[Footnote 33: The lateral gate of bronze is of very rude workmanship, as described by the Canon Martini, in his account of that temple, p. 85; and by Sig. da Morrona, it is with much probability ascribed to the hand of Bonanno Pisano. From Vasari's life of Arnalfo, we learn that the same sculptor also executed the great gate of the Primaziale at Pisa, in bronze, about the year 1180, subsequently destroyed by fire. That of Santa Maria Nuova at Monreale, is likewise his. It is described by P.

del Giudice, in his account of that church, and bears the name of Bonanno Pisano, with the date 1186. It is as rudely executed as the preceding one at Pisa, as I am a.s.sured by the Cavalier Puccini, accurately versed in every branch of the fine arts. If we wish to estimate the merit of Niccola Pisano, we have only to compare these two gates with the specimens which he gave us only a few years afterwards.]

[Footnote 34: Several specimens of similar productions also remain in Sicily, particularly at Mazzerra and Girganti. At Palermo, the tomb of the Empress Constance II. who died in the year 1222, is decorated with an antique sculpture in ba.s.so relievo, representing a chase, which is conjectured to represent that of aeneas and Dido, and which is well engraved. See the work ent.i.tled, "I Regali Sepolchri del Duomo di Palermo riconosciuti e ill.u.s.trati. Nap. 1784."

Another specimen of this sort is said to be in the collection of Mr.

Blundell, at Ince.]

[Footnote 35: In the new Guide to Milan, Sig. Abate Bianconi observes, "that these are beautiful works, and that nothing superior is to be seen in any work of that age. Vasari, by omitting this very eminent Pisan, and not mentioning these works, although he was according to his own account at Milan, has given reason to believe, that he was not over anxious in his researches." p. 215.

See also Giulini and Verri, as quoted by Sig. da Morrona in tom. i. pp.

199, 200.]

[Footnote 36: The mosaic school subsisted at Rome as early as the eleventh and twelfth centuries. (See Musant. Fax Chronol. pp. 319, 338.) In this the family of the Cosmati acquired great excellence. Adeodato di Cosimo Cosmati employed himself in the church of St. Maria Maggiore, in 1290, (Guide to Rome); and several of the same name exercised their talents in the cathedral of Orvieto. (See Valle Catalogo.) The whole of these are preferred to the Greek mosaic workers, who were at the same period engaged in decorating St. Mark's at Venice. (See Valle's Preface to Vasari, p. 61.)]

[Footnote 37:

_Sancti Francisci Frater fuit hoc operatus Jacobus in tali prae cunctis arte probatus_,

is the inscription on the mosaic.]

[Footnote 38: See _Pisa Ill.u.s.trata_ of Signor da Morrona, tom. i. p.

224.]

[Footnote 39: Tom. ii. p. 127.]

[Footnote 40: In the sacristy of the Angioli is preserved the most ancient portrait of San Francesco that is extant. It is painted on the panel which served as the saint's couch until the period of his decease, as we learn from the inscription. It is there supposed to be the work of some Greek artist anterior to Giunta.]

[Footnote 41: See Signor Ab. Bettinelli, _Risorgimento d' Italia negli studii, nelle arti, ne' costumi dopo il mille_, p. 192.]

[Footnote 42: To this list of early painters might perhaps be added the name of Frances...o...b..nani, by whom there is a whole length figure of St.

Jerome holding a crucifix in his hand. It possesses all the characteristics attributed by Lanzi to this early age. Near the bottom of the picture is a label, inscribed, Franciscus Bena.n.u.s, Filius Petri Ablada. The size of the picture is 2 feet 8 by 2 feet 2, on panel, covered with gypsum. The vehicle of the colours is probably prepared from eggs, which were usually employed for that purpose before the invention of painting in oil, and to which an absorbent ground of lime or gypsum seems to have been indispensable. It is surprising how well the early pictures executed in this style have preserved their colouring to the present day.]

