A History of Art for Beginners and Students Part 4

In person Giotto was so ugly that his admirers made jokes about it; but he was witty and attractive in conversation, and so modest that his friends were always glad to praise him while he lived, and since his death his fame has been cherished by all who have written of him. There are many anecdotes told of Giotto. One is that on a very hot day in Naples, King Robert said to the painter, "Giotto, if I were you, I would leave work, and rest." Giotto quickly replied, "So would I, sire, _if I were you_."

When the same king asked him to paint a picture which would represent his kingdom, Giotto drew an a.s.s bearing a saddle on which were a crown and sceptre, while at the feet of the a.s.s there was a new saddle with a shining new crown and sceptre, at which the a.s.s was eagerly smelling. By this he intended to show that the Neapolitans were so fickle that they were always looking for a new king.

There is a story which has been often repeated which says, that in order to paint his crucifixes so well, he persuaded a man to be bound to a cross for an hour as a model; and when he had him there he stabbed him, in order to see such agony as he wished to paint. When the Pope saw the picture he was so pleased with it that he wished to have it for his own chapel; then Giotto confessed what he had done, and showed the body of the dead man.

The Pope was so angry that he threatened the painter with the same death, upon which Giotto brushed the picture over so that it seemed to be destroyed. Then the Pope so regretted the loss of the crucifix that he promised to pardon Giotto if he would paint him another as good. Giotto exacted the promise in writing, and then, with a wet sponge, removed the wash he had used, and the picture was as good as before. According to tradition all famous crucifixes were drawn from this picture ever after.

When Boniface VIII. sent a messenger to invite Giotto to Rome, the messenger asked Giotto to show him something of the art which had made him so famous. Giotto, with a pencil, by a single motion drew so perfect a circle that it was thought to be a miracle, and this gave rise to a proverb still much used in Italy:--_Piu tondo che l'O di Giotto_, or, "Rounder than the O of Giotto."

Giotto had a wife and eight children, of whom nothing is known but that his son Frances...o...b..came a painter. Giotto died in 1337, and was buried with great honors in the Church of Santa Maria del Fiore. Lorenzo de Medici erected a monument to his memory. The pupils and followers of Giotto were very numerous, and were called Giotteschi; among these TADDEO GADDI, and his son AGNOLO, are most famous: others were MASO and BERNARDO DI DADDO; but I shall not speak in detail of these artists.

While Giotto was making the art of Florence famous, there was an artist in Siena who raised the school of that city to a place of great honor. This was SIMONE MARTINI, who lived from 1283 to 1344, and is often called SIMONE MEMMI because he married a sister of another painter, LIPPO MEMMI.

The most important works of Simone which remain are at Siena in the Palazzo Pubblico and in the Lower Church at a.s.sisi. There is one beautiful work of his in the Royal Inst.i.tution, at Liverpool, which ill.u.s.trates the text, "Behold, thy father and I have sought Thee, sorrowing."

While the Papal court was at Avignon, in 1338, Simone removed to that city. Here he became the friend of Petrarch and of Laura, and has been praised by this poet as Giotto was by Dante.

Another eminent Florentine artist was ANDREA ORCAGNA, as he is called, though his real name was ANDREA ARCAGNUOLO DI CIONE. He was born about 1329, and died about 1368. It has long been the custom to attribute to Orcagna some of the most important frescoes in the Campo Santo at Pisa; but it is so doubtful whether he worked there that I shall not speak of them. His father was a goldsmith, and Orcagna first studied his father's craft; he was also an architect, sculptor, mosaist, and poet, as well as a painter. He made an advance in color and in the painting of atmosphere that gives him high rank as a painter; as a sculptor, his tabernacle in the Church of Or San Michele speaks his praise. Mr. C. C. Perkins thus describes it: "Built of white marble in the Gothic style, enriched with every kind of ornament, and storied with bas-reliefs ill.u.s.trative of the Madonna's history from her birth to her death, it rises in stately beauty toward the roof of the church, and, whether considered from an architectural, sculptural, or symbolic point of view, must excite the warmest admiration in all who can appreciate the perfect unity of conception through which its bas-reliefs, statuettes, busts, intaglios, mosaics, and incrustations of _pietre dure_, gilded gla.s.s, and enamels are welded into a unique whole."

