THE DEVELOPMENT OF THE ITALIAN
SCHOOLS OF PAINTING
PRINTED IN THE NETHERLANDS
.<?5-'
MADONNA
Umbrian school of the early XIV century, Gallery, Perugia.
J' koto Anderson.
*^r
y
" i ' vi iwv. • i u
OfcPARTMENI OF ART AND ARCmm.o,
THE DEVELOPMENT
of the
Italian Schools
of Paintin
BY
RAIMOND VAN MARLE'
Doctor of the Faculty of Letters of the University of Paris
VOLUME V
With 3 collotype plates and 284 illustrations
J
THE HAGUE
MARTINUS NIJHOFF
1925
DEPARTMENT OF ART AND ARCHAEOLOGY
UNIVERSITY OF TORONTO
615350
ND
v. 5
TABLE OF CONTENTS.
Preface x
Chapter I: Umbria i
Chapter II: Painting in The Marches . 127
Chapter III: Painting in Pisa, Lucca, Sardinia, Liguria and
in small Tuscan centres 199
Chapter IV : Trecento painting in Naples and neighbouring
regions 314
Chapter V: Fourteenth century painting in Lazio, the
Abruzzi, Apulia and Sicily 348
Supplementary notes and illustrations to Volumes I — V . . 405
Indices on Volume V 485
Indices on the Supplementary notes and illustrations to
Volumes I — V 512
N.B. The terms "right" and "left" are used from the standpoint of the
spectator unless the contrary be stated.
PREFACE.
At the outset of this work I thought it possible that I might have to
lay down my pen at the end of the fifth volume, but it is with con-
siderable pleasure I learn that my readers have been in great enough
number and sufficiently satisfied with the work for my editor and
myself to continue the enterprise and undertake a study of the
fifteenth century, similar to that which has already appeared on the
fourteenth.
The spontaneous manifestations of sympathy that I have received
from many different countries give me the impression that there exists
a group of readers who will not be disappointed to hear of my intention
to continue this history of Italian painting, at least until the end of
the fifteenth century which is a period not in any way less glorious
than those with which I have already dealt.
I should like to give one word of warning to the authorities of
galleries and to private collectors who of late have started buying
pictures of the thirteenth century. Notwithstanding the fact that the
interest in this form of art is of recent date, the amount of facticious
paintings of this period is already very considerable. Many of them are
half-length figures of the Madonna painted on late Byzantine panels
of the same subject; Greek Madonnas of the sixteenth and seven-
teenth centuries are in this way transformed into Italian pictures of
the thirteenth. Other panels really dating from the thirteenth century,
which I saw some years ago, in a poor and very ruinous condition,
have recenriy been offered for sale "in a perfect state of preservation".
To those whose interest in masters of this remote period was
roused by my first volume, I only think it just to give here a word of
warning which at the present moment is urgently needed.
It has been remarked that I have given little space to facts con-
cerning the surroundings in which the different Italian schools origin-
ated and flourished, and this absence has been benevolently explained
VII] PREFACE.
by my desire not to further increase my already bulky volumes by
the addition of new elements.
This is quite true but I must say there was still another reason
why I did not dwell on this subject and that is that I do not really
think that many exterior elements helped in the formation of the im-
portant schools of painting. The courts of the different princes were
obviously common meeting grounds for great artists, but these artists
frequently came from distant towns and did not always influence the
formation of those local schools.
On the other hand, we find that extraordinary centres of civili-
zation, such as those of Bologna, and Pisa, with universities of world-
wide fame, possessed painters of a very mediocre standing, while a
city like Siena, certainly of considerable importance but chiefly a
town of merchants with a much more highly developed taste for fast
and pleasures than for culture and intellectual matters, was the centre
of the most important school of the fourteenth century. Also in
Florence, notwithstanding its great poets, we find few traces of
intellectual life during this period.
Nor do I think that we have any reason to believe that the artistic
prosperity of a community or region was influenced by the greater
or lesser religious fervour of its inhabitants. Umbria, the home of St.
Benedict, St. Francis and St. Clare, and one of the sites where
mystical movements always found very many zealous adherents, did
not possess a really important school of painting, except for a short
period in the second half of the fifteenth century.
Generally speaking I should say that those parts of Italy which
once formed Etruria are those which at later dates produced the
more important schools, however there is no trace of an artistic
tradition from Etruscan times until the middle ages.
Although a great deal has been written and said about the surround-
ings in which important centres of art came into existence, I do not
think there is much truth in it. It is quite a different matter for the
courts of the art loving princes and I shall make frequent reference to
them in the following volumes.
San Marco di Perugia, Dec. 1924. R. v. M.
CHAPTER I.
UMBRIA (]).
Umbria is situated between the three towns, Siena, Florence
and Rimini, each of which, in the 14th century, produced an
important school of painting, and as the Umbrian artists appar-
ently were wanting in individuality, their works can be classed
as dependent on, or at least influenced by, one of these three
neighbouring centres. We must not forget, however, that in the
very heart of Umbria, there existed one of the most important
nuclei of Tuscan masters of the Trecento, namely at the Basilica
of S. Francesco, Assisi, where Giotto, Simone Martini and
Lorenzetti with their assistants have left us works of the utmost
significance.
Nevertheless in spite of their actual presence in the district, it
(x) Umbrian painting has but rarely been fortunate in the authors who
have recorded its history. The book by W. Rothes, Anfange u Entwicke-
lungsgange der alt-Umbrische Malerschulen ; insbesondere ihre Bezie-
hungen zur fru-Sienesischen Kunst, Strassburg, 1908, is of no merit and is so
full of mistakes that I shall not refer to it. E. Jacobsen, Umbrische Malerei
des Vierzehnten, Funfzehnten, u Sechszehnten Jahrhunderts, Strassburg,
1914, although somewhat superficial, is a more trustworthy work but the
author hardly deals at all with the i4'h century. The same may be said of the
Abbe Broitssolle, in his "Jeunesse du Perugin" who, beginning with the
Flood works up to the middle of the 15th century, passing over the 14th with
scarcely a stop. G. Giovagnoli, Le origini dellapittura umbra, Citta di Cas-
tello, 1922. is a little book in which the author's good intentions can be dis-
covered but to which I shall not again refer. On the other hand, much pre-
cious information will be found in U. Gno/i, L'Arte Umbra alia mostra
di Perugia, Bergamo, 1908, and Pittori e miniatori nelP Umbria, Spoleto,
1923— 24, appearing in fascicles. The author, who is director of the Gallery
of Perugia and superintendent of Fine Arts for the province of Umbria, has
published in the Rassegna d'Arte Umbra, and other periodicals contribut-
ions of great value for our knowledge of Umbrian painting. W. Bombe,
Geschichte der Peruginer Malerei bis zu Perugino u Pinturicchio, Berlin,
1912, based for the greater part on Adamo Rossi's researches in archives,
is also a serviceable work.
v
2 UMBRIA.
is impossible to affirm the direct influence of these masters on
the different artistic currents in Umbria. Thus, for example,
Giottesque or Florentine works are extremely rare and of the
Sienese currents it was particularly Lorenzetti's manner which
made its influence felt, while Simone's art had, except atOrvieto,
but few adherents.
It should also be noted that the school of the adjoining prov-
ince of The Marches had no influence whatsoever on Umbrian
painting; nor had Duccio's art, although one of his works is
preserved in the Gallery of Perugia, and a production of an
immediate follower is found at Citta di Castello, while yet a
third Ducciesque Maesta, now in a private collection, originated
from the environs of Perugia.
A certain resemblance to Sienese painting — though I do not
think it is due to a Sienese influence — is seen in the art of minia-
ture painting, of which Perugia in particular had a very im-
portant school, while it should not be forgotten that Gubbio
produced the miniaturist, Oderisi, whose praises were sung by
Dante (»).
As early as 1310 the corporation of miniaturists was recog-
nized by and represented in the government of Perugia, which
fact is confirmed by a document dating from 1324 and by a
statute of Perugia of 1342 (2).
After the first half of the 14th century the production of minia-
tures in Perugia was so great and of such a fine quality - as is
proved by the numerous examples that the town still possesses
that there were no grounds for envy between the Perugian
miniaturists and those of the rival Tuscan town, indeed quite
the contrary as we shall see, for Perugia even executed minia-
tures to adorn the official registers of the town of Siena.
Perugian miniatures can be divided into two distinct groups,
the first of which is characterized by reminiscences of Byzantine
(1) For Umbrian miniatures v. Ansidei, La miniatura alia mostra d'antica
arte Umbra, Augusta Perusia, 1907, p. 78. Gnoli, L'Arte Umbra, p. 67. Bombe,
op. cit., p.47. Serajini, Ricerchesulla miniatura Umbra, I, L'Arte, 1912, p. 41.
As far as dating of works of the 14th century is concerned this last article
unfortunately is full of mistakes. The author has placed almost all the 14th
century miniatures, even those that can be exactly dated, in the 15th century.