[Footnote 43: This writer has thrown much light upon the history of our early painters, from which I have derived and shall continue to derive, much benefit; but in the heat of dispute, he has frequently depreciated Cimabue in a way which I cannot approve. For instance, Vasari having said, that "he contributed greatly to the perfection of the art," della Valle a.s.serts, that "he did it neither good nor harm;" and that having closely examined the pictures of Cimabue, "he has found in them a ruder style than appears in those of Giunta Pisano, of Guido da Siena, of Jacopo da Turrita, &c." (tom. i. p. 235.) Of the two last I shall speak elsewhere. With respect to the first, the writer contradicts himself four pages after; when, commenting on another pa.s.sage of the historian relating to certain pictures of Cimabue, executed in a.s.sisi in the inferior church of S. Francesco, he says, that "he there, in his opinion, surpa.s.sed Giunta Pisano." It is to be remembered that this was his first work, or amongst the first that Cimabue painted in a.s.sisi.

When he went thither, therefore, he was a better artist than Giunta.

How, then, when he worked in the superior church, in a.s.sisi, and in so many other places, did he become so bad a painter, and more uncouth than Giunta himself?]

[Footnote 44: See Baldinucci, tom. i. p. 17, Florentine Edition, 1767, where it is said that the Cimabuoi were also called _Gualtieri_.]

[Footnote 45: But see Baldinucci in _Veglia_, p. 87.]

[Footnote 46: We read, in the preface to the Sienese edition of Vasari's Lives, (p. 17) as follows: "To Giunta and to the other artists of Pisa, as heads of the school, was given the princ.i.p.al direction of adorning the Franciscan church; and Cimabue and Giotto are known to have been either disciples or a.s.sistants in their school, in which they produced several important works. Giunta had the direction of his a.s.sistant as long as he resided there, which may have been even subsequent to 1236.

But how are we to suppose that he could have been at a.s.sisi so long as to permit Cimabue (who was born in 1240, and went to a.s.sisi about 1265) to a.s.sist, to receive instructions from, and to succeed him? Such a supposition is still more untenable as regards Giotto, who was invited to a.s.sisi many years afterwards." (Vasari.)]

[Footnote 47: To the testimonies in favor of Cimabue, may be added one of no little weight, from the ma.n.u.script given to the public a few years since, by the Abbate Morelli. We there find that Cimabue painted in Padua, in the church del Carmine, which was afterwards burnt; but that a head of S. Giovanni, by him, being rescued from the flames, was inserted in a frame, and preserved in the house of Alessandro Capella. Would a painter, who had done neither good nor harm to the Florentine school, and to the art, have been invited to Padua? Would the remains of his works have been held in such esteem? Would he have been so highly valued, after so great a lapse of time, by Vasari, to whose arts he seems to wish to ascribe the reputation of Cimabue. Other proofs of this reputation may be seen in the defence of Vasari, in the present Book, third Epoch. The writer of history ought completely to divest himself of the love of system and party spirit.]

[Footnote 48: Vasari, tom. i. p. 322.]

[Footnote 49: A book is mentioned by Baldinucci ornamented by Giotto with miniatures, with histories from the Old Testament, and presented to the vestry of St. Peter, by Cardinal Stefaneschi; of this he neither adduces any proof, nor can I find any record. From the evidence, rather, of an existing necrology, where, among the presents made by Stefaneschi to the cathedral, the pictures and the mosaic by Giotto are noticed without any other work of this artist, the gift of the book is very doubtful. See Sig. Ab, Cancellieri _De Secretariis Veteris Basilicae Vaticanae_, p. 859, and 2464. Some miniatures of the martyrdom and miracles of St. George, in another book, are ascribed to him; but I am uncertain whether there is any ancient doc.u.ment for this; and they might, possibly, be the work of Simone da Siena, who is often confounded with him.]

[Footnote 50: See his first volume, pp. 131 and 202; and also P. della Valle in the preface to Vasari, p. 27; also Signor da Morrona in his Pisa Ill.u.s.trata, p. 154; besides many other authors.]

[Footnote 51: D. Valle's preface to Vasari, p. 36.]

[Footnote 52: We may observe, that Malvasia is the champion, not only of Bologna, but of Italy, and of all Europe. At page 11, volume first, he has quoted a pa.s.sage from Filibien, which proves that design always maintained itself in France, even in rude ages, and that at the time of Cimabue it was there equally respectable as in Italy.]

[Footnote 53: A catalogue of them is given in P. della Valle, in his history of that Church, and is republished in the Sienese edition of Vasari, at the end of the second volume.]

