Chapter V: Part 5

Giotto's pupils were Taddeo Gaddi, his godson as I have already said, and Puccio Capanna, a Florentine, who painted for the Dominican church of S. Cataldo at Rimini a most perfect fresco representing a ship apparently about to sink, while the men are throwing their goods into the water. Puccio has here portrayed himself in the midst of the sailors. After Giotto's death, the same artist painted a number of things in the church of S. Francesco at Assisi, and for the chapel of the Strozzi, beside the door on the river front of the church of Trinita he did in fresco a coronation of the Virgin with a choir of angels, in which he followed Giotto's style rather closely, while on the side walls are some very well executed scenes from the life of St Lucy. In the Badia of Florence he painted the chapel of S. Giovanni Evangelista of the family of the Covoni, which is next to the sacristy. At Pistoia he did frescoes in the principal chapel of S. Francesco, and the chapel of S. Ludovico, with scenes from the lives of the patron saints, which are very tolerable productions. In the middle of the church of S. Domenico in the same city is a crucifix with a Madonna and St John, executed with much softness, and at the feet an entire human skeleton, an unusual thing at that time, which shows that Puccio had made efforts to understand the principles of his art. This work contains his name, written after this fashion: _Puccio di Fiorenza me Fece_. In the same church, in the tympanum above the door of S. Maria Nuova are three half-length figures,--Our Lady, with the Child on her arm, St Peter on the one side and St Francis on the other, by the same artist. In the lower church of S. Francesco at Assisi he further painted in fresco some scenes from the passion of Jesus Christ, with considerable skill and much vigour, and in the chapel of S. Maria degli Angeli of that church he executed in fresco a Christ in glory, with the Virgin, who is interceding with Him for Christian people, a work of considerable merit, but much smoked by the lamps and candles which are always burning there in great quantity. In truth, so far as one can judge, although Puccio adopted the style and methods of his master Giotto, yet he did not make sufficient use of them in his works, although, as some assert, he did not live long, but sickened and died through working too much in fresco. His hand may also be recognised in the chapel of St Martin in the same church, in the history of the saint, done in fresco for the Cardinal Gentile. In the middle of a street called Portica may also be seen a Christ at the Column, and a picture of Our Lady between St Catherine and St Clare. His works are scattered about in many other places, such as Bologna, where there is a picture of the passion of Christ in the transept of the church, and scenes from the life of St Francis, besides other things which I omit for the sake of brevity. But at Assisi, where the majority of his works are, and where I believe he helped Giotto to paint, I found that they consider him to be a fellow-citizen, and there are some members of the family of the Capanni in that city to this day. From this we may gather that he was born in Florence, since he himself wrote that he was a pupil of Giotto, but that he took his wife from Assisi, and had children there, whose descendants still inhabit the town. But this matter is of very slight importance, and it is enough to know that he was a skilful master. Another pupil of Giotto, and a very skilful painter was Ottaviano da Faenza, who painted many things in S. Giorgio at Ferrara, a convent of the monks of Monte Oliveto. In Faenza, where he lived and died, he painted in the tympanum above the door of S. Francesco, Our Lady and St Peter and St Paul, and many other things in his own country and at Bologna.

Another pupil was Pace di Faenza, who was often with his master, and helped him in many things. At Bologna there are some scenes in fresco by his hand on the outside front of S. Giovanni Decollato. This Pace was a clever artist, especially in painting small figures, as may be seen to-day in the church of S. Francesco at Forli, in a tree of the cross and in a panel in tempera containing the life of Christ, and four small subjects from the life of Our Lady, which are all very well executed. It is said that he executed in fresco for the chapel of St Anthony at Assisi, some scenes from the life of that saint for a duke of Spoleto, who is buried there with a son. These two princes had been killed while fighting in the suburbs of Assisi, as may be seen by a long inscription on the sarcophagus of their tomb. The old book of the company of painters records that one Francesco, called "of Master Giotto," was another pupil of the master, but I know nothing more about him.

Yet another pupil of Giotto was Guglielmo da Forli, who, besides many other works, painted the chapel of the high altar for S. Domenico at Forli, his native place. Other pupils were Pietro Laureati, Simone Memmi of Siena, Stefano of Florence, and Pietro Cavallini of Rome. But as I intend to deal fully with these in their lives, I shall content myself here with simply saying that they were pupils of Giotto. That the master drew extremely well for his day may be seen on a number of parchments containing some water colours, pen and ink drawings, chiaroscuros with the lights in white, by his hand, in our book of designs, which are truly marvellous when compared with those of the masters who preceded him, and afford a good example of his style.

As has been said, Giotto was a very witty and pleasant person, very ready in speech, many of his sayings being still fresh in the memory of his fellow-citizens. Besides the one related by M. Giovanni Boccaccio, several very good stories are told by Franco Sacchetti in his "Three Hundred Tales." I give one in the author's own words, because it contains many expressions and phrases characteristic of the time. The rubric of this one runs: "Giotto, the great painter, is requested by a person of low birth to paint his buckler. Making a jest of the matter, he paints it so as to cover the applicant with confusion."