But perhaps it is as an architect that Orcagna is most interesting to us, for he it was who made the designs for the Loggia de Lanzi in Florence.

This was built as a place for public a.s.sembly, and the discussion of the topics of the day in rainy weather; it received its name on account of its nearness to the German guard-house which was called that of the Landsknechts (in German), or Lanzi, as it was given in Italian. Orcagna probably died before the Loggia was completed, and his brother Bernardo succeeded him as architect of the commune. This Loggia is one of the most interesting places in Florence, fully in sight of the Palazzo Signoria, near the gallery of the Uffizi, and itself the storehouse of precious works of sculpture.

There were also in these early days of the fourteenth century schools of art at Bologna and Modena; but we know so little of them in detail that I shall not attempt to give any account of them here, but will pa.s.s to the early artists who may be said to belong to the true Renaissance in Italy.

CHAPTER III.

PAINTING IN ITALY, FROM THE BEGINNING OF THE RENAISSANCE TO THE PRESENT CENTURY.

The reawakening of Art in Italy which followed the darkness of the Middle Ages, dates from about the beginning of the fifteenth century and is called the Renaissance. The Italians have a method of reckoning the centuries which differs from ours. Thus we call 1800 the first year of the nineteenth century, but they call it the first of the eighteenth; so the painters of what was to us the fifteenth century are called by Italians the "_quattrocentisti_," or men of the fourteenth century, and while to us the term "_cinquecento_" means the style of the sixteenth century, to the Italians the same century, which begins with 1500, is the fifteenth century.

I shall use our own method of reckoning in my writing; but this fact should be known to all who read or study art.

The first painter of whom I shall now speak is known to us as FRA ANGELICO. His name was Guido, the son of Pietro, and he was born at Vicchio in the province of Mugello, in the year 1387. We know that his family was in such circ.u.mstances that the young Guido could have led a life of ease; but he early determined to become a preaching friar.

Meantime, even as a boy, he showed his taste for art, and there are six years in his life, from the age of fourteen to twenty, of which no one can tell the story. However, from what followed it is plain that during this time he must somewhere have devoted himself to the study of painting and to preparation for his life as a monk.

Before he was fully twenty years old, he entered the convent at Fiesole, and took the name of Fra, or Brother Giovanni; soon after, his elder brother joined him there, and became Fra Benedetto. Later on our artist was called Fra Angelico, and again _Il Beato Angelico_, and then, according to Italian custom, the name of the town from which he came was added, so that he was at last called _Il Beato Giovanni, detto Angelico, da Fiesole_, which means, "The Blessed John, called the Angelic, of Fiesole." The t.i.tle _Il Beato_ is usually conferred by the church, but it was given to Fra Angelico by the people, because of his saintly character and works.

It was in 1407 that Fra Angelico was admitted to the convent in Fiesole, and after seven years of peaceful life there he was obliged to flee with his companions to Foligno. It was at the time when three different popes claimed the authority over the Church of Rome, and the city of Florence declared itself in favor of Alexander V.; but the monks of Fiesole adhered to Gregory XII., and for this reason were driven from their convent. Six years they dwelt at Foligno; then the plague broke out in the country about them, and again they fled to Cortona. Pictures painted by Fra Angelico at this time still remain in the churches of Cortona.

After an absence of ten years the monks returned to Fiesole, where our artist pa.s.sed the next eighteen years. This was the richest period of his life: his energy was untiring, and his zeal both as an artist and as a priest burned with a steady fire. His works were sought for far and wide, and most of his easel-pictures were painted during this time. Fra Angelico would never accept the money which was paid for his work; it was given into the treasury of his convent; neither did he accept any commission without the consent of the prior. Naturally, the monk-artist executed works for the adornment of his own convent. Some of these have been sold and carried to other cities and countries, and those which remain have been too much injured and too much restored to be considered important now.