[Footnote 54: This place, which will ever do high honour to the magnificence of the Pisans, would be an inestimable museum, if the pictures there, executed by Giotto, by Memmi, by Stefano Florentino, by Buffalmacco, by Antonio Veneziano, by the two Orcagni, by Spinello Aretino, and by Laurati, had been carefully preserved; but the greatest number having been injured by dampness, were repaired, but with considerable judgment, within the century.]

[Footnote 55: Plin. x.x.xv. 9.]

[Footnote 56: Zanet. p. 3.]

[Footnote 57: It was a very ancient practice of Christian worship to place the silver, or ivory dittici, upon the altars during the service of the ma.s.s, and when the sacred ceremony was over, they were folded up in the manner of a book, and taken elsewhere. The same figure was retained, even in the introduction of the largest altar pieces, which likewise consisted of two wings, and were portable. This custom, of which I have seen few remnants in Italy, has been long preserved in the Greek church. At length, by degrees, artists began to paint upon one whole panel. (_See Buonarroti Vetri Antichi_, p. 258, &c.)]

[Footnote 58: In Torrello, one of the Venetian isles, there is an ancient image of St. Hadrian, which is tolerably carved, and around it the history of the saint is depicted: the style is feeble, but not Grecian.]

[Footnote 59: I notice this peculiarity, because the histories, either painted or engraved, belonging to those early times, are apt to perplex us; nor can they be cleared up without having recourse to books of fiction, which were, in those less civilized periods, believed. In the acts of our Saviour, and of the Virgin, it may be useful to consult Gio.

Alberto Fabrizio, in the collection ent.i.tled "_Codex Apocr. Novi Testamenti_;" in the acts of the apostles and martyrs, it is not so much their real history, as the legends, either manifestly false or suspected, as recounted by the Bollandisti, that will throw light upon the subject.]

[Footnote 60: See Vasari in the life of Spinello Aretino: "Simone Cini, a Florentine, carved it, it was gilt by Gabriello Saracini, and Spinello di Luca of Arezzo, painted it in the year 1385." A similar signature may be seen in Pittura Veneziana, page 15.]

FLORENTINE SCHOOL.

EPOCH I.

_Florentine Painters who lived after Giotto to the end of the fifteenth century._

SECT. II.

It is worthy of remark, that Vasari, in the life of Jacopo di Casentino, quotes the ma.n.u.script records of the society of St. Luke, afterwards printed by Baldinucci, and mentions fourteen painters who were formerly its captains, counsellors, or chamberlains; yet he takes no notice of them in his _Lives_, and of but very few of the great number named in that ma.n.u.script. The same selection was employed by Baldinucci, in whose VEGLIA we are informed that many painters flourished about 1300, the names of whom he has refused to insert in his anecdotes. It clearly appears from his writings that he omitted about a hundred, all belonging to that age.[61] It is therefore incorrect to say, that those two historians have commemorated many artists of mediocrity, merely because they were natives of Florence, an accusation alleged against them by foreigners. The artists of their country whom they have transmitted to posterity, are not less worthy of record than those ancient ones of Venice, of Bologna, and of Lombardy, whom we are accustomed to praise in their respective schools. Among this number I include Buffalmacco, the wit whose jests, as recorded in Boccaccio and Sacchetti, render him more celebrated than his pictures. His real name was Buonamico di Cristofano.