TALE LXIII.

Every one must have heard of Giotto, and how as a painter he surpassed all others. His fame came to the ears of a rude artizan, who, having to do service in some castle, wanted his buckler painted. Accordingly he presented himself abruptly at Giotto's workshop, with a man to carry the buckler behind him. He found Giotto in, and began: "God save thee, Master, I want to have my arms painted on this buckler." Giotto took stock of the man and his manners, but he said nothing except "When do you want it," and the man told him. "Leave it to me," said Giotto, and the man departed. When Giotto was alone he reflected: "What is the meaning of this? Has someone sent him here to play a trick on me? Be that as it may, no one has ever before brought me a buckler to paint. And the fellow who brought it is a simple creature, and asks me to paint his arms as if he was of the royal house of France. Decidedly I shall have to make him some new arms." Reflecting thus with himself he sat down before the buckler, and having designed what he thought proper, he called a pupil and told him to complete the painting of it, which he accordingly did. The painting represented a light helmet, a gorget, a pair of arm pieces, a pair of iron gauntlets, a pair of cuirasses, a pair of cuisses and gambadoes, a sword, a knife, and a lance. When the worthy man returned, who knew nothing of all this, he came up and said: "Master, is the buckler finished." "Oh yes," said Giotto, "go you and bring it here." When it arrived this gentleman by proxy looked hard at it and said to Giotto: "What rubbish have you painted here?" "Will you think it rubbish to pay for it?" said Giotto. "I won't pay you four deniers," said the man. "What did you ask me to paint?" asked Giotto. "My arms," replied the man. "Well," said Giotto, "are they not here, are any wanting?" "That is so," said the man. "A plague on you," said Giotto, "you must needs be very simple. If anyone asked you who you were you would be at a loss to tell him, and yet you come here and say, 'paint me my arms.' If you had been one of the Bardi, well and good, but what arms do you bear? Where do you come from? Who were your ancestors? Begin at least by coming into the world before you talk of arms as if you were the Dusnam of Bavaria. I have represented all your arms on the buckler, and if you have any more tell me and I will have them painted." "You have given me rough words," said the man, "and spoilt my buckler." He then departed to the justice, and procured a summons against Giotto. The latter appeared, and on his side issued a summons against the man for two florins, as the price of the painting. When the magistrates had heard the arguments, which were much better advanced on Giotto's side, they adjudged that the man should take away his buckler, and give six lire to Giotto, because he was in the right. Accordingly the rustic took his buckler, paid the money, and was allowed to go. Thus this man, who did not know his place, had it pointed out to him, and may this befall all such fellows who wish to have arms and found houses, and whose antecedents have often been picked up at the foundling hospitals!

It is said that while Giotto was still a boy, and with Cimabue, he once painted a fly on the nose of a figure which Cimabue had made, so naturally that when his master turned round to go on with his work, he more than once attempted to drive the fly away with his hand, believing it to be real, before he became aware of his mistake. I could tell many more of Giotto's practical jokes, and relate many of his sharp retorts, but I wish to confine myself to the things which concern the arts, and I must leave the rest to Franco and the others.

In conclusion, in order that Giotto should not be without a memorial, in addition to the works which came from his hand, and to the notices left by the writers of his day, since it was he who found once again the true method of painting, which had been lost many years before his time, it was decreed by public order that his bust in marble, executed by Benedetto da Maiano, an Excellent sculptor, should be placed in S. Maria del Fiore. This was due to the activity and zeal displayed by Lorenzo dei Medici, the Magnificent, the elder, who greatly admired Giotto's talents. The following verses by that divine man, Messer Angelo Poliziano, were inscribed on the monument, so that all men who excelled in any profession whatever, might hope to earn such a memorial, which Giotto, for his part, had most richly deserved and earned:

Ille ego sum, per quem pictura extincta revixit,
Cui quam recta manus. tam fuit et facilis.
Naturae deerat nostrae, quod defait arti:
Plus licuit nulli pingere, nec melius.
Miraris turrim egregiam sacro aere sonantem?
Haec quoque de modulo crevit ad astra meo.
Denique sum Jottus, quid opus fuit illa referre?
Hoc nomen longi carminis instar erit.

And in order that those who come after may see by Giotto's own designs the nature of the excellence of this great man, there are some magnificent specimens in my book, which I have collected with great care as well as with much trouble and expense.

Agostino and Agnolo, Sculptors and Architects of Siena.