[Ill.u.s.tration: FIG. 31.--FRA ANGELICO. _From the representation of him in the fresco of the "Last Judgment," by Fra Bartolommeo, in Santa Maria Nuova, Florence._]

He painted so many pictures during this second residence at Fiesole, not only for public places, but for private citizens, that Vasari wrote: "This Father painted so many pictures, which are dispersed through the houses of the Florentines, that sometimes I am lost in wonder when I think how works so good and so many could, though in the course of many years, have been brought to perfection by one man alone."

In 1436 the great Cosimo de Medici insisted that the monks of Fiesole should again leave their convent, and remove to that of San Marco, in Florence. Most unwillingly the brethren submitted, and immediately Cosimo set architects and builders to work to erect a new convent, for the old one was in a ruinous state. The new cloisters offered a n.o.ble field to the genius of Fra Angelico, and he labored for their decoration with his whole soul; though the rule of the order was so strict that the pictures in the cells could be seen only by the monks, he put all his skill into them, and labored as devotedly as if the whole world could see and praise them, as indeed has since been done. His pictures in this convent are so numerous that we must not describe them, but will say that the Crucifixion in the chapter-room is usually called his masterpiece. It is nearly twenty-five feet square, and, besides the usual figures in this subject, the Saviour and the thieves, with the executioners, there are holy women, the founders of various orders, the patrons of the convent, and companies of saints. In the frame there are medallions with several saints and a Sibyl, each bearing an inscription from the prophecies relating to Christ's death; while below all, St. Dominic, the founder of the artist's order, bears a genealogical tree with many portraits of those who had been eminent among his followers. For this reason this picture has great historic value.

At last, in 1445, Pope Eugenius IV., who had dedicated the new convent of San Marco and seen the works of Angelico, summoned him to Rome. It is said that the Pope not only wished for some of his paintings, but he also desired to honor Angelico by giving him the archbishopric of Florence; but when this high position was offered him, Fra Angelico would not accept of it: he declared himself unequal to its duties, and begged the Pope to appoint Fra Antonino in his stead. This request was granted, and Angelico went on with his work as before, in all humility fulfilling his heaven-born mission to lead men to better lives through the sweet influence of his divine art.

The honor which had been tendered him was great--one which the n.o.blest men were striving for--but if he realized this he did not regret his decision, neither was he made bold or vain by the royal tribute which the Pope had paid him.

From this time the most important works of Fra Angelico were done in the chapel of Pope Nicholas V., in the Vatican, and in the chapel which he decorated in the Cathedral of Orvieto. He worked there one summer, and the work was continued by Luca Signorelli. The remainder of his life was pa.s.sed so quietly that little can be told of it. It is not even known with certainty whether he ever returned to Florence, and by some strange fate the key to the chapel which he painted in the Vatican was lost during two centuries, and the pictures could only be seen by entering through a window. Thus it would seem that his last years were pa.s.sed in the quiet work which he best loved.

[Ill.u.s.tration: FIG. 32.--AN ANGEL. _In the Uffizi, Florence. By Fra Angelico._]

When his final illness was upon him, the brethren of Santa Maria Sopra Minerva, where he resided, gathered about him, and chanted the _Salve Regina_. He died on the 18th of February, 1455, when sixty-seven years old. His tombstone is in the church of Santa Maria Sopra Minerva, in Rome; on it lies the figure of a Dominican monk in marble. Pope Nicholas V.

wrote his epitaph in Latin. The following translation is by Professor Norton:

"Not mine be the praise that I was a second Apelles, But that I gave all my gains to thine, O Christ!

One work is for the earth, another for heaven.

The city, the Flower of Tuscany, bore me--John."

In the Convent of San Marco in Florence there are twenty-five pictures by this master; in the Academy of Florence there are about sixty; there are eleven in the chapel of Nicholas V., and still others in the Vatican gallery. The Church of Santa Maria Novella, Florence, the Cathedral of Orvieto, the Church of St. Domenico in Perugia, and that of Cortona, are all rich in his works. Besides these a few exist in some of the princ.i.p.al European galleries; but I love best to see them in San Marco, where he painted them for his brethren, and where they seem most at home.