(2) Bombe, op. cit., p. 14.
iwinkiA.
style combined with a very pleasing design and a sweetness of
expression which remind us of Duccio's art, or, to put it more
generally, give the works a somewhat Sienese appearance.
Fig. i. The Crucifixion, Umbrian miniature of the end of the 13th century.
Museum. Deruta.
Photo Wrri.
1 he miniatures in many liturgical books of Perugia belong to
this style. Nevertheless I do not think that the school of minia-
ture painting in Perugia owes its origin to an infiltration ot
Sienese art.
In the little Museum of Deruta, not far distant from Perugia , there
is a liturgical manuscript dating from the end of the 13th century
in which, although Byzantine elements predominate, we can al-
4
UMBRIA.
Fig. 2. The Nativity, Umbrian miniature, circa 1330 — 1350. Library, Perugia.
Photo Till!.
ready discover certain Italian factors which force us to look upon
this artist as the precursor of the miniaturists of the Trecento
(fig. 1). Of the works of the following generation revealing a
slight resemblance to Duccio's manner, there is a considerable
IWIBRIA.
Fig. 3. The Presentation in the Temple, Umbrian miniature, circa
1330 — 1350. Librarj', Perugia. Photo Tilli.
number shown in one ot the rooms of the Perugia Library.
Among these illuminations, which I shall not enumerate, there
are some of the finest specimens of that period of this branch of
6 UMBRIA.
Italian art (figs. 2 and 3). Others are found in the Museum of the
Cathedral (fig. 4) ; all show a marked resemblance to the works
of the painter Marinus with whom we shall deal presently and
whose art derives from the Riminese school.
The development of this art continued throughout the 14th
century with but little transformation in its outward form, the
artists remaining true to the same principles.
It must be admitted, however, that although a resemblance to
Sienese painting is evident in these miniatures we do not find
any illuminations of a similar appearance in Siena; as I said
before they are sooner reminiscent of Duccio's school to which
but few Sienese miniatures can be ascribed (').
The other group of miniatures can be classified according to
the texts they illustrate. We have more information concerning
these illuminations especially with regard to their date.
These miniatures adorn the registers of members of the differ-
ent corporations, which were called "Matricole". The oldest of
these manuscripts is a"MatricoladellaMercanzia"of 1323, which
is preserved in the "Collegio del Cambio", but in this instance
the only miniature — an image of the Saviour belongs, in
style, to the previous category.
I found the earliest dated miniature belonging to this group of
illustrations of "Matricole", in the British Museum. It adorns a
register of the barbers' corporation and shows a long inscrip-
tion with the date 1332. The Virgin is represented holding the
Child standing on her knee; two angels support the curtain
which forms the background while at the sides we see SS.
Laurence and Herculanum, two protectors of the town of Peru-
gia (fig- 5).
What renders the dating of these illuminations frequently
very uncertain is that the miniatures of old records were in all
probability applied to new registers. Thus the miniature dating
from 1332 in the British Museum is found at the beginning of a
volume containing entries which date from between 1450 and
1586.
The style of the miniaturist to whom we owe these illumina-
tions is characterized by the strongly-marked influence of the art
(') v. Vol. II, p. 593.
UMBRIA. 7
of Meo da Siena who, as we shall see, was the most important
painter in Umbria at the beginning" of the 14th century.
In the "Matricola" of the goldsmiths which started in [351, we
find a miniature which might very well date from the time this
corporation was inaugurated. It represents the Virgin enthroned
Fig 4. The Last Judgment, Umbrian miniature of about the middle of the
34th century. Library, Perugia.
Fhoto Vcrri.
between two saints and the corporation kneeling in adoration
near their patrons who are seen at work.
The "Matricola*' of the merchants wThich began in 1356 is
adorned with a very similar representation (fig. 6). The rest of
the miniatures in this register, depicting the gates of the town
according to which the different quarters or "rioni" were
named, constitute a very typical form of illustration in the group.
Although these miniatures are less fine than the signed ones,
8
UMBRIA.
Fig. 5. School of Meo da Siena, Umbrian miniature, 1332. British Museum.
it is all the same probable that the)* are from the hand of Matteo
di Ser Cambio, a goldsmith, who is mentioned in the "Matricola"
of his corporation in 1351, and who signed the illuminations of
the "Matricola" of the money-changers, or "del Cambio", in 1377
Fig. 6. Virgin, saints and adoring members of die corporation of the
Mercanzia, Umbrian miniature of about 1356. Library, Perugia.
P Yerri.
io UMBRIA.
(fig. 7). He, doubtless also executed those in the "Matricola" of
shoemakers and masons of 1385.
Other registers adorned in more or less the same manner are
those of the corporations of cattle-merchants ( 1365), of painters
(1366), of blacksmiths (1369), of fishmongers, of mattress-makers
and several others which also seem to belong to the end of the
14th century. As I have just said, we cannot be certain that the
date at the beginning of the registers is that of the execution of
the illuminations. Several miniatures of the "Matricole" have
been cut from the records and have strayed into private hands.
Although the miniatures of this group also reveal a connection
with Sienese art, they are quite independent and show many
important local characteristics, especially the figures by Matteo
di Ser Cambio. They are sturdy and well-developed and betray
a certain amount of nervous agitation; the faces are realistic and
individual but neither very fine nor well proportioned. They are
not without some resemblance to Bolognese miniatures.
Several other artists of this group have adopted the same
style, while I have already remarked on the presence of Meo da
Siena's influence.
II a resemblance with the Sienese school is evident in the works
of the first group of artists, it is curious to note that Siena seems
to have received certain productions from the hands of the second
group for we find in the manuscript of the Statutes of the Corpor-
ation of Innkeepers (Tavernai), which is preserved in the Ar-
chives of Siena, a miniature of the Virgin escorted by four saints
and adored by seven persons which cannot be of Sienese work-
manship (fig. 8). On the other hand it seems to be by the same
artist as a miniature in one of the'WIatricole" of Perugia in which
not only the types, the forms and the technique show a decided
resemblance, but also the composition and ornamental details
(fig. 9).
Miniature painting was always a somewhat traditional and
conventional art. An interesting example of the persistence of
the early 14th century types will be found in some miniatures
representing the Annunciation, the procession of the corpora-
tion of the notaries and the college of the notaries in the register
of their officials which dates from 1403 - 1406.
To the same hand can be attributed a miniature in a liturgical
l.'MBRIA.
i 1
Fig. 7. Matteo di Ser Cambio, St. Peter walking on the water (Porta
S. Pietro), Matrieola del Cambio, 1377. Library, Perugia. Photo Verri.
book in the Library of Perugia representing Pope Benedict XI,
extending the indulgence of the Porziuncola to the church of S.
Domenico (fig. 10), an event which took place in 1308.
It must, however, be admitted that the art of miniature and that
of painting led a fairly separate existence in the town of Perugia,
for towards the middle of the 14th century we do not find a flores-
cence of painting in the true sense of the word, as we do in this
other branch of the art of imagery.
12
UMBRIA.
Fig. 8. Madonna and saints, Umbrian miniature, 14th century.
Archives, Siena. Photo Lombardi.
UMBRIA.
'3
Fig. 9. Madonna and saints, Umbrian miniature, 14th century.
Library, Perugia.
Photo Till''
:4 UMBRIA.
The principal centres of painting in Umbria were those of
Perugia, Gubbio and Orvieto.
The art of the last-mentioned town resembles much more
closely that of Siena than that of the rest of Umbria, no doubt on
account of its proximity to this Tuscan town and the presence of
great Sienese masters like Simone Martini and Lippo Memmi.
Gubbio, as we shall see later, was dominated by one artist,
Guiduccio Palmerucci, who introduced to his native town the
art of Lorenzetti
Montefalco, too, possesses evidence of a good deal of pictorial
activity i1).
Let us begin with the most important centre, Perugia, which
town, as far as intensity of production was concerned, took, in
the 14th century, the place that Spoleto had previously oc-
cupied (2).
In the town and the surrounding region, painting had a varied
but always fairly active existence. There was a large number of
painters in Perugia and we find mention of their corporation as
earl)- as 1286. At the beginning of the 14th century (1309) this
corporation was represented in the administration of the town,
in other words, was officially recognized. This is confirmed in a
statute of Perugia of 1342 (3).
The number of names in the register of this corporation is not
any less than we find in those of Siena and Florence (4). There
are fifty names enrolled in what seems to be the record of the
year 1366, and among the thirty-seven names of painters men-
tioned between 1309 and 1393 in the documents that A. Rossi
and Herr Bombe have brought together (5), there are seventeen
not mentioned in the Matricola.
We have further testimony of this early artistic activity in
Perugia in the fact that formerly there existed in this town two
(') I shall not enumerate all the painters in the different localities whose
names alone are recorded. The}' are found in : U. Gnoli, Pittori e miniatori
nell' Umbria.
(2) v. Vol. I, p. 192.
(3) Bombe, op, cit., pp. 1—3.
{*) L. Manzoni, Statuti e Matricole dell' Arte di Pittori delle citta di
Firenze, Perugia e Siena, Roma, 1904, p. 53.