Among the others who worked in the school of the sculptors Giovanni and Niccola Pisani were Agostino and Agnolo, sculptors of Siena, whose lives we are now writing, and who achieved great success according to the standard of the time. I have discovered that their father and mother were both Sienese, and their antecedents were architects, for the Fontebranda was completed by them in the year 1190, under the government of the three Consols, and in the following year they founded the Custom House and other buildings of Siena, under the same consulship. Indeed it is often seen that where the seeds of talent have existed for a long time they often germinate and put forth shoots so that they afterwards produce greater and better fruit than the first plants had done. Thus Agostino and Agnolo added many improvements to the style of Giovanni and Niccola Pisani, and enriched art with better designs and inventions, as their works clearly show. It is said that when Giovanni Pisano returned to Pisa from Naples in the year 1284, he stopped at Siena to design and found the façade of the Duomo, where the three principal doors are, so that it should be entirely adorned with marble. It was then that Agostino, who was not more than fifteen years of age at the time, associated with him in order to study sculpture, of which he had learned the first principles, being no less attracted by that art than by architecture. Under Giovanni's instruction and by means of unremitting study he surpassed all his fellow-pupils in design, grace and style, so that everyone remarked that he was his master's right eye. And because it is natural to desire for those whom one loves beyond all other gifts of nature, mind or fortune, that quality of worth which alone renders men great and noble in this life and blessed in the next, Agostino took advantage of Giovanni's presence to secure the same advantages for his younger brother Agnolo; nor was if very difficult to do so, for the practice already enjoyed by Agnolo with Agostino and the other sculptors, and the honour and benefits which he perceived could be gained from this art, had so inflamed him with a desire to take up the study of sculpture, that he had already made a few things in secret before the idea had occurred to Agostino. The elder brother was engaged with Giovanni in making the marble reliefs for the high altar of the Vescovado of Arezzo, which has been mentioned above, and he succeeded in securing the co-operation of Agnolo in that work, who did so well, that when it was completed, it was found that he had surpassed Agostino in excellence. When this became known to Giovanni, he employed both brothers in many other works undertaken by him subsequently in Pistoia, Pisa, and other places. And because Agostino practised architecture as well as sculpture, it was not long before he designed a palace in Malborghetto for the Nine who then ruled in Siena, that is to say, in the year 1308. The execution of this work won the brothers such a reputation in their native place, that, when they returned to Siena after the death of Giovanni, they were both appointed architects of the State, so that in the year 1317 the north front of the Duomo was made under their direction, and in 1321 the building of the wall of the porta Romana, then known as the porta S. Martino, was begun from their plans in its present style, being finished in 1326. They restored the Tufi Gate, originally called the Gate of S. Agata all Arco, and in the same year the church and convent of S. Francesco were begun from their design, in the presence of the cardinal of Gaeta, the papal legate. Not long afterwards Agostino and Agnolo were invited by means of some of the Tolomei who were staying in exile at Orvieto, to make some sculptures for the work of S. Maria in that city. Going thither they made in sculpture some prophets which are now on the façade, and are the finest and best proportioned parts of that celebrated work. Now in the year 1326 it chanced that Giotto was summoned to Naples by means of Charles, Duke of Calabria, who was then staying in Florence, to do some things in S. Chiara and other places there for King Robert, as has been related in that master's life. On his way to Naples Giotto stopped at Orvieto to see the work which had been executed there and which was still being carried on by so many men, wishing to examine everything minutely. But the prophets of Agostino and Agnolo of Siena pleased him more than all the other sculptures, from which circumstance it arose that Giotto not only commended them, but counted them among the number of his friends, to their great delight, and further recommended them to Piero Saccone of Pietramala, as the best sculptors of the day, and the best fitted to make the tomb of Guido, the lord and bishop of Arezzo, a matter referred to in the life of Giotto. Thus the fact that Giotto had seen the work of many sculptors at Orvieto and had considered that of Agostino and Agnolo of Siena to be the best, gave rise to their being commissioned to make this tomb after his designs and in accordance with the model which he had sent to Piero Saccone. They finished the tomb in the space of four years, conducting the work with great care, and they set it up in the chapel of the Sacrament in the church of the Vescovado of Arezzo. Above the sarcophagus, which rests on brackets carved in a really admirable manner, is stretched the form of the bishop, in marble, while at the side are some angels drawing curtains, done with considerable skill. Twelve square panels contain scenes of the life and acts of the bishop in an infinite number of small figures carved in half-relief. I do not think it too much trouble to relate the subjects of these scenes, so that it may appear with what labour they were executed, and how these sculptors endeavoured to discover the good style by study.

