The History of Italian Painting. Luigi Lanzi
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Название: The History of Italian Painting

Автор: Luigi Lanzi

Издательство: Bookwire

Жанр: Документальная литература

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isbn: 4064066382186

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СКАЧАТЬ were invited to Florence, and painted in S. Maria Novella, according to Vasari. It is an error to assert 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.

      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, surpassed, 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 passed 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 surpassed 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 assign 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 adventitious circumstances. 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?