Fredi (1330-1410), and Taddeo di Bartolo (1362-1422), were other painters of the school. The late men rather carried detail to excess, and the school grew conventional instead of advancing.TRANSITION PAINTERS: Several painters, Starnina (1354-1413), Gentile da Fabriano (1360?-1440?), Fra Angelico (1387-1455), have been put down in art history as the makers of the transition from Gothic to Renaissance painting. They hardly deserve the title. There was no transition. The development went on, and these painters, coming late in the fourteenth century and living into the fifteenth, simply showed the changing style, the advance in the study of nature and the technic of art. Starnina's work gave strong evidence of the study of form, but it was no such work as Masaccio's. There is always a little of the past in[55] the present, and these painters showed traces of Byzantinism in details of the face and figure, in coloring, and in gold embossing.
Gentile had all that nicety of finish and richness of detail and color characteristic of the Siennese. Being closer to the Renaissance than his predecessors he was more of a nature student. He was the first man to show the effect of sunlight in landscape, the first one to put a gold sun in the sky. He never, however, outgrew Gothic methods and really belongs in the fourteenth century. This is true of Fra Angelico. Though he lived far into the Early Renaissance he did not change his style and manner of work in conformity
with the work of others about him. He was the last inheritor of the Giottesque traditions. Religious sentiment was the strong feature of his art. He was behind Giotto and Lorenzetti in power and in imagination, and behind Orcagna as a painter. He knew little of light, shade, perspective, and color, and in characterization was feeble, except in some late work. One face or type answered him for all classes of people--a sweet, fair face, full of divine tenderness. His art had enough nature in it to express his meanings, but little more. He was pre-eminently a devout painter, and really the last of the great religionists in painting.
FIG. 25.--FRA ANGELICO. ANGEL (DETAIL). UFFIZI.
The other regions of Italy had not at this time developed schools of painting of sufficient consequence to mention.[56]
PRINCIPAL WORKS: Florentines--Cimabue, Madonnas S. M. Novella and Acad. Florence, frescos Upper Church of Assisi (?); Giotto, frescos Upper and Lower churches Assisi, best work Arena chapel Padua, Bardi and Peruzzi chapels S. Croce, injured frescos Bargello Florence; Taddeo Gaddi, frescos entrance wall Baroncelli chapel S. Croce, Spanish chapel S. M. Novella (designed by Gaddi (?)); Agnolo Gaddi frescos in choir S. Croce, S. Jacopo tra Fossi Florence, panel pictures Florence Acad.; Giovanni da Milano, Bewail-ing of Christ Florence Acad., Virgin enthroned Prato Gal., altar-piece Uffizi Gal., frescos S. Croce Florence; Antonio Veneziano, frescos in ceiling of Spanish chapel, S. M. Novella, Campo Santo Pisa; Orcagna, altar-piece Last Judgment and Paradise Strozzi
chapel S. M. Novella, S. Zenobio Duomo, Saints Medici chapel S. Croce, Descent of Holy Spirit Badia Florence, altar-piece Nat. Gal. Lon.; Spinello Aretino, Life of St. Benedict S. Miniato al Monte near Florence, Annunciation Convent degl' Innocenti Arezzo, frescos Campo Santo Pisa, Coronation Florence Acad., Barbarossa frescos Palazzo Publico Sienna; Andrea da Firenze, Church Militant, Calvary, Crucifixion Spanish chapel, Upper series of Life of S. Raniera Campo Santo Pisa.
Siennese--Guido da Sienna, Madonna S. Domenico Sienna; Duccio, panels Duomo and Acad. Sienna, Madonna Nat. Gal. Lon.; Simone di Martino, frescos Palazzo Pubblico, Sienna, altar-piece and panels Seminario Vescovile, Pisa Gal., altar-piece and Madonna Opera del Duomo Orvieto; Lippo Memmi, frescos Palazzo del Podesta S. Gemignano, Annunciation Uffizi Florence; Bartolo di Fre-di, altar-pieces Acad. Sienna, S. Francesco Montalcino; Taddeo di Bartolo, Palazzo Pubblico Sienna, Duomo, S. Gemignano, S. Francesco Pisa; Ambrogio Lorenzetti, frescos Palazzo Pubblico Sienna, Triumph of Death (with Pietro Lorenzetti) Campo Santo Pisa, St. Francis frescos Lower Church Assisi, S. Francesco and S. Agostino Sienna, Annunciation Sienna Acad., Presentation Florence Acad.; Pietro Lorenzetti, Virgin S. Ansano, altar-pieces Duomo Sienna, Parish Church of Arezzo (worked with his brother Ambrogio).
