Tom. ii. p. 127.
[40] In the sacristy of the Angioli is preserved the most ancient portrait of San Francesco that is extant. It is painted on the panel which served as the saint's couch until the period of his decease, as we learn from the inscription. It is there supposed to be the work of some Greek artist anterior to Giunta.
[41] See Signor Ab. Bettinelli, Risorgimento d' Italia negli studii, nelle arti, ne' costumi dopo il mille, p. 192.
[42] To this list of early painters might perhaps be added the name of Francesco Benani, by whom there is a whole length figure of St. Jerome holding a crucifix in his hand. It possesses all the characteristics attributed by Lanzi to this early age. Near the bottom of the picture is a label, inscribed, Franciscus Benanus, Filius Petri Ablada. The size of the picture is 2 feet 8 by 2 feet 2, on panel, covered with gypsum. The vehicle of the colours is probably prepared from eggs, which were usually employed for that purpose before the invention of painting in oil, and to which an absorbent ground of lime or gypsum seems to have been indispensable. It is surprising how well the early pictures executed in this style have preserved their colouring to the present day.
[43] This writer has thrown much light upon the history of our early painters, from which I have derived and shall continue to derive, much benefit; but in the heat of dispute, he has frequently depreciated Cimabue in a way which I cannot approve. For instance, Vasari having said, that "he contributed greatly to the perfection of the art," della Valle asserts, that "he did it neither good nor harm;" and that having closely examined the pictures of Cimabue, "he has found in them a ruder style than appears in those of Giunta Pisano, of Guido da Siena, of Jacopo da Turrita, &c." (tom. i. p. 235.) Of the two last I shall speak elsewhere. With respect to the first, the writer contradicts himself four pages after; when, commenting on another passage of the historian relating to certain pictures of Cimabue, executed in Assisi in the inferior church of S. Francesco, he says, that "he there, in his opinion, surpassed Giunta Pisano." It is to be remembered that this was his first work, or amongst the first that Cimabue painted in Assisi. When he went thither, therefore, he was a better artist than Giunta. How, then, when he worked in the superior church, in Assisi, and in so many other places, did he become so bad a painter, and more uncouth than Giunta himself?
[44] See Baldinucci, tom. i. p. 17, Florentine Edition, 1767, where it is said that the Cimabuoi were also called Gualtieri.
[45] But see Baldinucci in Veglia, p. 87.
[46] We read, in the preface to the Sienese edition of Vasari's Lives, (p. 17) as follows: "To Giunta and to the other artists of Pisa, as heads of the school, was given the principal direction of adorning the Franciscan church; and Cimabue and Giotto are known to have been either disciples or assistants in their school, in which they produced several important works. Giunta had the direction of his assistant as long as he resided there, which may have been even subsequent to 1236. But how are we to suppose that he could have been at Assisi so long as to permit Cimabue (who was born in 1240, and went to Assisi about 1265) to assist, to receive instructions from, and to succeed him? Such a supposition is still more untenable as regards Giotto, who was invited to Assisi many years afterwards." (Vasari.)
[47] To the testimonies in favor of Cimabue, may be added one of no little weight, from the manuscript given to the public a few years since, by the Abbate Morelli. We there find that Cimabue painted in Padua, in the church del Carmine, which was afterwards burnt; but that a head of S. Giovanni, by him, being rescued from the flames, was inserted in a frame, and preserved in the house of Alessandro Capella. Would a painter, who had done neither good nor harm to the Florentine school, and to the art, have been invited to Padua? Would the remains of his works have been held in such esteem? Would he have been so highly valued, after so great a lapse of time, by Vasari, to whose arts he seems to wish to ascribe the reputation of Cimabue. Other proofs of this reputation may be seen in the defence of Vasari, in the present Book, third Epoch. The writer of history ought completely to divest himself of the love of system and party spirit.
[48] Vasari, tom. i. p. 322.
[49] A book is mentioned by Baldinucci ornamented by Giotto with miniatures, with histories from the Old Testament, and presented to the vestry of St. Peter, by Cardinal Stefaneschi; of this he neither adduces any proof, nor can I find any record. From the evidence, rather, of an existing necrology, where, among the presents made by Stefaneschi to the cathedral, the pictures and the mosaic by Giotto are noticed without any other work of this artist, the gift of the book is very doubtful. See Sig. Ab, Cancellieri De Secretariis Veteris Basilicæ Vaticanæ, p. 859, and 2464. Some miniatures of the martyrdom and miracles of St. George, in another book, are ascribed to him; but I am uncertain whether there is any ancient document for this; and they might, possibly, be the work of Simone da Siena, who is often confounded with him.
[50] See his first volume, pp. 131 and 202; and also P. della Valle in the preface to Vasari, p. 27; also Signor da Morrona in his Pisa Illustrata, p. 154; besides many other authors.
[51] D. Valle's preface to Vasari, p. 36.
[52] We may observe, that Malvasia is the champion, not only of Bologna, but of Italy, and of all Europe. At page 11, volume first, he has quoted a passage from Filibien, which proves that design always maintained itself in France, even in rude ages, and that at the time of Cimabue it was there equally respectable as in Italy.
[53] A catalogue of them is given in P. della Valle, in his history of that Church, and is republished in the Sienese edition of Vasari, at the end of the second volume.
[54] This place, which will ever do high honour to the magnificence of the Pisans, would be an inestimable museum, if the pictures there, executed by Giotto, by Memmi, by Stefano Florentino, by Buffalmacco, by Antonio Veneziano, by the two Orcagni, by Spinello Aretino, and by Laurati, had been carefully preserved; but the greatest number having been injured by dampness, were repaired, but with considerable judgment, within the century.
[55] Plin. xxxv. 9.
[56] Zanet. p. 3.
[57] It was a very ancient practice of Christian worship to place the silver, or ivory dittici, upon the altars during the service of the mass, and when the sacred ceremony was over, they were folded up in the manner of a book, and taken elsewhere. The same figure was retained, even in the introduction of the largest altar pieces, which likewise consisted of two wings, and were portable. This custom, of which I have seen few remnants in Italy, has been long preserved in the Greek church. At length, by degrees, artists began to paint upon one whole panel. (See Buonarroti Vetri Antichi, p. 258, &c.)