He had been the scholar of Tafi, but by living long in the time of Giotto, he had an opportunity of correcting his own style. He displayed a most lively fancy, "and when he chose to exert himself (which rarely happened) was not inferior to any of his contemporaries."[62] It is unfortunate that his best works, which were in the Abbey and in Ognisanti, have perished, and there only remain some less carefully executed at Arezzo and at Pisa. The best preserved are in the Campo Santo; viz. the Creation of the World, in which there is a figure of the Deity, five cubits high, sustaining the mighty frame of the heavens and the elements, and three other historical pictures of Adam, of his children, and of Noah. A crucifixion, resurrection, and ascension of the Redeemer, may be seen at the same place. Good symmetry is not to be looked for in them; he knew but little of design, and he drew his figures by other rules than the roundness and facility seen in the disciples of Giotto. His heads are deficient in beauty and variety. The pious women near the cross all have the same mean and vulgar features, in which the mouths are opened even to deformity. Some of the heads of the men, especially that of Cain, possess, however, a physiognomical expression which arrests the eye of the spectator. The air of nature too in the action, as in the man, who, full of horror, flies from Mount Calvary, is highly praiseworthy. His draperies are greatly varied, are distinguished by the difference of stuffs and linings, and are laboriously ornamented with flowers and with fringes. Before he was employed in the Campo Santo, he painted in the church of St. Paul, Ripa d'Arno, where he was a.s.sociated with one Bruno di Giovanni, formerly his fellow student, and believed to be the painter of a St. Ursula in a piece which still exists in the Commenda. Unable to attain the expression of Buffalmacco, he tried to atone for the defect by the aid of sentences proceeding from the mouths of his figures, which expressed what their features and att.i.tudes were incapable of explaining, a practice in which he was preceded by Cimabue, and followed by the eccentric Orcagna and several others. This Bruno, together with Nello di Dino, was a.s.sociated with Buffalmacco in the jests contrived for the simple Calandrino. They all owe their fame to Boccaccio, who introduces them in the eighth day of his Decamerone; and a similar favour was conferred by Sacchetti on a Bartolo Gioggi, a house-painter, whom he introduced into his one hundred and seventieth tale. Giovanni da Ponte, the scholar of Buffalmacco, had some merit, but he was not at all solicitous to increase it by his diligence. Some remains of his pictures exist on the walls of the church of St. Francis, at Arezzo.

I believe that Bernardo Orcagna, who rivalled the fame of Buffalmacco, proceeded from some old school. He was the son of one Cione, a sculptor, and his brother Jacopo was of the same profession: but the other brother, Andrea, surpa.s.sed them all; and in himself so far united the attainments of the three sister arts, that he was by some reckoned second only to Giotto. He is known among architects for having introduced the circular arch instead of the acute, as may be seen in the gallery of the Lanzi, which he built and ornamented with sculpture.

Bernardo taught him the principles of painting. They who have represented him as the pupil of Angiol Gaddi, do not appear attentive to dates. In the Strozzi chapel in the church of S. Maria Novella, he and Bernardo painted Paradise, and over against it the Infernal Regions; and in the Campo Santo of Pisa, Death and the Judgment were executed by Andrea, and h.e.l.l by Bernardo. The two brothers imitated Dante in the novel representations which they executed at those places; and that style was more happily repeated by Andrea in the church of Santa Croce, where he inserted portraits of his enemies among the d.a.m.ned, and of his friends among the blessed spirits. These pictures are the prototypes of similar pictures preserved in S. Petronio, at Bologna, in the cathedral of Tolentino, in the Badia del Sesto, at Friuli,[63] and some other places, in which h.e.l.l is distinguished by abysses and a variety of torments, after the manner of Dante. Several pictures by Andrea remain, and his name is still on that in the Strozzi chapel, which is full of figures and of episodes. On the whole, he discovers fertility of imagination, diligence, and spirit, equal to any of his contemporaries.

In composition he was less judicious, in att.i.tudes less exact, than the followers of Giotto; and he yields to them in drawing and in colouring.

The same school produced Marinotto, a nephew of Andrea, and a Tommaso di Marco, whom I pa.s.s over, as well as others of little note, no longer known by existing works. Bernardo Nello di Gio. Falconi of Pisa merits consideration. He executed many pictures in that cathedral, and is supposed to be the same with that Nello di Vanni, who, with other Pisan artists, painted in the Campo Santo in the fourteenth century. Francesco Traini, a Florentine, is known as much superior to his master, by a large picture which is in the church of S. Catherine of Pisa, in which he has represented St. Thomas Aquinas in his own form, and also in his beatification. He stands in the middle of the picture, under the Redeemer, who sheds a glory on the Evangelists and him; and from them the rays are scattered on a crowd of listeners, composed of clergy, doctors, bishops, cardinals, and popes. Arius and other innovators are at the feet of the saint, as if vanquished by his doctrine; and near him appear Plato and Aristotle, with their volumes open, a circ.u.mstance not to be commended in such a subject. This work exhibits no skill in grouping, no knowledge of relief, and it abounds in att.i.tudes which are either too tame, or too constrained; and yet it pleases by a marked expression in the countenances, an air of the antique in the draperies, and a certain novelty in the composition. Let us now pa.s.s on to the followers of Giotto.