The first shows how the bishop, aided by the Ghibelline party of Milan, who sent him 400 masons and money, entirely rebuilt the wall of Arezzo, lengthening it more than it had previously been so that it took the shape of a galley. The second is the taking of Lucignano di Valdichiana; the third, that of Chiusi; the fourth, that of Fronzoli, a strong castle of that time above Poppi, held by the sons of the count of Battifolle. The fifth contains the final surrender to the bishop of the castle of Rondine, after it had been besieged by the Aretines for many months. The sixth is the capture of the castle del Bucine in Valdarno. The seventh contains the storming of the Rocca di Caprese, which belonged to the Count of Romena, after it had been besieged for several months. In the eighth the bishop is dismantling the castle of Laterino, and causing the hill which rises above it to be cut in form of a cross, so that it should not be possible to make another fortress there. The ninth represents the destruction and burning of Monte Sansavino and the driving out of all the inhabitants. The eleventh contains the bishop's coronation, with a number of richly dressed soldiers, both horse and foot, and of other people. The twelfth and last represents the bishop being carried by his men from Montenero, where he fell sick, to Massa, and thence, after his death, to Arezzo. In many places about the tomb are the Ghibelline insignia and the bishop's arms, which are six-squared stones or on a field _azure_, following the same arrangements as the six balls in the arms of the Medici. These arms of the bishop's house were described by friar Guittone, knight and poet of Arezzo, when he wrote of the site of the castle of Pietramala, whence the family derived its origin, in the lines:

Dove si scontra il Giglion con la Chiassa
Ivi furon i miei antecessori,
Che in campo azzurro d'or portan sei sassa.

Agnolo and Agostino displayed more art, invention, and diligence in this work than had ever been employed on anything before their time. And indeed they deserve the highest praise, having introduced into it so many figures, such a variety of landscapes, places, towns, horses, men, and other things, that it is a veritable marvel. And although the tomb has been almost entirely destroyed by the French of the Duke of Anjou, who sacked the greater part of the city in revenge for some injuries received by them from their enemies, yet it is still clear that it was executed with the most excellent judgment by Agostino and Agnolo, who carved on it in rather large letters: _Hoc opus fecit magister Augustinus et magister Angelus de Senis_. In 1329 they did a marble bas-relief for the church of S. Francesco at Bologna, which is in a very fair manner, and besides the carved ornamentation, which is very fine, they introduced figures a braccia and a half high, of Christ crowning Our Lady, with three similar figures on either side, St Francis, St James, St Domenic, St Anthony of Padua, St Petronio, and St John the Evangelist, and under each of these figures is carved in bas-relief a scene from the life of the saint above. All these scenes contain a great number of half-length figures, which make a rich and beautiful ornamentation after the manner of those times. It is very apparent that Agostino and Agnolo threw an immense amount of labour into this work, and that they applied all their care and knowledge to make it worthy of praise, as it truly was, and even now when it is half destroyed, it is possible to read their names and the date, by means of which and of a knowledge of the time when they began it, one may see that they spent eight whole years upon it, although it is true that at the same time they made many other small things in different places for various persons.

Now while they were at work at Bologna, that city gave itself freely to the Church, through the mediation of the papal legate, and the Pope in return promised that he and his court would go to live at Bologna, but that for his security he wished to build a castle or fortress there. This was granted by the Bolognese, and the castle was quickly built under the direction and from the design of Agostino and Agnolo; but it had a very short life, for when the Bolognese discovered that all the promises made by the Pope were vain, they dismantled and destroyed it much more quickly than it had been made.

It is said that while these two sculptors were staying at Bologna, the Po impetuously burst its banks, doing incredible damage to the territories of Mantua and Ferrara, causing the death of more than ten thousand persons, and wasting the country for miles around. Being clever and worthy men, the assistance of Agostino and Agnolo was requested, and they succeeded in finding means of reducing that terrible river to its bed, and of confining it there with ditches and other effective remedies. This brought them much praise and benefit, for besides the fame which they acquired thereby, their services were acknowledged by the lords of Mantua and by the house of Este with most liberal rewards.

When they next returned to Siena in the year 1338, the new church of S. Maria, near the old Duomo, towards the piazza Manetti, was made under their direction from their design, and not long after, the Sienese, who were greatly pleased with all the works which they executed for them, decided to seize this excellent opportunity of carrying into effect a plan which they had long discussed, but till then without any result, namely, the erection of a public fountain on the principal piazza opposite the palace of the Signoria. The charge of this undertaking was entrusted to Agostino and Agnolo, and although it was a matter of great difficulty they brought water to the fountain by pipes made of lead and earth, and the first jet of water was thrown up on 1st June 1343, to the great delight and contentment of all the city, which on this account was under a great obligation to the talent of these two citizens. At the same time the hall of the greater council was made in the Palazzo del Pubblico, and the same artists directed and designed the building of the tower of that palace, which they completed in the year 1344, hanging two great bells on it, one of which came from Grosseto, while the other was made at Siena. In the course of time Agnolo arrived at Assisi, where he made a chapel in the lower church of S. Francesco, and a marble tomb for a brother of Napoleone Orsini, a cardinal and a Franciscan friar, who had died in that place. Agostino, who had remained at Siena in the service of the State, died while he was engaged upon the designs for the ornamentation of the piazza fountain, mentioned above, and was buried in the Duomo with honour. I have not been able to discover how or when Agnolo died, so that I can say nothing about it, nor do I know of any other works of importance by his hand, and so this is the end of their lives. It would, however, be an error, as I am following a Chronological order, not to make mention of some, who, although they have not done things which would justify a narration of their whole life, have nevertheless in some measure added things of utility and beauty to art and to the world. Therefore in connection with the mention made above of the Vescovado and Pieve of Arezzo, let me here relate that Pietro and Paolo, goldsmiths of Arezzo, who learned design from Agnolo and Agostino of Siena, were the first who executed great works of any excellence with the chisel; for they made for the head priest of the Pieve of Arezzo a silver head of life-size, in which was put the head of St Donato, bishop and protector of that city, a work which was certainly praiseworthy, if only because they introduced into it some figures in enamel, which were, as I have said, among the first things executed with the chisel.