1 " ) Bombe, op. cit., p. 288.
UMBRIA. is
pictures dating from 1310 ( '), one of 1332 which was preserved
in the Castello della Fratticciuola Cordicesca (2), and another of
1333, in the Confraternity of S. Pietro (:1); a fresco of 1344, in the
church of S. Francesco, which illustrated the feats of arms of the
Perugian condottiere Vinciolo (4), and another of 1366 which
commemorated Perugia's victory against English marauders led
by "Acutho" (Acuto or Hawkwood) (5). The Trinity church pos-
sessed a panel of 137 . . . (6) and the Bishop of Perugia had the
portrait of the Blessed Pope Urban V painted in the church of
S. Domenico and in the Cathedral (7). The council-room on the
second floor of the Palazzo Pubblico was decorated as early as
13781s) while the frescoes in the "Sala dei Armari'" bore the
name of a person mentioned in a record of 1387 H. We also find
mention of a Stephanus de Perusio who in 1369 worked at the
papal court in Rome ( 10).
We have thus a good deal of evidence regarding the pictorial
activity in Perugia during the 14th century ; let us now see what
we can gather from the extant productions of that period.
The oldest paintings of the 14th century in Perugia seem to
me to point to a Riminese infiltration and this perhaps, is best
demonstrated in a large picture of the Madonna in the Pinacoteca
of Perugia. The panel originates from the Celestine monastery
near Monte l'Abate, about twrelve miles from Perugia. It shows
(') Of which one in the church of St. Agata represented on the one side the
Lord and the Virgin and on the other the Madonna "della Misericordia".
Among the adorers was Queen Sancia of Naples who visited Perugia in
1310; this fact provides us with a precise indication with regard to the date
of the picture. A. Mariotti, Lettere pittoriche perugine, Perugia, 1788, p. 55.
S. Siepi, Descrizione etc. di Perugia nel anno 1822, Perugia, no date, IP, p. 879.
(a) Mariotti, op. cit, p. 47.
(:i) Idem. Siepi, op. cit., II, p. 545. Rosini, Storia della pittura, II, p. 149
reproduces it.
(4) Mariotti, op. cit.. p. 47.
("') Crispolti, Perusia Augusta, Perugia, 1648, p. 198.
('') Mariotti, op. cit., p. 54. Siepi, op. cit., p. 557.
(7) Mariotti, op. cit., p. 47. Sacchetti mentions this fact in a letter to Giacomo
del Conte degli Archiprete.
(8) Mariotti, op. cit., p. 51.
('•') Mariotti, op cit., p. 55-'.
("') Crowe and ' Cavalcaselle, ed. Langton Douglas, II, p. 187.
16 UMBRIA.
the Madonna seated on a throne, the back of which is formed by
a curtain supported by two angels; two others stand at the sides
while lower down we see the figures of SS. Paul and Benedict.
The Child is depicted standing on His Mother's knee (figs, n
and 12). A short time ago when this picture was restored, the
signature was discovered on St. Paul's sword (M ; it reads: "Ma-
rians P." (2).
There are several documents in which mention is made of a
painter of this name. In November 1310 a painter called "Mari-
nus Elemosini" was one of the municipal authorities (3), and the
year before, the same artist had decorated a book-cover for
the "Capitano del Popolo" (4). A certain Marino d' Oderiso,
member of the painters' corporation, is mentioned in 1318P).
Considering that the dates are so approximate, these two names
might possibly be taken as belonging to one individual.
The name Marinus, is fairly rare and that of Oderisi still more
so. The latter makes us think of the famous Gubbian miniaturist
who worked in Bologna and who may perhaps be classed with
the first great masters of Rimini, whose minute style of painting
shows considerable similarity to the art of miniature. Marinus
also may have been familiar with this art, or at any rate with the
technique of making very small panels. His picture is full of tech-
nical niceties, which, however, are somewhat lost in such a large
work, but which would have been appropriate to a panel of
smaller dimensions such as the Riminese artists produced at that
period. The draperies, threaded with gold, is another element of
Riminese origin but one also met with in Duccio's works, while
(') This is not the only instance in which we find the artist's name on the
emblem of St. Paul. Since I mentioned, in Vol. I, p. 41 4, the recently acquired
13th century panel in the same Gallery, restoration has brought to light the
artist's signature on St. Paul's sword. Segna di Bonaventura inscribed his
name in like manner in the altar-piece in the Gallery of Siena, v. Vol. II, pp.
127 — 129. 1 cite another example in Vol. Ill, p. 656.
(-') U. Gnoli, Una tavola di Marino pittore, Rassegna dJArte Umbra, 1921,
p. 100.
(3) Bombe, op. cit, p. 1.
(4) Gnoli, op. cit. In this document his name is given as : "Marinellus
Elemosine".
(5) Bombe, op. cit., pp. 283 and 289.
I'MIiKIA.
'7
Fig. 10. Benedict XI extends the indulgence of the Porziuncola to the church
of S. Domenico, Umbrian miniature, circa 1400. Library, Perugia.
Photo Verri.
the position of the Child standing on His Mother's knee is found
in the altar-piece signed by Giuliano da Rimini and in the diptych
in the Munich Gallery.
We might therefore suggest the hypothesis, admitting at the
■v 2
18 UMBRIA.
same time its uncertainty, that the Oderisio who was the father
of Marinus, was really the Gubbian miniaturist.
Nevertheless the picture in question is not entirely Riminese,
for it also shows certain Sienese features. Firstly the type of the
picture obviously belongs to that of the Ducciesque "Maesta"
and secondly the gentle sweetness of the expressions, as well as
certain Byzantine elements, such as the shape of the eyes and
the length of the fingers, the Virgin's in particular, seems to
have been inspired by the same tendency. The ornamental design
of Christ's halo is also, in all probability, of Ducciesque origin.
However, the colours and the forms, which are frequently
slightly rigid and ungainly, are not in any way peculiar to the
Sienese school, while the Infant Christ completely lacks that
solemnity that characterizes the images of Jesus in the works of
Duccio, the only Sienese painter whose art could have influenced
the master of this picture (x).
It seems to me, therefore, that the basis of Marinus' art is
Riminese but when he came to Perugia he was, to a certain
extent, influenced by the works of Duccio and of his immediate
pupils which he found there, examples of which, as I have pre-
viously said, still exist (-). On the whole the picture is not without
local characteristics as will be observed if we compare it with
the Madonnas by Meo da Siena and the members of his group,
with that in the Maesta della Volta and with those illuminating
the earliest "Matricole" and liturgical books.
A little panel in the Gallery of Perugia and one of the gems of
(') The Child is represented standing on His Mother's knee in a good many
Sienese pictures but never in Duceio's works, while of his pupils, Segna
alone, and only in his Maesta at Castiglion Fiorentino, shows Him to us in.
this position. But in the Maesta of Simone (Palazzo Pubblico, Siena), in that
of Lippo and his father (San Gimignano), or of Lippo alone (Berenson
collection), of Barna (Asciano), of Pietro Lorenzetti (Siena Gallery; and in
works of other Sienese masters the Child Jesus is depicted upright but
never in such a natural free attitude as Marinus shows in his picture.
(2) /. Vavassour Elder, La pittura senese nella Galleria di Perugia, Ras-
segna d'Arte Senese, 1909, p. 64, classes this picture as an Umbrian work,,
executed under Sienese influence, an opinion approximating the one I have
expounded above, more especially so as at the time the article was written,,
the Riminese school was little known.
UMBRIA.
'9
Fig. ir. Marinus, Madonna, saints and angels. Pinacoteca, Perugia.
Photo Verri.
20 UMBRIA.
Italian painting of the beginning of the 14th century is another
production of the same current.
The panel represents the half-length figure of the Virgin
holding before her the Child Who bends backwards to play with
His Mother's chin (frontispiece).
The Virgin's dress, as well as the Child's, is threaded with
gold and even the hair shows an adornment executed in gold.
The decorative design of the Madonna's nimbus resembles
those of Duccio and his pupils; some letters are chased in a
large border. The colours - - red and tan — the free attitude of
the Child, and the forms and general spirit of the representation
again separate it from Duccio's art; on the other hand we notice
here even more Byzantine features, such as the Child's sandals
and the Greek monogram (Mother of God) in two medallions
over the Virgin's head. The technique and profusion of gold
ornament are particularly reminiscent of miniature painting.
It is to this group of painters, inspired by Riminese art but
influenced by that of Siena, that Meo - a diminutive of Barto-
lommeo --da Siena (1), who exercised a strong influence on an
important part of Umbrian painting, also belongs. It is even
possible that it was he who brought from his native city those
elements of Sienese art that we find in Perugia intermingled
with Riminese characteristics, although it must be admitted that
in some of his pictures he does not show himself to be more
pronouncedly Sienese than the other members of this group.
A Perugian document of 1319 records the facts that Meo
bought a house in Perugia and some property outside the city;
he is mentioned therein as a citizen of Perugia and must conse-
quently have been living there for a considerable length of time.