The chief merit of the pictures of Fra Angelico is the sweet and tender expression of the faces of his angels and saints, or any beings who are holy and good; he never succeeded in painting evil and sin in such a way as to terrify one; his gentle nature did not permit him to represent that which it could not comprehend, and the very spirit of purity seems to breathe through every picture.

Two other Florentine artists of the same era with Fra Angelico were MASOLINO, whose real name was PANICALE, and TOMMASO GUIDI, called MASACCIO on account of his want of neatness. The style of these two masters was much the same, but Masaccio became so much the greater that little is said of Masolino. The princ.i.p.al works of Masaccio are a series of frescoes in the Brancacci Chapel in Florence. They represent "The Expulsion from Paradise," "The Tribute Money," "Peter Baptizing," "Peter Curing the Blind and Lame," "The Death of Ananias," "Simon Magus," and the "Resuscitation of the King's Son." There is a fres...o...b.. Masolino in the same chapel; it is "The Preaching of Peter." Masaccio was in fact a remarkable painter.

Some one has said that he seemed to hold Giotto by one hand, and reach forward to Raphael with the other; and considering the pictures which were painted before his time, his works are as wonderful as Raphael's are beautiful. He died in 1429.

PAOLO UCCELLO (1396-1479) and FILIPPO LIPPI (1412-1469) were also good painters, and SANDRO BOTTICELLI (1447-1515), a pupil of Filippo, was called the best Florentine painter of his time. FILLIPINO LIPPI (1460-1505) was a pupil of Botticelli and a very important artist. ANDREA VERROCCHIO, LORENZO DI CREDI, and ANTONIO POLLAJUOLO were all good painters of the Florentine school of the last half of the fifteenth century.

Of the same period was DOMENICO GHIRLANDAJO (1449-1494), who ranks very high on account of his skill in the composition of his works and as a colorist. He made his pictures very interesting also to those of his own time, and to those of later days, by introducing portraits of certain citizens of Florence into pictures which he painted in the Church of Santa Maria Novella and other public places in the city. He did not usually make them actors in the scene he represented, but placed them in detached groups as if they were looking at the picture themselves. While his scenes were laid in the streets known to us, and his architecture was familiar, he did not run into the fantastic or lose the picturesque effect which is always pleasing. Without being one of the greatest of the Italian masters Ghirlandajo was a very important painter. He was also a teacher of the great Michael Angelo.

Other prominent Florentine painters of the close of the fifteenth century were FRANCISCO GRANACCI (1477-1543), LUCA SIGNORELLI (1441-1521), BENOZZO GOZZOLI (1424-1485), and COSIMO ROSSELLI (1439-1506).

Some good painters worked in Venice from the last half of the fourteenth century; but I shall begin to speak of the Venetian school with some account of the Bellini. The father of this family was JACOPO BELLINI (1395-1470), and his sons were GENTILE BELLINI (1421-1507) and GIOVANNI BELLINI (1426-1516).

The sketch-book of the father is one of the treasures of the British Museum. It has 99 pages, 17 by 13 inches in size, and contains sketches of almost everything--still and animal life, nature, ancient sculpture, buildings and human figures, stories of the Scriptures, of mythology, and of the lives of the saints are all ill.u.s.trated in its sketches, as well as hawking parties, village scenes, apes, eagles, dogs, and cats. In this book the excellence of his drawing is seen; but so few of his works remain that we cannot judge of him as a colorist. It is certain that he laid the foundation of the excellence of the Venetian school, which his son Giovanni and the great t.i.tian carried to perfection.