About the same time, or shortly before, the art of the Calimara at Florence, entrusted to Master Cione, an excellent goldsmith, the greater part, if not the whole, of the silver altar of S. Giovanni Batista, which contains many scenes from the life of that saint, engraved in a very creditable manner on a silver plate. This work, on account of its dimensions, and the novelty of its execution, was considered marvellous by everyone who saw it. The same Master Cione, in 1330, when the body of St Zenobius was found under the vaults of St Reparata, placed in a silver head of life-size, the piece of the head of that saint which is still preserved therein, and is carried in procession. This head was considered a most beautiful thing at the time, and brought much reputation to the artist, who died soon after, a wealthy man, and held in high esteem.

Master Cione left many pupils, and among others, Forzore di Spinello of Arezzo, who did all manner of engraving excellently, but was especially good in making scenes in enamel on silver, such as may be seen in the Vescovado at Arezzo, for which he made a mitre with a beautiful border of enamel, and a fine pastoral staff in silver. He also executed many things in silver for the Cardinal Galeotto da Pietramala, who bequeathed them to the friars of la Vernia, where he wished to be buried, and where, besides the wall, which the Count Orlando, lord of Chiusi, a small castle below la Vernia, had caused to be set up, he built the church and many rooms in the convent, and all this without leaving any notice or other memorial of himself in any part of that place. Another pupil of Master Cione was Lionardo di Ser Giovanni of Florence, who executed a number of works with the chisel and with solder, with a better design than those who preceded him, especially the altar and silver bas-reliefs of S. Jacopo at Pistoia, where, beside a large number of subjects, the half-length figure of St James, more than a braccia high, is much admired. It is in full relief, and finished with such elaboration, that it seems to have been cast rather than engraved. The figure is placed in the midst of the scenes of the altar table, about which runs a legend in letters of enamel:

Ad honorem Dei et S. Jacobi Apostoli, hoc opus factum fuit tempore
Domini Franc. Pagni dictae operae operarii sub anno 1371 per me
Leonardum Ser Jo. de Floren. aurific.

Now to return to Agostino and Agnolo, they had many pupils who produced many works after them in architecture and sculpture in Lombardy and other places in Italy. Among them was Jacopo Lanfrani of Venice, who founded S. Francesco of Imola, and executed the sculptures for the principal door, where he carved his name and the date, 1343; for the church of S. Domenico at Bologna the same Master Jacopo made a marble tomb for Gio. Andrea Calduino, doctor of law and secretary of Pope Clement VI., and another very well executed also in marble and in the same church for Taddeo Peppoli, protector of the people and of justice at Bologna. In the same year, that is to say in 1347, after the completion of this tomb, or shortly before, Master Jacopo returned to his native Venice and there founded the church of S. Antonio, which was originally of wood, at the request of a Florentine abbot of the ancient family of the Abati, M. Andrea Dandolo, being doge at the time. This church was completed in the year 1349.

Then again Jacobello and Pietro Paolo, Venetians, who were pupils of Agostino and Agnolo, erected in S. Domenico at Bologna a marble tomb for M. Giovanni da Lignano, doctor of laws, in the year 1383. All these and many other sculptors continued for a long space of time to employ the same manner, so that they filled all Italy with examples of it. It is further believed that the native of Pesaro, who besides many other things did the door of the church of S. Domenico in his native town, with the three marble figures of God the Father, St John the Baptist and St Mark, was a pupil of Agostino and Agnolo, and the style of the work gives colour to the supposition. This work was completed in the year 1385. But since it would take much too long to enter into particulars of the works made in this style by many masters of the time, I will let what I have said, in this general way, suffice, chiefly because they have not exercised a great influence upon our arts. Yet I thought it good to mention these men, because even if they do not deserve a long notice, yet they are not so insignificant as to be altogether passed over in silence.

Stefano, Painter of Florence, and Ugolino of Siena.