I do not know on what grounds Mariotti calls him Meo di
Guido (2). Milanesi tells us that he was the son of Guido Graz-
ziano who, according to this historian, was the author of the
Madonna in the Palazzo Pubblico, of Siena, which bears the
(') L. Manzoni, Di un pittore del secolo 14™° non conosciuto in patria,
Nozze Hermanin-Hausmann, Perugia, 1904. v. also /. J 'avassour Elder, op.
cit. C. Weigelt, Duccio di Buoninsegna, Leipzig, 191 1. p. 181. M. Sa/i/ii, Note
sulla Galleria di Perugia, L'Arte, XXIV, 1921. p. 160.
(2) Mariotti, op. cit , p. 42.
I'M I IK IA.
21
date 1221 but which, he believed dated from 127 1. In 1334 there
is mention in Arezzo of a painter "Bartolomeo olim Mey de
Senis", which, if this Meus can be identified with our painter,
proves that he died before 1334 ( M.
Several of Meo's paintings now in the Gallery of Perugia
originate from the Abbey of Monte l'Abate not far distant from
Fig. 12. Detail of fig. 1 1.
Photo Yerri
the monastery of the Celestines, where the picture signed by
Marinus was found. Only one of these works shows the artist's
signature, but the style of painting is so characteristic that the
attribution to the same artist of the other pictures is, without
doubt, correct.
The authentic work is a polyptych after the type of those of
Duccio and his school, composed of half-length figures (figs. 13
and 14). The Virgin is represented in the centre; of the tour
(]) M. Salmi, Ouando mori Meo da Siena, Rassegna d'Arte Senese. 1923,
p. 76.
22
UMBRIA.
lateral saints originally shown, now only three remain; they are
SS. Gregory, John the Evangelist and Emilian. Two little angels
adorn the spandrels of each of these panels. The second tier of
the polyptych is composed of smaller panels in pairs, two of
which have disappeared. The four triangular terminals at the
sides show figures of angels while in the central and larger one
Fig. 13. Meo da Siena, Polyptych. Pinacoteca, Perugia.
Photo Anderson,
the Saviour in benediction is represented. At the foot ol the
central panel the signature runs: " pus pinxis Mens
Senesis". Small half-length figures of the Twelve Apostles are
depicted on the predella (l).
Some of the figures certainly remind us of Duccio's manner;
there is even an attempt to imitate the sweet melancholy of
expression, peculiar to his art, and the half-naked Child is a
detail characteristic of the Ducciesque school, but the heavy un-
(') R. Zaiupa. Illustrazione storica-artistica del monastero di Montelab-
bate, Sta. Maria degli Angeli (A'ssisi), 1908, p. 37, furnishes us with the in-
admissible information that this polyptych was executed in 1285.
UMBK1A.
23
graceful ,t)'pes, the
large, flat oval faces
with big expres-
sionless eyes,
typical of this mas-
ter and his school,
and the light col-
ours, are features
which separate this
artist from Duccio
and his followers.
Meo reveals his
Sienese education
in his care for detail
and in the richness
of his decorative
effects, in the pro-
fusion of which he
surpasses Duccio.
The Virgin's dress
and St. Emilian's
cloak are good
examples.
This polyptych,
more than an)' of
h is other works,
demonstrates to
what extent Meo
was influenced by
the spirit of Due-
cio's art.
There is another
altar-piece by him
in the same Gallery;
it shows the half-
length figure of the
Virgin with those of
an Evangelist and
St. John the Baptist
Fig 14. Detail of fig. 13.
Photo Anderson.
24
UMBRIA.
to the left and a holy bishop and St. John the Evangelist to the
right (fig. 15). The two SS. John still retain certain elements of
Duccio's art, but the figure of the holy bishop is large and shape-
less. The image of the Virgin and Child possesses neither charm,
expression nor grace ; the Infant is seen holding a pomegranate.
The same profusion of decorative detail is again evident.
Meo executed other and similar pictures, the sad remains of
two of which are preserved in the same Gallery. One is complete
as regards the panels, which, in form, number and arrangement,
correspond to the picture described above, but it has been en-
tirely repainted in the 17th century and only quite recently the
task of removing the more modern coat of paint has been under-
taken. The work, however, is sufficiently advanced for us to
affirm that we are here dealing with a production of Meo's.
Of another altar-piece, only the central panel remains and it is
in a very ruinous condition. The Child seems to grasp His
Mother's ear.
Three panels of a similar polyptych which hung on the left
wall of the Cathedral of Perugia but have been transferred to the
recently arranged Cathedral Museum, resemble in type those of
the best-preserved altar-piece in the Gallery, but they are of a
somewhat more elaborate form. Here we see the two SS. John
at the sides of the Virgin, little angels in the spandrels and the
figures of the Redeemer, SS. Peter and Paul in the terminals.
All these works might be classified as to style, as midway be-
tween the signed polyptych and the last picture also in the Pina-
coteca of Perugia, which has yet to be described, and in which
the manner of painting is reminiscent of that found in the little
panel, already mentioned, representing the Child Jesus bending
backwards to grasp the Virgin's chin. This last picture by Meo,
although much longer, was probably also the centre of an altar-
piece (fig. 16). The proportions are more attenuated, and relief
is almost entirely absent; in this the panel reminds us of the two
first works I named as belonging to this group. The type of the
Madonna shows a marked resemblance to that depicted by
Marinus. The Child is again seen grasping His Mother's ear. The
Virgin's dress is threaded with gold and the decorative design
on the border of the panel is similar to the one found on the little
picture that I have just mentioned.
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26 UMBRIA.
An entirely ruined panel of the Madonna enthroned between
saints which is preserved in a lumber room behind the apse of
the church of Ponte Felcino, near Perugia, might possibly also
be a work of Meo's.
Judging from what is left of Meo's artistic productions, I think
we may conclude that the artist, familiar with Duccio's art,
migrated to Perugia and there, coming in contact with masters
such as Marinus, he felt their influence and his manner under-
went a slight change, he, at the same time probably transmitting
something of the Sienese style of painting to the artists who
had studied at the Riminese school.
It is possible that when Meo came to Umbria he was accompa-
nied by one of his pupils whose works are still to be found
there and who remained there as Marinus' collaborator or helper.
This last hypothesis is supported by the fact that the place
from which Marinus' panel comes and the monaster)- whence
the greater part of Meo's pictures originates, are not far distant
from one another.
As for the date of his activity, I think we ma)* say that he
flourished in the first quarter of the 14th century.
This period which, at first sight, seems rather early, is con-
firmed by the document of 1319 which proves that at that moment
Meo had already been established for some time in the country
of his adoption and had apparently acquired some property
Moreover, later on we shall deal with a school work ot 1320
and others of 1330 (?) and 1333, which dates correspond to those
that we have concerning the painter (*).
The works of Meo's school reveal to us the great importance
of the part that this master played in the development of Umbrian
painting. Although only two of these pictures are dated, I
think there are some executed after his manner which may be
(*) On the whole, consequently, Meo's activity was certainly previous to
that ofPietro Lorenzetti who, although there is a record concerning him
which dates from 1305, is not regularly mentioned until after 1320. and who
died probably in 13^8. This rather contradicts the hypothesis of Signor
A. Venturi, Storia dell' Arte, V, p. 581, that Meo was influenced by this
artist, even although, I grant, there is a superficial resemblance between
some of Meo's Madonnas and those that Lorenzetti has left us in the Lower
Church, Assisi.
Fig. 16. Meo da Siena, Madonna. Pinacoteca, Perugia.
Photo Anderson.
28
UMBRIA.
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placed far on in the second half of
the 14th century.
As I have just said, the date 1320
is found on a work of Meo's school.
It is inscribed at the top of a Maesta
in the parish church of Pieve Pag-
liaccia in the vicinity of Perugia. The
fresco shows the Virgin with the
Child Christ standing on her knee
and two angels supporting the
curtain that forms the background.
It is a rough, un-beautiful work ; the
style of painting, however, is clearly
derived from Meo's manner.
Of a much better quality are two
predella panels in the Stadelsche
Kunstinstitut of Frankfort-on-the
Main(nos. 1201 and 1202), one repre-
senting the Saviour between two
angels and the Twelve Apostles, the
other, the Virgin in the midst of six
angels and an adorer and six figures
of saints at either side with busts of
others in the spandrels (figs. 17, 18
and 19) (x). The inscription on the
pedestal of the Virgin's throne
informs us that the picture was
executed in 1333. This work, which
previously comprised another panel,
originates from the Confraternity of
S. Pietro in Perugia (2). Technically
(') C. Weigelt, Su alcuni dipinti di Meo
da Siena non ancora riconosciuti, Rassegna
dArte Senese, 1909, p. 10 1. attributes these
panels to Meo himself.
(2j M. Salmi, Note sulla Galleria di Peru-
gia, p. 162 note 1. has pointed out that the
pictures at Frankfort correspond to the des-
cription that Siepi, op. cit., II, p. 545, gives
of those he found in this confraternity.
UMBRIA.
