of writing, and with his eyes raised to heaven, invoking the favour of the Muses. Æneas is before him in the garb and with the demeanour of a warrior, and, pointing with his sword, intimates the subject of the Æneid. The Bucolics are represented by a shepherd, and the Georgics by a husbandman; both of whom are on a lower foreground of the piece, and appear listening to the strain. Servius, in the mean time, appears drawing aside a veil of great delicacy and transparency, to intimate that his readings unveil what would otherwise have remained obscure and doubtful to the reader of that divine poet. An account of this picture is contained in a letter of the secretary Ab. Carlo Bianconi,[266] where the author praises the originality of the idea, the colouring and harmony of the picture, the propriety and variety in the costume according with the subject. He also remarks a little rudeness in the design, more of truth than of beauty in the heads, and the largeness of the hands; that usually, indeed, were the characteristics of every school at this period.
Simone had a relation named Lippo Memmi, whom he himself instructed in the art. Although he was not equal in genius to Simone, he succeeded admirably in imitating his manner, and, aided by his designs, produced pictures that might have passed for the work of the former, had he not inscribed them with his name. When he wrought without such assistance there is a manifest mediocrity in his invention and design; but he is still a good colourist. A picture executed by them both is preserved in S. Ansano di Castelvecchio of Siena.[267] In Ancona, Assisi, and other places, pictures existed that were begun by the former, and finished by the latter. There is a picture wholly the work of Lippo in Siena; and the author of the Description of Pisa records one at the church of S. Paul in that place, which is not without merit. In my first edition, implicitly following the writers of chronicles, I mentioned a Cecco di Martino as the brother of Simone. But on considering that he flourished about 1380, and that there was a less celebrated Simon Martino, in Siena, about 1350, mentioned by Cittadini, I do not judge it right to follow their authority.
An artist named Lorenzo, and familiarly Lorenzetto, was the father of another family of painters: he had a son named Ambrogio, who is surnamed Lorenzetti by historians. A large picture by this artist, on which he subscribes himself Ambrosius Laurentii, is to be seen in the public palace, and may be designated a poem of moral precepts. The vices of a bad government are there represented under different aspects, and with appropriate symbols; accompanied by verses explanatory of their nature and consequences. The Virtues, too, are there personified with suitable emblems: and the whole is adapted to form governors and politicians for the republic, animated by the spirit of genuine patriotism alone. Had there been a greater variety in the countenances of the figures, and a superior arrangement in the piece, it would have been little inferior to the finest pictures in the Campo Santo of Pisa. Siena possesses many of his frescos and large pictures; but they are not so surprising as his smaller works, in which he appears as the forerunner of B. Angelico, whom we have commended in another place. I have observed nothing similar in his contemporaries; and it possesses a nationality of character that prevents his being confounded with the followers of Giotto: the ideas, the colouring, and the draperies, are wholly different. In a similar taste is a picture in the possession of Sig. Abate Ciaccheri, librarian to the university of Siena, where Ambrogio painted some very original works, in which he very far surpassed the Orcagni. His style was admired in Florence; where, to please his friends, who were desirous of seeing a specimen of his art, he painted several pieces from the life of S. Nicholas, in the church of S. Proculus, that were afterwards transferred to the abbey.
Another son of Lorenzo was called Pietro, and, in conjunction with his brother, painted the Presentation, and Nuptials of Our Lady, in the hospital of Siena, on which the following inscription was legible: Hoc opus fecit Petrus Laurentii et Ambrosius ejus frater, 1335. The inscription is preserved by Cav. Pecci, who in 1720, when the painting was destroyed, transcribed it most opportunely for correcting Vasari, who had read Petrus Laurati instead of Laurentii in another inscription; from which he concluded this artist not to be the brother of Ambrogio; and from some similarity between his style and that of Giotto, had concluded that he was the disciple of the latter: but it is highly improbable that with such a father and such a brother, Pietro would have gone from home for instruction. Vasari gives, however, a most favourable opinion of this illustrious Sienese, which may suffice to vindicate his impartiality. He says of one of his pictures, "that it was executed with a better design and in a superior manner to any thing that Tuscany had then seen;" and in another place he asserts, that Pietro "became a better master than either Cimabue or Giotto." What could he have said further? might it have been asserted that he was, if not the disciple of Giotto, at least his fellow student in the school of F. Mino? (Vasari, tom. ii. p. 78. ed. Sen.) But granting that Giotto was not his master, how are we to believe him his fellow student? The first pictures of Giotto are traced to 1295; those of Pietro to 1327. And where, when, or to whom did F. Mino teach painting? Pietro's historical picture of the Fathers dell' Eremo remains in the Campo Santo of Pisa, where, in conformity with ecclesiastical history, he has painted the various discipline of those recluses. This picture, if I am not mistaken, is richer in ideas, more original, and better conceived than any one in that place. In the ducal gallery there is a copy of this picture, if not a duplicate by the artist himself: the taste of the colouring certainly belongs not to the Florentine, but to the Sienese school, of that period.
After painting had attained so high a degree of excellence in Siena, it was liable to decline, both from the usual lot of the most auspicious eras, to which an age of servile imitation, and of hurried execution, generally succeeds, and also from the terrible plague which, in 1348, desolated Italy and Europe; sweeping off distinguished masters and pupils in every school. Siena, however, did not lose her Lorenzetti, who constituted her ornament for several years; but if her population at one time equalled 75,000, it was afterwards greatly diminished. She could, however, still vie in the number of her artists with Florence itself. This clearly appears from The Statutes of the Painters of Siena,[268] published by P. della Valle, in his first volume, letter sixteen. They are drawn up with the characteristic simplicity, clearness, and precision of the thirteenth century; and are a very admirable body of regulations for the due propriety and direction of artists, and for the honour of the art. We can discern that this society consisted of cultivated and well educated persons; and it does not excite astonishment to find that, democratic in government as Siena then was, the highest magistrates of the republic were sometimes elected from among the professors of the art. They formed a body-corporate; not merely a fraternity, nor an academy of design; and received their charter, not from the bishop but from the city, or the republic in 1355. Some have conjectured that those statutes are as old as the preceding century; and that they were translated into Italian from the Latin about 1291: for Tizio informs us that, in this year, "Statuta maternâ linguâ edita sunt ad ambiguitates tollendas." But Tizio must have meant the statutes concerning wool, and others then existing; and those of the artists may have been framed at a subsequent period. Indeed, the manner in which they are drawn up, without a reference to preceding ordinances, indicates a first edition. If there were statutes published in the vulgar tongue in 1291, why was the sanction of the law deferred for 66 years? or why are the new not distinguished from the old, as is usual in similar codes?
In the code to which I refer, the names of a great number of artists are inscribed, who lived after 1350 and at the beginning of the next century. With the exception of a few who merit some consideration I shall pass them over in silence as I did in the Florentine school. I find among them Andrea di Guido,[269] Jacomo di Frate Mino, and Galgano di Maestro Minuccio; and I bring these forward to confirm what I have before observed, that painters of the same name have introduced confusion into the history of this school. I also find there N. Tedesco, Vannino da Perugia, Lazzaro da Orvieto, Niccolò da Norcia, Antonio da Pistoia, and other foreign artists: thence I infer that Siena, like a university for painting, had furnished masters to various cities of Italy, and other countries. We here meet with some painters of whom there still remains some trace in history, or in the inscriptions on pictures. Martino di Bartolommeo is the artist who, in 1405, painted the Translation