Stefano, painter of Florence and pupil of Giotto, was so excellent that not only did he surpass all the artists who had studied the arts before him, but he so far surpassed his master himself that he was deservedly considered the best of the painters up to that time, as his works clearly prove. He painted the Madonna in fresco for the Campo Santo at Pisa, and it is somewhat superior in design and colouring to the work of Giotto. In the cloister of S. Spirito at Florence he painted three arches in fresco, in the first of which, containing the Transfiguration with Moses and Elias, he represented the three disciples in fine and striking attitudes. He has formed a fine conception of the dazzling splendour which astonished them, their clothes being in disorder, and falling in new folds, a thing first seen in this picture, as he tried to base his work upon the nude figures, an idea which had not occurred to anyone before, no not even to Giotto himself. Under that arch, in which he made a Christ releasing a demoniac, he drew an edifice in perspective, perfectly, in a style then little known, displaying improved form and more science. He further executed it in the modern manner with great judgment, and displayed such art and such invention and proportion in the columns, doors, windows and cornices, and such different methods from the other masters that it seemed as if he had begun to see some glimpses of the light of the good and perfect manner of the moderns. Among other ingenious things he contrived a very difficult flight of steps, which are shown both in painting and in relief, and possess such design, variety, and invention, and are so useful and convenient that Lorenzo de' Medici, the Magnificent, the elder, made use of the design for the steps outside the palace of Poggio a Caiano, now the principal villa of the Most Illustrious Duke. In the other arch is a representation of Christ saving St Peter from the fury of the waters, so well done that one seems to hear the voice of Peter saying: _Domine, salva nos, perimus_. This work is considered much finer than the other, because, besides the grace of the draperies, there is a sweetness in the bearing of the heads, a fear of the fortunes of the sea, while the terror of the apostles at various motions and appearances of the water, are represented in very suitable attitudes and with great beauty. And although time has partly destroyed the labour expended by Stefano on this work, one may still discern confusedly that the apostles are defending themselves with spirit from the fury of the winds and waves. This work, which has been highly praised by the moderns, must certainly have appeared a miracle in all Tuscany at the time when it was produced, Stefano then painted in the first cloister of S. Maria Novella a St Thomas Aquinas, next a door, where he also made a crucifix which has since been much damaged by other painters in restoring it. He also left unfinished a chapel in the church, which he began, now much damaged by time. In it may be seen the fall of the angels through the pride of Lucifer, in divers forms. Here it is noteworthy that the foreshortening of the arms, busts, and legs of the figures is much better done than ever before, and this shows us that Stefano began to recognise and had partially overcome the difficulties which stand in the way of the highest excellence, the mastery of which by his successors, by means of unremitting study, has rendered their works so remarkable. For this cause artists have well named him the ape of nature.

Some time after Stefano was invited to Milan where he began many things for Matteo Visconti, but was not able to complete them, because having fallen sick owing to the change of air, he was compelled to return to Florence. There he regained his strength and executed in fresco in the chapel of the Asini in S. Croce, the story of the martyrdom of St Mark by being drawn asunder, with many figures which possess merit. As a pupil of Giotto he was then invited to Rome where he did in fresco for the principal chapel of St Peter's, which contains the altar of that saint, some scenes from the life of Christ between the windows of the large apse, with such care that he approaches very closely to the modern style and surpasses his master Giotto in design and other things. After this he executed in fresco, at Araceli, on a pillar beside the principal chapel on the left, a St Louis, which is much admired because it possesses a vivacity which had not been apparent in any works up to that time, not even in those of Giotto. Indeed Stefano had great facility in design, as may be seen in a drawing by his hand in our book, in which the transfiguration is represented which he made for the cloister of S. Spirito, and indeed in my opinion he designed much better than Giotto. He next went to Assisi and in the apse of the principal chapel of the lower church, where the choir is, he began a representation in fresco of the Heavenly Glory; and although he did not finish it, what he did perform shows that he used the utmost diligence. In this work he began a series of saints with such beautiful variety in the faces of the youths, the men of middle age and the old men, that nothing better could be desired, and those blessed spirits exhibit so sweet and so united a style that it appears all but impossible that they could have been done by Stefano at that time. He however did execute them, although no more than the heads of the figures are finished. Above them is a choir of angels rejoicing in various attitudes, appropriately carrying theological symbols in their hands. All are turned towards a crucified Christ who is in the midst of the work immediately above a St Francis, who is surrounded by a multitude of saints. Besides this he made some angels as a border for the work, each of them holding one of those churches of which St John the Evangelist writes in the Apocalypse. These angels are represented with such grace that I am amazed to find a man of that age capable of producing them. Stefano began this work with the intention of thoroughly completing it, and he would have succeeded had he not been forced to leave it imperfect and to return to Florence on some important affairs of his own. During this stay at Florence and in order to lose no time, he painted for the Granfigliazzi lung' Arno, between their houses and the ponte alle Carraia in a small tabernacle on one side, Our Lady seated sewing, to whom a clothed child who is seated, is offering a bird, done with such care that although it is small it merits no less praise than the more ambitious efforts of the master.