The scholars of Giotto have fallen into an error common to the followers of all ill.u.s.trious men; in despairing to surpa.s.s, they have only aspired to imitate him with facility. On this account the art did not advance so quickly as it might otherwise have done, among the Florentine and other artists of the fourteenth century, who flourished after Giotto. In the several cities above mentioned, Giotto invariably appears superior when seen in the vicinity of such painters as Cavallini, or Gaddi; and whoever is acquainted with his style, stands in no need of a prolix account of that of his followers, which, with a general resemblance to him, is less grand and less agreeable. Stefano Fiorentino alone is a superior genius in the opinion of Vasari, according to whose account he greatly excelled Giotto in every department of painting. He was the son of Catherine, a daughter of Giotto, and possessed a genius for penetrating into the difficulties of the art, and an insuperable desire of conquering them. He first introduced foreshortenings into painting, and if in this he did not attain his object, he greatly improved the perspective of buildings, the att.i.tudes, and the variety and expression of the heads. According to Landino he was called the _Ape of Nature_, an eulogy of a rude age; since such animals, in imitating the works of man, always debase them: but Stefano endeavoured to equal and to embellish those of nature. The most celebrated of his pictures which were in the _Ara Coeli_ at Rome, in the church of S. Spirito at Florence, and in other places, have all perished. As far as I know, his country does not possess one of his undoubted pictures; unless we mention as such, that of the Saviour in the Campo Santo of Pisa, which, indeed, is in a greater manner than the works of this master, but it has been retouched.

A _Pieta_, by his son and disciple Tommaso, as is believed by some, exists in S. Remigi at Florence, which strongly partakes of the manner of Giotto; like his frescos at a.s.sisi. He deserved the name of Giottino, given him by his fellow citizens, who used to say that the soul of Giotto had transmigrated, and animated him. Baldinucci alleges that there was another of the same name, who should not be confounded with him, and quotes the following inscription from a picture in the Villa Tolomei, "Dipinse Tommaso di Stefano Fortunatino de' Gucci Tolomei." But Cinelli, the strenuous opponent of Baldinucci, attributes it, perhaps justly, to Giottino. This artist left behind him one Lippo, sufficiently commended by Vasari, but who rather seems to have been an imitator than a scholar. Giovanni Tossicani of Arezzo, was a disciple of Giottino, employed in Pisa and over all Tuscany. He painted the St. Philip and St.

James, which still remain on the baptismal font in Arezzo, and were repaired by Vasari while a young man, who acknowledges that he learned much from this work, injured as it was. With him perished the best branch of the stock of Giotto.

Taddeo Gaddi may be considered as the Giulio Romano of Giotto, his most intimate and highly favoured pupil. Vasari, who saw his frescos and easel pictures at Florence, in good preservation, prefers him to his master, in colouring and in delicacy; but the lapse of time at this day forbids our deciding this point, although several of his pictures remain, especially in the church of Santa Croce, which are scriptural histories, much in the manner of Giotto. He discovered more originality in the chapter house of the Spagnuoli, where he worked in compet.i.tion with Memmi.[64] He painted some of the acts of the Redeemer on the ceiling, and the descent of the Holy Spirit in the refectory, which is among the finest specimens of art in the fourteenth century. On one of the walls he painted the Sciences, and under each some one of its celebrated professors; and demonstrated his excellence in this species of allegorical painting, which approaches so nearly to poetry. The brilliance and clearness of his tints are chiefly conspicuous in that chapter house. The royal gallery contains the taking down of Christ, the work of his hands, which was formerly at Orsanmichele, and by some ascribed to Buffalmacco, merely because it was unascertained. Taddeo flourished beyond the term a.s.signed him by Vasari, and outlived most of those already named. This may be collected from Franco Sacchetti, a contemporary writer, who relates in his 136th Tale, that Andrea Orcagna proposed as a question, "who was the greatest master, setting Giotto out of the question?" Some answered Cimabue, others Stefano, some Bernardo, and some Buffalmacco. Taddeo Gaddi, who was in the company, said, "truly these were very able painters, but the art is decaying every day, &c."