29
these panels are much finer than the
above fresco ; the}' are.quite pleasing
pictures even though the figures are
without grace and the faces heavy
and expressionless. They are ^pro-
ductions very characteristic of Meo's
manner.
The works that most closely ap-
proximate to the master's style of
painting are three frescoes in the
crypt of the church of S. Francesco
in Perugia. Two of them have even
been ascribed to Meo ; they represent
the Marriage and the Death of the
Virgin (fig. 20). The third imitates a
polyptych in form and shows the
Crucified between the Virgin and St.
John with SS. Louis of Toulouse,
Francis of Assisi, Clare and Antony
of Padua at the sides. This fresco
also seems to be from the same hand,
although its dilapidated conditionhas
somewhat altered its appearance.
The decorative frame of all three
is identical. In spite of the great
resemblance to Meo's works, I do
not think that the marked clumsiness
of the figures allows us to attribute
these frescoes to the master's own
hand.
To the same painter can be
ascribed a fresco detached from the
church of Sta. Elisabetta and now in
the Gallery of Perugia, representing
the miracle of the roses (fig. 21).
It is one of the legendary stories
related in connection with St. Eliza-
beth, that the bread which the saint
was bringing to the poor, against
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UMBRIA.
her husband's wishes, was transformed into roses when the
latter desired to know what she was carrying. This painting,
which bears the date 1330 (x), shows a very marked resemblance
to those in S. Francesco.
In the Pinacoteca of Perugia there are several panel paintings
which reveal Meo's influence. There is a little group, originating
also from Monte l'Abate, which can be ascribed to one master ;
it includes a crucifix with Christ on the Cross, two large panels
of SS. Herculanum and Laurence with the figures of SS. Paul
and Peter as pope on the back, and a predella with the four half-
length figures of SS. Emilian, Mary Magdalene, Catherine and
Benedict. Although the artist paid great attention to his tech-
nique, his drawing is weak and his figures without modelling,
while life and expression are entirely absent.
Still in the same Gallery we find two panels similar in form
and doubtless having originally formed part of the same altar-
piece. The principal scene on the one is the Adoration of the
Magi (fig. 22) and on the other the Presentation in the Temple;
above the former we see the angel of the Annunciation and the
half-length figures of SS. Peter the Martyr and Francis (2) while
the corresponding figures on the other panel are the Virgin of
the Annunciation. SS. Louis of Toulouse and Dominic. These
two panels originally belonged to the confraternity of St. Francis
in Perugia. As Signor Salmi remarks, a peculiar feature in this
master's art is the Cosmati architecture, not only with regard
(') A breach in the paint prevents us from knowing if anything followed
what is now visible of the date : MCCCXXX ; but on account of a point after
the last X and the space remaining it could not have been followed by
another X. P. A., L'affresco della chiesa della conca, Rassegna d'Arte, 1907,
p. 127. E. Ricci, La prima chiesa dedicata a S. Elisabetta d'Ungheria, Sta.
Maria degli Angeli (Assisi), 1909, p. 41, informs us that before the fresco was
detached the letter F. followed the date. Bombe, op. cit., p. 4 1, is mistaken in
saying that the date disappeared when the fresco was detached from its
original site. From a chronological point of view his affirmation that this
picture shows an influence of Bartolo di Fredi, is impossible.
(2) Here St. Francis is depicted wearing ear-rings. There is a belief, still
fairly wide-spread, that this form of adornment cures eye-trouble. This
detail, consequently, must have been associated in the painter's mind with
the eye disease from which, according to his biographies, the saint of Assisi
suffered.
UMBRIA.
3i
Fig. 19. Detail of fig. 18.
to the decoration but also to the form of the buildings. These
panels date probably from about the middle of the 14th century.
The type of the figures is very characteristic of Meo's school.
32
UMBRIA.
Fig. 20. School of Meo da Siena, the Death of the Virgin, S. Francesco,
Perugia. Photo Alinari.
Yet another painter, whose figures are somewhat heavier, but
in whose faces we notice a decided resemblance to those of this
school, is the one who executed two panels in the Pinacoteca
which come from Passignano, not far distant from Perugia.
The}* are oblong panels; one, which is considerably damaged,
shows the Betrayal of Judas, the Calvary, the Crucifixion, the
Deposition and the Faithful mourning over their Master's
UMBRIA.
33
Fig. 21. School of Meo da Siena, Miracle of St. Elizabeth, 1330.
Pinacoteca, Perugia.
Photo Anderson.
dead body before the sepulchre (fig. 23). On the other, the
enthroned Virgin with the Child is represented between two
angels with two little adorers below, while to the left we see the
archangel Michael. SS. Clare, Francis and Peter and to the right
SS. Paul, Louis of Toulouse, Anton}' and Mary Magdalene. The
throne is inlaid in mosaic ; above each column, which separates
v 3
Fig. 22 School of Meo da Siena, the Adoration of the Magi.
Pinacoteca, Perugia.
Photo Mip.ist. della Pubbl. Istr.
UMBRIA.
35
Fig. 23. School of Meo da Siena, the Mouring over the body of Christ.
Pinacoteca, Perugia.
Photo Anderson.
the figures, a small half-length figure of an angel is depicted in
rose colour. This artist possessed a certain dramatic sense
which gives much animation to the Passion scenes in particular ;
but the isolated figures also are more life-like than we have so
far found in this group. He was, as well, a fairly good colourist,
but curiously enough left his faces completely white.
36 UMBRIA.
I think we can probably attribute to the same artist a half-
length figure of a saint frescoed on the left-hand side of the wall
behind the altar in Sta. Agata, Perugia.
From another hand, and one more strongly influenced by the
reminiscences of Simone Martini but belonging all the same to
this group, are the figures of male and female saints under
Gothic arcades which seem to have adorned the greater part
of the walls of this church, and of which some still remain visible
on the entrance wall and on that to the left of the altar.
Meo's school seems to have been fairly wide-spread. At least
we find works belonging to it at some distance from Perugia.
The Pinacoteca of Gubbio possesses a polyptych (fig. 24) show-
ing the Virgin between six figures of saints and above, six half-
length figures and the Crucifixion. It is a mediocre work but the
types of the faces as well as the ornamental details are character-
istic of this school.
The painter who frescoed the four triangular compartments
of the vault over the altar in the church of Sta. Chiara, Assisi,
also felt to a certain extent the influence of Meo's art, but he was
still more dependent on the Giottesque school and for this reason
I shall deal with him elsewhere.
In the Town Hall of Narni, a panel, painted on both sides,
representing the Virgin and Child and the Death of the Virgin,
is a late production -- about 1400 — of this current.
A panel of the Nativity in the collection of pictures belonging
to the German Seminary, alongside the church of St. Peter's,
Rome, belongs to Meo's school.
This master's influence is also evident in a little reliquary in
the form of a diptych in the Victoria and Albert Musuem (19,
20 — 1869); each panel is divided into two parts, one above the
other, the upper divisions showing the Madonna and the Cruci-
fixion with two accompanying saints, and the lower each a row
of saints (fig. 25). The presence of St. Emilian attests the Peru-
gian origin of this diptych, which, however, is one of the minor
production of this group.
The most important series of paintings in this manner are not
found in Umbria but near Rome in the upper church, intheScala
Santa and in the Chapel of the Madonna of the Sacro Speco,
Subiaco. These frescoes have been described by Signor Her-
UMBRIA.
37
Fig. 24. School of Meo da Siena, Pol}7ptych. Pinacoteca, Gubbio.
Photo Minist. della Pubbl. I-tr.
manin (*), who attributed them to a Sienese artist, but I think it
i1) P. Egidi, G. Giovannoni e F. Hermanin, I monasteri di Subiaco, I,
Rome, 1904 (Hermanin), p. 486.
38 UMBRIA.
more correct to classify them as works of Meo's school. The date
proposed by Signor Hermanin for them, somewhere during the
period when Bartolommeo III of Siena was prior of the monas-
tery, which was from 1363 until 1369, seems to me somewhat late.
The frescoes in the upper church illustrate the Passion, be-
ginning with the Entry into Jerusalem, which covers the greater
part of the right wall (fig. 26). The composition is very tradition-
al ; the Saviour, seated on an ass, followed by its foal, is accom-
panied by the Twelve Apostles; a youth spreads his cloak on
the ground, others climb into the trees to obtain a better view,
some sing while almost all carry branches of palm. Below on the
left well is represented the Betrayal of Judas. The central figures
are surrounded by a large group of people, some of whom have
already laid hands on the Saviour. A detail, peculiar to Sienese
iconography, is the flight of the Apostles; it is rarely depicted
but we find an example of it in Duccio's works. The artist has
not omitted to illustrate the passage from the Gospels according
to which a disciple, leaving his cloak in the hands of a soldier,
escapes naked. On the right of the pulpit we see the Flagellation
in which the Saviour, covered with blood and attached to a pillar,
is being scourged by two men, while Pilate is depicted in half-
length figure on a balcony above.