On the completion of this work and the settling of his affairs, Stefano was summoned to Pistoia by the lords there, and was set by them to paint the chapel of St James in the year 1346. In the vault he did a God the Father with some apostles, and on the side walls the life of the saint, notably the scene where his mother, the wife of Zebedee, asks Jesus Christ to permit that her two sons shall sit, one on His right hand and the other on His left in the kingdom of His Father. Near this is a fine presentation of the beheading of the saint. It is thought that Maso, called Giottino, of whom I shall speak afterwards, was the son of this Stefano, and although, on account of his name, many believe him to be the son of Giotto, I consider it all but certain that he was rather the son of Stefano, both because of certain documents which I have seen, and also because of some notices written in good faith by Lorenzo Ghiberti and by Domenico del Grillandaio. However, this may be, and to return to Stefano, to him is due the credit of the greatest improvement in painting since the days of Giotto; because, besides being more varied in his inventions, he showed more unity in colouring and more shading than all the others, and above all, in diligence he had no rival. And although the foreshortenings which he made exhibit, as I have said, a bad manner owing to the difficulties of execution, yet as the first investigator of these difficulties he deserves a much higher place than those who follow after the path has been made plain for them. Thus a great debt is due to Stefano, because he who presses on through the darkness and shows the way, heartens the others, enabling them to overcome the difficulties of the way, so that in time they arrive at the desired haven. In Perugia also, in the church of S. Domenico, Stefano began in fresco the chapel of St Catherine which is still unfinished.

At the same time there lived a Sienese painter, called Ugolino, of considerable repute, and a great friend of Stefano. He did many pictures and chapels in all parts of Italy. But he kept in great part to the Byzantine style, to which he had become attached by habit, and always preferred, from a caprice of his own, to follow the manner of Cimabue rather than that of Giotto, which was held in such esteem. His works consist of a picture for the high altar of S. Croce, on a gold ground, and another picture which stood for many years on the high altar of S. Maria Novella, and which is now in the chapter-house, where every year the Spanish nation celebrates with a solemn feast the day of St James and its other offices and burial services. Besides these he did many other things in a good style, but without in the least departing from the manner of his master. It was he who painted on a pillar of bricks in the loggia, which Lapo had built on the piazza of Orsanmichele, that Madonna which, not many years after, worked so many miracles that the loggia was for a great time full of images, and to this day is held in the highest veneration. Finally, in the chapel of M. Ridolfo de' Bardi, in S. Croce, where Giotto painted the life of St Francis, he did a crucifix in tempera with the Magdalene and St John weeping, and two friars on either side. Ugolino died at an advanced age in the year 1349, and was honourably buried at Siena, his native place.

But to return to Stefano, who, they say, was also a good architect, and what has been said above makes this likely; he died, it is said, at the beginning of the Jubilee of 1350, at the age of forty-nine, and was buried at S. Spirito in the tomb of his ancestors with this epitaph:

Stephano Florentino pictori, faciundis imaginibus ac colorandis
figuris nulli unquam inferiori; Affines moestiss. pos. vix. an.
XXXXIX.

Pietro Laurati, Painter of Siena.

