The History of Italian Painting. Luigi Lanzi
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It is worthy of remark, that Vasari, in the life of Jacopo di Casentino, quotes the manuscript 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 manuscript. 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 associated 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 attitudes 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 associated 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, surpassed 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 Hell 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 damned, 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 hell 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 attitudes 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 pass 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 circumstance not to be commended in such a subject. This work exhibits no skill in grouping, no knowledge of relief, and it abounds in attitudes 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 pass on to the followers of Giotto.
The scholars of Giotto have fallen into an error common to the followers of all illustrious men; in despairing to surpass, 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 attitudes, 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 Cœli 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 Pietà, 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 Assisi. He deserved the name of Giottino, given