The Calvary is shown in a large fresco above these represent-
ations. It is a picture full of movement and at first sight seems
to be a triumphal procession. In a portico to the left, we see a
scene of Pilate condemning Christ, Who is clothed in rich gar-
ments and crowned with thorns. Then is depicted a long proces-
sion of men on horseback, soldiers with banners and trumpets
and the sorrowing faithful following Christ, bearing the Cross,
and the two criminals. Heads appear at. the windows and on the
towers of the houses of the town. The Twelve Apostles are
depicted in a row above.
The Crucifixion, which occupies the end of this wall, is a large
dramatic composition, resembling Pietro Lorenzetti's picture of
this subject in the Lower Church, Assisi. A thronged and agi-
tated group surrounds the three crosses ; again there are many
soldiers on horseback and on foot, while Mary Magdalene grasps
the foot of the Cross and the Virgin faints into the arms of her
companions.
UMBRIA.
39
Fig. 25. Madonna and saints, Umbrian School, middle of the 14th century,
Victoria and Albert Museum, London.
4o UMBRIA.
Higher up an arch is adorned with medallions containing
Apostles, prophets and St. John the Baptist.
The events, which occur after the death of Christ, are depicted
on the same wall as the Entry into Jerusalem. Here we find the
three Maries at the Empty Sepulchre on which an angel is sitting,
and at a higher level "Noli me tangere" with Mary Magdalene
kneeling and the Saviour drawing away from her, and the
Incredulity of Thomas which takes place in a vaulted room seen
in section, while the other Apostles are arranged in a row at
either side. Highest of all is represented the Ascension ; fifteen
disciples and four holy women witness the Saviour being car-
ried to heaven by angels. The vault is adorned with the figures
of the four Fathers of the Church sitting writing; the throne of
each is adorned with the bust of an Evangelist.
Regarding the second example of this art which adorns the
Scala Santa, I do not share Signor Hermanin's opinion that it is
by another artist than the foregoing decoration, although the
coulouring is here paler. It is highly probable that the painter
who undertook this decoration, received a certain amount ot
assistance, but this is not more evident in one part than in
another and I do not find that the manner of the principal master
is more pronounced in the Scala Santa and in the chapel than in
the church.
The four triangles of the vaults of the chapel are adorned with
the Annunciation in which the angel kneels before the Virgin
who has just arisen from her chair; the Presentation with the
five traditional figures ; the Coronation of the Virgin in which
the throne, on which the Virgin and her Son are seated, is sur-
rounded by angels; and the Madonna della Misericordia, who
shelters a group of faithful under her mantle. On the left wall
we find united on one fresco the Nativity of Christ taking place
in an open shelter, the preparation for Christ's first bath, the
Message to the Shepherds and the Adoration of the Magi
(fig. 27). The apse is adorned with a representation of the Sav-
iour on the Cross between the Virgin, SS. John, Benedict, Placid-
ius and Maurus, and above, the Virgin enthroned with the Child
standing on her knee in the midst of four saints, two holy popes
and a little adorer; while still higher the Dead are seen arising
from their tombs and apparently imploring protection from the
UMBRIA.
4'
Fig. 26. School of Meo da Siena, the Entry into Jerusalem. Sacro Speco,
Subiaco.
I'll t > A in iri.
42 UMBRIA.
Madonna della Misericordia, depicted on the vault above. On
the entry wall we find a very realistic painting of the Virgin's
funeral (fig. 28). The Jews who have stopped the bier on which
the dead Virgin is being taken to her grave, are miraculously
deprived of their sight. The Twelve Apostles who stand behind,
belong to the representation of her Death ; St. Peter seems to
be officiating, St. John carries a branch of palm. Above, the
Madonna and the Saviour, Who protectingly grasps His Mother
round her shoulder, are seated on the same throne, which is
borne upward by six angels, while eight others accompany them
with music.
The frescoes in the Scala Santa show, over the entrance arch,
the Baptism of Our Lord and on the other side, the Flight into
Egypt, and the Massacre of the Innocents, in which to the left we
see soldiers snatching children from the arms of their weeping
mothers. Above, Herod, followed by two of his suite, appears at
a balcony, from where he issues his orders. The other frescoes
are, on account of the subject, fairly important; the}' comprise
allegorical representations of the triumph of Death (x). In the first
is depicted an old man, showing three corpses in their coffins
in different stages of decomposition, to three young noblemen,
two of whom carry falcons. The other fresco represents Death
as a skeleton with long hair, mounted on horseback, holding a
cythe in one hand and a sword in the other with which he attacks
two young men, one of whom again holds a falcon. In his terrible
onslaught Death rides over six dead bodies that lie on the
ground, while behind him we see four sad figures, apparently
imploring him to put an end to their existence also. At the top of
the Scala we find further five figures of saints.
Having already described the characteristics of the artistic
current to which these frescoes belong, I shall not enter into details
of their peculiarities. These particular productions, however, are
rather unpleasing; the drawing is clumsy and linear, no attention
has been paid to the proportions and almost all the figures are
too short. Relief is but rarely attempted and dramatic action,
which is absent, has been replaced by grimacing expressions.
All this only proves that we owe the decoration to a provincial
artist who paid little heed to the aesthetic side of his task.
i1) P. Vigo. Le danze macabre in Italia, 2nd ed., Bergamo, 1901, p. 54.
I'MIiKIA.
43
Fig. 27. School of Meo da Siena, the Nativity and Adoration. Sacro Speco,
Subiaco.
Photo Alinari.
44
UMBRIA.
The iconography of these paintings provides us once more
with proof that the origin of Meo's school was not purely Sien-
ese. It is true that in the Betrayal of Judas, the group of Apostles
deserting their Master is apparently inspired by Duccio's repre-
sentation, but on the other hand the open shed in the Nativity,
the combination of the Nativity with the Adoration of the Magi,
that of the Holy Women at the Empty Sepulchre with the Noli
me tangere, and the Child erect on the Virgin's knee in the Cap-
pella della Madonna are all characteristics of the Riminese school
and not of Duccio's. The decoration of the triangles of the vault
is analogous to one in Ravenna, while the scene of the Death
of the Virgin shows no resemblance to the example left by
Duccio.
Apart from Meo's school, we find in Perugia various little
groups of painters who reveal the existence of different currents
simultaneously.
Perugian painting of the first half of the 14th century was spec-
ially influenced by Pietro Lorenzetti, although his art was inter-
preted in a very provincial manner and generally speaking the
productions do not attain a very high level. This group seems to
be of a slightly later period than that of Meo's, since some of its
productions date from 1348.
The finest work of this group is a large Crucifixion, an import-
ant part of which is preserved on the altar wall of Sta. Agata.
Originally the three crosses must have been represented, but
now the central one alone remains; many figures, some on horse-
back, are grouped around it ; in the midst of them we see the three
soldiers dividing the Saviour's cloak. The latter have an oriental
appearance and remind us of the warriors in Ambrogio Loren-
zetti's fresco of the martyrdom of the Franciscan monks in the
church of S. Francesco at Siena. Nevertheless Pietro's influence
is very evident, while the composition has been borrowed from
his enormous fresco of this subject in the Lower Church, Assisi.
A large number of frescoes in this manner have been trans-
ferred from the church of Sta. Elisabetta to the Gallery of
Perugia. I have already mentioned the paintings belonging to
Meo's school, which come from there. In all there are twenty-six
fragments from the walls of this church, but I shall not enumerate
UMBRIA.
45
Fig. 28. School of Meo da Siena, the Death and Funeral of the Virgin.
Sacro Speco, Subiaco.
Photo Alinari,
all of them ('). For the greater part the}' are votive paintings,
among which there are several Madonnas. Very characteristic ot
a rough interpretation of Lorenzetti's art is a rather fragmentary
Iresco showing the enthroned Virgin, holding the Child erect
on her knee and offering Him flowers. Of the lateral figures, only
that of St. Antony Abbot has been preserved. The date, 1348, is
i'i Ricci, op. cit. Bombe, op. cit., p. 39.
46 UMBRIA.
inscribed at the foot of the painting (fig. 29). I think we might
attribute to the same hand two fragments of a detached fresco
representing the Virgin and five saints within arcades, and yet
another of the Virgin seated on a throne, the back of which is
unfinished, gazing at the Child Whom she holds in her arms;
St. Catherine is depicted standing at the side. This fresco seems
to have originally shown the date [334 (*)•
Other works belonging to this group will be found in the
church of S. Matteo where an important fresco of the Virgin
with four angels, two saints, some other figures and a little
female adorer is dated 1348. The central figure and those nearest,
however, have almost entirely disappeared. On the wall close
by we find a representation of a saint on horseback, before whom
kneel several adorers, two of whom seem to carry hand-cuffs.
A figure of a bishop hard by is probably from the same hand. It
is possible that we can ascribe to this artist an heretical image
ol the Trinity - - a figure with three heads — enthroned and
accompanied by two angels, in the bell-tower of S. Pietro, and a
very damaged detached fresco of St. Antony Abbot and a young
saint, which was preserved in the sacristy of the church ot
Papiano, but is now in the Gallery of Perugia. The characteristics
of this artist are the very pointed features, the rather graceful
though flat figures, the naked necks and the almost straight line
of the decollete.