The elder son, Gentile, was a good artist, and gained such a reputation by his pictures in the great council-chamber of Venice, that when, in 1479, Sultan Mehemet, the conqueror of Constantinople, sent to Venice for a good painter, the Doge sent to him Gentile Bellini. With him he sent two a.s.sistants, and gave him honorable conduct in galleys belonging to the State. In Constantinople Gentile was much honored, and he painted the portraits of many remarkable people. At length it happened that when he had finished a picture of the head of John the Baptist in a charger, and showed it to the Sultan, that ruler said that the neck was not well painted, and when he saw that Gentile did not agree with him he called a slave and had his head instantly struck off, to prove to the artist what would be the true action of the muscles under such circ.u.mstances. This act made Gentile unwilling to remain near the Sultan, and after a year in his service he returned home. Mehemet, at parting, gave him many gifts, and begged him to ask for whatever would best please him. Gentile asked but for a letter of praise to the Doge and Signoria of Venice. After his return to Venice he worked much in company with his brother. It is said that t.i.tian studied with Gentile: it is certain that he was always occupied with important commissions, and worked until the day of his death, when he was more than eighty years old.

[Ill.u.s.tration: FIG. 33.--CHRIST. _By Gio. Bellini._]

But Giovanni Bellini was the greatest of his family, and must stand as the founder of true Venetian painting. His works may be divided into two periods, those that were done before, and those after he learned the use of oil colors. His masterpieces, which can still be seen in the Academy and the churches of Venice, were painted after he was sixty-five years old. The works of Giovanni Bellini are numerous in Venice, and are also seen in the princ.i.p.al galleries of Europe. He did not paint a great variety of subjects, neither was his imagination very poetical, but there was a moral beauty in his figures; he seems to have made humanity as elevated as it can be, and to have stopped just on the line which separates earthly excellence from the heavenly. He often painted the single figure of Christ, of which Lubke says: "By grand n.o.bleness of expression, solemn bearing, and an excellent arrangement of the drapery, he reached a dignity which has rarely been surpa.s.sed." Near the close of his life he painted a few subjects which represent gay and festive scenes, and are more youthful in spirit than the works of his earlier years. The two brothers were buried side by side, in the Church of SS. Giovanni e Paolo, in Venice.

There were also good painters in Padua, Ferrara, and Verona in the fifteenth century.

ANDREA MANTEGNA, of Padua (1430-1506), was a very important artist. He spent the best part of his life in the service of the Duke of Mantua; but his influence was felt in all Italy, for his marriage with the daughter of Jacopo Bellini brought him into relations with many artists. His services were sought by various sovereigns, whose offers he refused until Pope Innocent VIII. summoned him to Rome to paint a chapel in the Vatican.

After two years there he returned to Mantua, where he died. His pictures are in all large collections; his finest works are madonnas at the Louvre, Paris, and in the Church of St. Zeno at Verona. Mantegna was a fine engraver also, and his plates are now very valuable.

In the Umbrian school Pietro Perugino (1446-1524) was a notable painter; he was important on account of his own work, and because he was the master of the great Raphael. His pictures were simple and devout in their spirit, and brilliant in color; in fact, he is considered as the founder of the style which Raphael perfected. His works are in the princ.i.p.al galleries of Europe, and he had many followers of whom we have not s.p.a.ce to speak.

FRANCISCO FRANCIA (1450-1518) was the founder of the school of Bologna.

His true name was Francisco di Marco Raibolini, and he was a goldsmith of repute before he was a painter. He was also master of the mint to the Bentivoglio and to Pope Julius II. at Bologna. It is not possible to say when he began to paint; but his earliest known work is dated 1490 or 1494, and is in the Gallery of Bologna. His pictures resemble those of Perugino and Raphael, and it is said that he died of sorrow because he felt himself so inferior to the great painter of Urbino. Raphael sent his St. Cecilia to Francia, and asked him to care for it and see it hung in its place; he did so, but did not live long after this. It is well known that these two masters were good friends and corresponded, but it is not certain that they ever met. Francia's pictures are numerous; his portraits are excellent. Many of his works are still in Bologna.

[Ill.u.s.tration: FIG. 34.--MADONNA. _By Perugino. In the Pitti Gallery, Florence._]