Pietro Laurati, an excellent painter of Siena, proved by his life how great may be the contentment of men of undoubted talent, who realise that their works are valued, both in their native land and outside it, and who see themselves in request by all men; for in the course of his life he was employed and caressed by all Tuscany. The first works which brought him into notice were the scenes which he painted in fresco in la Scala, a hospital of Siena, in which he imitated the style of Giotto so successfully that these paintings became known throughout Tuscany and gave rise to the well-founded belief that he would become a better master than Cimabue, Giotto, and the others, as he actually did. In these scenes he represented the Virgin mounting the steps of the Temple, accompanied by Joachim and Anna, and received by the priest; then her marriage, both remarkable for good ornamentation, well-draped figures with simple folds of the clothes, and a majesty in the carnage of the heads, while the disposition of the figures is in the finest style. During the progress of this work, which introduced the good style of painting to Siena, being the first gleam of light for the many fine spirits who have flourished in that land in every age, Pietro was summoned to Monte Oliveto di Chiusuri, where he painted a picture in tempera which is now placed in the paradiso under the church. He next painted a tabernacle at Florence, opposite the left door of the church of S. Spirito, on the side where a butcher's shop now stands, which merits the highest praise from every attentive artist, on account of the grace of the heads and the smoothness which it exhibits. Proceeding from Florence to Pisa, he did for the Campo Santo on the wall next the principal door, all the life of the Holy Fathers, with such striking reality and in such fine attitudes, that they rival Giotto. For this work he won the highest praise, having expressed in some heads, in drawing and colour, all the vivacity of which the manner of the time was capable. From Pisa he passed to Pistoia, and in S. Francesco did a picture of Our Lady in tempera, surrounded by some angels, very well arranged, the predella beneath containing some scenes with small figures, presented with a vigour and life remarkable for those times. This work satisfied him as much as it delighted others, and accordingly he put his name to it in these words: _Petrus Laurati de Senis_. Afterwards, in the year 1355, Pietro was summoned to Arezzo by M. Guglielmo, head priest, and by Margarito Boschi and the other wardens of the Pieve of Arezzo. This church had been brought to an advanced stage in a better style and manner than had been practised in Tuscany up to that time, being ornamented with squared stones and carvings by the hand of Margaritone, as has been said. There Pietro painted in fresco the tribune and all the great apse of the chapel of the high altar, representing twelve scenes from the life of Our Lady, with life-size figures, from the chasing of Joachim out of the Temple, to the birth of Jesus Christ. In these works in fresco one meets with the ideas, lineaments, carriage of the heads, and attitudes of the figures characteristic of Giotto, his master. And although the whole of this work is beautiful, yet the paintings in the vault of the apse are certainly much better than the rest, because, in the place where he represented the ascent of Our Lady to heaven, besides making the apostles four braccia high each, in which he showed his greatness of mind, being the first artist who attempted to aggrandise his style, he gave such a beautiful turn to the heads and such grace to the vestments that more could not have been desired in those days. In like manner he painted in the vaulting a choir of angels flying in the air about a Madonna. As they gracefully dance they appear to be singing, with a joy truly angelic and divine; whilst they are playing various instruments their eyes are fixed and intent on another choir of angels, sustained by a cloud of almond shape bearing the Madonna to heaven arranged in beautiful attitudes and surrounded by rainbows. This work, which was deservedly popular, procured him a commission to paint in tempera the picture of the high altar of that Pieve, where in five panels of life-size figures, represented to the knees, he made Our Lady with the Child on her arm, with St John the Baptist and St Matthew on one side of her, and on the other the Evangelist and St Donate. In the predella are many small figures, as well as in the frame of the picture above, all really fine and executed in the best style. I have entirely restored this altar at my own expense and with my own hands, so that this picture has been placed above the altar of St Christopher, at the bottom of the church. I may take this opportunity, without appearing to be impertinent, of saying in this place that I have myself restored this ancient collegiate church, moved by Christian piety and by the affection which I bear to the venerable building, because it was my first instructress in my early childhood. This I did also because it appeared to me to be as it were abandoned, and it may now be said to have been called back to life from the dead. Besides increasing the light, for it was very dark, by enlarging the original windows and making new ones, I also took away the choir, which used to occupy a great part of the church, and put it behind the high altar, to the great satisfaction of the canons there. The new altar stands alone, and has on the table before it a Christ calling Peter and Andrew from their nets, and on the side next the choir is another picture of St George killing the serpent. On the sides are four panels, each of which contains two saints of life-size. Above and below in the predella are numerous other figures, which are omitted for the sake of brevity. The ornamentation of the altar is thirteen braccia high, and the predella two braccia. The interior is hollow and is approached by a staircase through a small iron door, very well arranged. Many valuable relics are preserved there, which may be seen from the outside through two iron gratings in the front. Among others is the head of St Donato, bishop and protector of Arezzo. In a chest of various materials, three braccia high, which I have caused to be newly made, are the bones of four saints. The predella of the altar, which entirely surrounds it, has in front of it the tabernacle or _ciborium_ of the Sacrament, in carved wood, all gilt, about three braccia high, and it may be seen from the choir side as well as from the front. As I have spared neither pains nor expense, since I considered myself bound to do my best to honour God, I may venture to affirm that, so far as my ability would allow, this work lacks nothing in the way of ornament, whether of gold, carving, painting, marble, trevertine, porphyry, or other stones.

Now to return to Pietro Laurati. When he had completed the picture mentioned above, he did many things for St Peter's at Rome, which were afterwards destroyed in building the new church. He also executed some works at Cortona and at Arezzo, besides those already mentioned, and some others in the church of S. Fiore e Lucilla, a monastery of black monks, notably a representation in a chapel of St Thomas putting his hand into the wound in Christ's side.

A pupil of Pietro was Bartolommeo Bologhini of Siena, who executed many pictures at Siena and other places in Italy. There is one by his hand at Florence, on the altar of the chapel of St Silvester in S. Croce. The paintings of this man were executed about the year 1350. In my book, which I have so often referred to, may be seen a drawing by Pietro, representing a shoemaker sewing in a simple but most natural manner with an admirable expression. It affords a good example of Pietro's peculiar style. His portrait by the hand of Bartolommeo Bologhini was in a picture at Siena, where not many years ago I copied it, in the manner seen above.

Andrea Pisano, Sculptor and Architect.