A group of lesser importance comprises four works — three
triptychs and a painting on parchment — of the first half of the
14th century. All four are preserved in the Gallery of Perugia and
differ considerably from the other styles of painting of that period.
Two of the triptychs are very alike (2). One represents the
mystical marriage of St. Catherine: the Virgin seated on a
throne of Gothic model holds the Child Who places the ring on
St. Catherine's finger, while opposite another saint forms a pen-
dant ; above, we see the Saviour on the Cross between the Virgin
and St. John with Mary Magdalene kissing the feet of Christ.
The wings show, above, the two figures of the Annunciation
and below, on one side four saints in two rows and on the other
the Virgin adoring the new-born Child in the manger.
i1) Bombe, op. cit., p. 40 note 2.
(2) Salmi, op. cit., p. 163.
UMBRIA.
47
Fig. 29. Madonna and St. Antony, Umbrian School. 1348. Pinacoteca,
Photo Verri.
Perugia.
The other triptych shows the Virgin seated on a very elabo-
rate throne between SS. Catherine and Lucy, while in each of
the wings are two saints, one above the other (fig. 30).
The picture on parchment is not in a very good state of preser-
vation.
48
UMBRIA.
Within borders composed of numerous busts of saints and six
full-length figures, among which we see the archangel Michael
(represented twice), St. Martin and St. Christopher, are depicted
the Virgin enthroned between two angels and two saints and
the Saviour on the Cross between the Virgin and St. John and
two angels (fig. 31).
Fig. 30. Triptych, Umbrian School, first half of the 14th century. Pinacoteca,
Perugia. Photo Minist. della Pubbl. 1st.
The third triptych is only a rustic production of the same cur-
rent. In the central panel the Madonna, seated on an architectural
throne holds the Infant Jesus between St. Anna and the Virgin
as a child. Lower down we see the Crucifixion and the Prayer
on the Mount of Olives. Three figures of saints adorn each oi
the wings. It is a roughly executed work of no importance.
The elements composing the art to which these pictures belong,
are obviously based on Giottesque principles. The types, as well
UMBRIA.
49
as the proportions of the figures resemble those 01 the great
Florentine master and we see them here in a form directly inspir-
ed by him and not by one of his disciples. This, consequently,
would lead us to date these works 'from the first half of the
14th century, which seems too early, especially on account of
the elaborate form of the throne in one of the pictures, which is
characteristic of North Italian painting of a much later date.
Nevertheless it is possible that we are here dealing with one of
Fig. 31. Madonna and Crucifixion, Umbrian School, first half of the
14th century. Pinacoteca, Perugia.
Photo Verri.
the first examples and I do not think that the works we have
just described can be placed any later than 1350.
The type of the Madonna in majesty seems to have been fairly
common in Perugia. Apart from the foregoing picture and the
panel by Marinus in the Gallery, which I have already described,
we find traces of another in a niche on the facade of the old hos-
pital which seems to date from the first years of the 14th century.
Another which, on account of the presence of a Sienese influence,
must be of slightly later date, is the considerably restored fresco
called the Madonna del Verde in the church of S. Angelo ; icono-
5o UMBRIA.
graphically-speaking it descends from Duccio's model (!). Very
closely connected with this painting is the so-called "Maesta della
Volta" which adorns a chapel in the arch of that name, behind
the Cathedral of Perugia. Here the Virgin, in the midst of four
angels, holds the Child standing on her knee (fig. 32). A detached
fresco in the Gallery of Assisi belongs to this group of repre-
sentations; it is in fact the most beautiful example but we shall
return to it later on (2). I think we can still include among the
Umbrian Maesta a large panel dated 1310 in the Gallery of
Aneers, where it is attributed to Giunta Pisano. The enthroned
Madonna, who holds the Child upright on her knee, is escorted
by two angels, four saints and two kneeling devotees.
All these paintings date from the first quarter of the 14th cen-
tury and bear a resemblance to provincial Sienese work ; the
painting of the Maesta della Volta reveals the influence of Simone
Martini which is still more marked in the fresco at Assisi.
The frescoes in the chapel under the bell-tower of the church
of S.Domenico, Perugia, belong to the same artistic current. It is
only a few years ago that the greater part of this decoration was
brought to light; before that only a few small fragments were
visible (3). Doctor Salmi, who has made a profound study of these
frescoes (4), identifies them with those that Vasari describes as
being from the hand of Buffalmacco, as, indeed, Rosini, before
him, had already done (5).
Vasari further informs us that Stefano da Siena worked in the
chapel of St. Catherine in S. Domenico, but did not finish his task.
Considering the lack of confidence we have in Vasari's state-
ments, especially in connection with 14th century works, I do not
(r) There is no reason whatsoever, to attribute this painting to Cavallini
as Signor Hermanin did in the lectures he delivered in Perugia in the autumn
of 1923, in II Maestro Romano di Giotto, Almanaccodi Roma, 1924, p. 160 and
in the Corriere d'ltalia, 13th Dec. 1923. The style derives from the Sienese
school and the work is decidedly Umbrian.
(2) F. M. Perkins, Rassegna d'Arte, 1909, p. 41.
(3) R. Galenga Stuart, Perugia, Bergamo, 1912, p. 43. R. van Mar/e,.
Simone Martini et les peintres de son ecole, Strasbourg, 1920, p. 192.
(4) M. Salmi, Gli affreschi ricordati dal Vasari in S. Domenico di Perugia,.
Bolletino d'Arte del Minist. della Pubbl. Istr., 1922, p. 403.
(5j Rosini, op. cit., II, p. 52.
UMBRIA.
Fig. 32. The "Maesta della Volta*', Umbrian School, first half of the
14th century. Perugia.
Photo Anderson.
think that it is of great importance to determine whether in this
case he is dealing with the frescoes we have just mentioned or
with others in S. Domenico Vecchio, which is behind the present
church and is now used as a barracks.
The decoration is fairly elaborate but very much damaged.
Vague traces of the four Evangelists and their symbols remain in
the vaults. The groins and other parts of the chapel are adorned
with medallions containing; heads and half-length figures of
52 UMBRIA.
prophets, saints and angels. On the window wall we see the
figures of the Annunciation and the greater part of two frescoes
illustrating the legend of St. Catherine, her dispute with the
philosophers of the Emperor Maximin (fig. 33) and her conversion
of the Empress Faustina and Porphyrus during her imprison-
ment (fig. 34). On the opposite wall we find scenes from the life ol
Fig. 33. The Disputation of St. Catherine, Umbrian School, 2nd half of the
14th century. S. Domenico. Perugia.
Photo Verri.
St. Peter the Martyr; the first shows the miracle of the shower
of rain that he brought down under the provocation of a heretic
bishop, and the other the martyrdom of the saint, who is killed
by soldiers on the road between Como and Milan, while above
is represented the holy Dominican monk curing a sick person.
Traces of other representations are visible. The walls of the
chapel are further adorned with the figures of the Twelve Apost-
les, and of the cardinal virtues (figs 35 and 36) and theintradosof
the entrance arch with several figures of saints, some of which
are well preserved (fig. 37).
UMBRIA.
53
Fig. 34. The Conversion of Faustina and Porphyrus, Umbrian School,
2nd half of the 14th century. S.Domenico, Perugia. photo Verri.
54
UMBRIA.
Fig 35 Justice, Umbrian School, 2nd half of the 14th century.
S. Domenico, Perugia.
Photo Verri.
Signor Salmi has rightly observed that two different hands
can be recognized in this decoration. To the one we must attri-
bute the dispute of St. Catherine, the Annunciation, the figures
of the Apostles and the personifications of the virtues, and to
UMBRIA.
33
Fig. 36. Courage, Umbrian School, 2nd half of the 14th century.
S. Domenico, Perugia.
Photo Verri.
UMBRIA.
Fig. 37. A holy Pope, Umbrian School, 2nd half of the 14th century.
S. Domenico, Perugia.
Photo Verri.
UMBRIA.
57
Fig. 38. St. Peter, Umbrian School, 2"d half of the 14th century.
S. Domenico, Perugia.
Photo Verri.
53 UMBRIA.
the other the remaining hagiographic scenes and some of the
full-length figures of saints. As for the heads and busts in the
medallions, I think they show more connection with the former,
but were, in all probability, executed by an assistant.
The first of these two artists was obviously entirely under
the charm of Simone Martini's art, the spirit of which he seems
to have fully understood. In the sweet melancholy and spiritual
elegance of certain of the figures of the Apostles, he reproduces,
although in a less skilful manner, the types of the older master.
Signor Salmi finds that this artist shows some points in common
with the Orvietan painters. A connection must certainly exist
since both derive from a common source in the art of Simone
Martini, but I do not think that this artistic current passed through
Orvieto before reaching Perugia, because the influence here
seems to be too direct.
