example may be sufficient to overthrow.

[Footnote 26: See Tiraboschi, _Storia della Litterat. Italiana_, towards the end of tom. iv. See also the Dissertation of Lami on the Italian painters and sculptors who flourished from the year 1000 to 1300; in the Supplement to Vinci's _Trattato della Pittura_, printed at Florence in 1792; and see Moreni, P. iv. p. 108.]

[Footnote 27: See the Oration of Mon. Francesco Carrara _Delle Lodi delle belle Arti_, Roma, 1758, 4to. with the accompanying Notes, in which the two Bianchini, Marangoni, and Bottari, their ill.u.s.trators, are cited.]

[Footnote 28: Pointed out to me by Sig. D'Agincourt, a gentleman deeply versed in antiquities of this sort.]

[Footnote 29: There were similar remains in the choir, the design of which I have seen. They were covered over in 1733. Among other curiosities was the portrait of the patriarch Popone, of the Emperor Conrad, and his son Henry; the design, action, and characters, like the mosaics at Rome; executed about the year 1030. See Bartoli, _Antichita di Aquileja_, p. 369; and Altan, _Del vario Stato_, &c. p. 5.]

[Footnote 30: The figure of our Lady is retouched; but two miniatures attached to it, are better preserved; the one represents a man, the other a woman: and their drapery is in the costume of that period. The figures are reversed in the engraving of them, which is published.]

[Footnote 31: See P. della Valle in the Preface to Vasari, p. 51.]

[Footnote 32: A few pictures by superior Greek artists, remain, which are very good. Of this number is a Madonna, with a Greek inscription, at the church of S. Maria in Cosmedin at Rome. There is also one at Camerino said to have come from Smyrna; and I know of no Greek picture in Italy better executed or better preserved.]