TRANSITION PAINTERS: Starnina, frescos Duomo Prato (completed by pupil); Gentile da Fabriano, Adoration Florence Acad., Coronation Brera Milan, Madonna Duomo Orvieto; Fra Angelico, Coronation and many small panels Uffizi, many pieces Life of Christ Florence Acad., other pieces S. Marco Florence, Last Judgment Duomo, Orvieto.
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CHAPTER VI. ITALIAN PAINTING.
EARLY RENAISSANCE. 1400-1500.
Books Recommended: As before, Burckhardt, Crowe and Cavalcaselle, Eastlake, Lafenestre, Lanzi, Habich, Lacroix, Mantz, Morelli, Burton, Rumohr, Stillman, Vasari; also Crowe and Cavalcaselle, History of Painting in North Italy; Berenson, Florentine Painters of Renaissance; Berenson, Venetian Painters of Renaissance; Berenson, Central Italian Painters of Renaissance; Study and Criticism of Italian Art; Boschini, La Carta del Navegar; Calvi, Memorie della Vita ed opere di Francesco Raibolini; Cibo, Niccolo Alunno e la
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scuola Umbra; Citadella, Notizie relative a Ferrara; Cruttwell, Verrocchio; Cruttwell, Pollaiuolo; Morelli, Anonimo, Notizie; Mez-zanotte, Commentario della Vita di Pietro Vanucci; Mundler, Essai d'une Analyse critique de la Notice des tableaux Italiens au Lou-vre; Muntz, Les Precurseurs de la Renaissance; Muntz, La Renaissance en Italie et en France; Patch, Life of Masaccio; Hill, Pisanello, Publications of the Arundel Society; Richter, Italian Art in National Gallery, London; Ridolfi, Le Meraviglie dell' Arte; Rosini, Storia della Pittura Italiana; Schnaase, Geschichte der bildenden Kunste; Symonds, Renaissance in Italy--the Fine Arts; Vischer, Lucas Signorelli und die Italienische Renaissance; Waagen, Art Treasures; Waagen, Andrea Mantegna und Luca Signorelli (in Raumer's Taschenbuch, (1850)); Zanetti, Della Pittura Veneziana.
THE ITALIAN MIND: There is no way of explaining the Italian fondness for form and color other than by considering the necessities of the people and the artistic character of the Italian mind. Art in all its phases was not only an adornment but a necessity of Christian civilization. The Church taught people by sculpture, mosaic, miniature, and fresco. It was an object-teaching, a grasping
of ideas by[58] forms seen in the mind, not a presenting of abstract ideas as in literature. Printing was not known. There were few manuscripts, and the majority of people could not read. Ideas came to them for centuries through form and color, until at last the Italian mind took on a plastic and pictorial character. It saw things in symbolic figures, and when the Renaissance came and art took the lead as one of its strongest expressions, painting was but the color-thought and form-language of the people.
FIG. 26.--FRA FILIPPO. MADONNA. UFFIZI. Please click here for a modern color image
And these people, by reason of their peculiar education, were an exacting people, knowing what was good and demanding it from the artists. Every Italian was, in a way, an art critic, because every church in Italy was an art school. The artists may have led the peo-ple, but the people spurred on the artists, and so the Italian mind went on developing and unfolding until at last it produced the great art of the Renaissance.
THE AWAKENING: The Italian civilization of the fourteenth century was made up of many impulses and inclinations, none of them very strongly defined. There was a feeling about in the dark, a groping toward the light, but the lead[59]ers stumbled often on the road. There was good reason for it. The knowledge of the ancient world lay buried under the ruins of Rome. The Italians had to learn it all over again, almost without a precedent, almost without a preceptor. With the fifteenth century the horizon began to brighten. The Early Renaissance was begun. It was not a revolt, a reaction, or a starting out on a new path. It was a development
of the Gothic period; and the three inclinations of the Gothic period--religion, the desire for classic knowledge, and the study of
nature--were carried into the art of the time with greater realization.
The inference must