A Sienese inspiration is less evident in the productions of the
second artist who worked in this chapel, and Doctor Salmi finds
that his paintings reveal an influence of the school of The
Marches. The technique of this master and his forms are much
coarser and there is no trace of idealism, a feature characteristic
of all works inspired by Simone's art. The date of 1370 or 1380
proposed for them by Signor Salmi may be exact, but in my
opinion it is just possible that they were executed at a slightly
earlier period.
I think we should associate these frescoes with some others
in the same church, which adorn the old Gothic vaults of the
lateral chapels of the choir, but are now invisible from below, on
account of the lower 17th century vaulting. We can, however,
gain access from above because there is a considerable space
between the original and the present vaulting.
The decoration of one of them comprised four figures of saints
against haloes of radiating rays of light; of these there remain
St. Peter (fig. 38), St. Antony and traces of a holy bishop. The
four Evangelists, seated on Gothic thrones, were depicted in the
other chapel ; the best preserved is the figure of a young clean-
shaven Evangelist, gazing attentively at his pen (fig. 39). I think
the latter may probably have been executed by the assistant to
whom the less important figures in the St. Catherine chapel
were left. Not only is the manner in which the hair falls the same
UMBRIA.
59
Fig. 39. An Evangelist. Umbrian School, 2,ul half of the 14th century.
S. Domenico, Perugia.
Photo Verri.
in both, but we again notice a similar mistake in the perspective
of the drawing of the faces. The contours are very thickly out-
lined but that may well be on account of the great distance that
these images originally were from the eye of the spectator. It is
for the same reason that the figures of the other vault appear,
60 UMBR1A.
now that they are seen from so near, of much coarser workman-
ship than originally must have been the case when they were seen
from below. The figures of SS. Peter and Antony show certain
points in common with some of the works of the second master
who was active in St. Catherine's chapel, but the technique is
somewhat different so that we cannot ascribe them with certainty
to the same artist.
A painting which was also inspired by Simone's school is
a detached fresco representing the Virgin, with the Child in
benediction, under an open shed, behind and above which are
some angels (fig. 40) ; it is placed on the altar of the Holy Sacra-
ment in the church of S. Francesco which, no longer used for
worship, is abandoned in an incomprehensible manner. Above
the picture we see the inscription: "Eruo MCCCLXXXIII
Mense Junii" which has in part disappeared (1). The fresco comes
from the walls of the old church which is now entirely covered
by constructions of later centuries. It is obviously a fragment of
an Adoration of the Magi (2).
From the examples of Perugian painting of the 14th century
that we now possess, it is evident that the dominating influence
was that of the Sienese school. After Meo da Siena and his fol-
lowers, we find in the first half of the century a popular adap-
tation of Pietro Lorenzetti's manner; then, with the exception of
a small number of works belonging to the Giottesque tradition,
we notice, especially in the second half of the 14th century, many
adherents of Simone Martini's manner. It is quite possible that
after 1350 the Perugian people became aware of the inferiority
of the local productions, and made certain pictures, destined for
the more important sites, come directly from Siena. Let us not
forget that in the Gallery of Perugia there are works by Lippo
Vanni, Bartolo di Fredi, Niccolo Bonaccorsi, a little triptych
approaching the manner of Luca di Tomme and in the Cathedral
a Madonna by Andrea Vanni.
This Sienese domination was still more widely disseminated
(') Siepi, op. cit., II-, p. 781.
(2) {Orsini), Guida al forestiere per 1'augusta citta di Perugia, 2nd ed.t
Perugia, 1818, p. 304, makes this observation but finds that the fresco is
executed after the manner of Giotto.
UMBRIA.
61
towards the year 1400 when Taddeo di Bartolo came to work in
Perugia.
The school of The Marches had no influence on Perugian
painting although we
find in the Gallery a little
panel representing a half-
length figure of the dead
Saviour and a large trip-
tych,quite recently recon-
structed, showing the
Virgin and Child escorted
by angels, between SS.
Francis and Antony Ab-
bot and originating from
the convent of Ferneta
near Perugia, in both of
which certain reminis-
cences of the painters of
Fabriano are manifest.
A fairly important
group of paintings inspir-
ed by the Sienese school
is to be found in the little
church of S.Egidio which
was built about 1380 and
lies just off the main road
between Perugia and As-
sisi. They are all votive
frescoes by local paint-
ers of little merit and I
shall only mention the
most important. On the
left of the tabernacle there
is a fairly fine Madonna,
accompanied by St. Fran-
cis; and on the lower row
a beautiful figure of an
archangel. A charming Madonna holding the Child's foot, which
decorates the wall near the door leading to the village, belongs
Fig. 40. Fragment of an Adoration of the
Magi, Umbrian School, 1383. S. Francesco,
Perugia.
Photo Yerri
62 UMBRIA.
to the school of Lippo Memmi. Near this another Madonna with
her arms crossed on her breast is a production of the same
tradition. The Madonna on the altar is considerably repainted,
she holds the Child erect on her knee in an affectionate attitude.
All the above frescoes more or less reveal the influence of
Simone's school, but on the entrance wall a Madonna with the
Child standing on her knee stretching out His hand towards a
little bird, sooner belongs to that group inspired by the art of
the Lorenzetti, as, moreover, do several of the other paintings in
this church.
Thus in this little village church the two Sienese currents -
that of Simone and that of the Lorenzetti — flourished still,
towards the end of the 14th century. We are again dealing,
however, with local adaptations, as may be seen, not only in the
actual appearance of the works but also in some of the icono-
graphical details, such for example as the free attitude of the Child
Jesus, Whom we generally find standing on His Mother's knee,
a detail, as I have already mentioned, that the early Umbrian
artists seem to have borrowed from the Riminese school; or,
again, in the position of the head resting on the arm as is
depicted in one of the frescoes in S. Egidio.
The works of the 14th century executed in Assist are, for the
greater part, more in their place in the history of Florentine or
Sienese painting, and it is in the chapters dealing with these
different schools that I have mentioned them. The archives
having almost entirely disappeared, the documents concerning
these paintings are extremely rare.
Nevertheless the following facts have come to our knowledge.
In 1337 Giovanni di Bon Giovanni d'Assisi bequeathed a sum of
money to the church of Sta. Chiara for the ornamentation of its
walls. "Frater Martinus pictor" is found mentioned in 1344
painting the refectory of the PVanciscan monastery and in 1347
colouring the pulpit of the Upper Church (J), and Pace diBartolo,
(') C.Fea Descrizione etc. della Basilica etc. di S. Francesco d'Assisi,
Roma, 1820, pp. 11 and 13, gives these dates as 1358 and 1347. See also
G. Fratini, Storia della Basilica e del Convento di S. Francesco in Assisi,
Prato, 1882, p. 165, and H. Thode, Franz von Assisi und die Anfange der
Kunst der Renaissance in Italien, 2nd ed., Berlin, 1904, pp. 288, 289 and 298.
UMBRIA.
63
Fig. 41. Descent from the Cross and the Entombment, Umbrian School,
2nd half of the 14th century. Sta. Chiara, Assisi.
Photo Alinari.
64 UMBRIA.
as I have already said in connection with Andrea da Bologna
in the previous volume, in 1354 I1) and about 1367 (-); in the latter
year he, assisted by Giovanni di Maestro Nicola, painted coats
of arms on the city gates; in 1372 the latter, together with
Angelino di Corrado di Novarello (5), is similarly employed.
The three painters, Pace, Giovanni and Angelino are charged
with the ornamental part of the decoration of the St. Catherine
chapel which was ordered by Cardinal Albornoz. Vasari has
confused Pace di Bartolo with Pace da Faenza (4) and informs
us that it was this artist who adorned the chapel of St. Antony,
for which work a sum of money was bequeathed in 1360 (•"'). In
1398 we find a certain Niccolo di Giovanni, an Assisan painter,
working at that moment at water conduits (6).
The same artistic classification that we made for the works
in Perugia can be applied to those in Assisi. Here too we find
a rude adaptation of the art of Meo da Siena and Pietro Loren-
zetti, reminiscences of the Giottesque school, and the influence
of Simone Martini, but not one of these groups is of very great
importance. The most characteristic painting of the first group
will be found in the chapel of the Holy Sacrament, or that
of St. George, in Sta. Chiara, where on the altar wall, above
the figures by Giottino, we see a representation of the Descent
from the Cross between frescoes of the Resurrection and the
Entombment (fig. 41). This somewhat vulgar artist, who tried
to obtain good dramatic effects by means of grimaces and
violent and excessive gesticulation, seems to have been slightly
influenced by Meo da Siena. Closely connected with this artist
was the one who depicted the Annunciation on the entrance
wall; it takes place in a room seen in cross-section in which
the Virgin has risen and walked away from her seat. Below
this, three paintings, showing St. George slaying the dragon,
the Nativity, in which we see many angels on the roof of
i1) Fratim, op. cit., p. 192.
('-') A. Brizi, Delia rocca di Assisi, Assisi, 1898, p. 71.
(3) A. Brizi, op. cit , p. 78.
(4) Vasari-Milanesi, I, p. 405.
(5j Fea, op. cit., p. 11. F. Filippini, Andrea da Bologna, Bollet. d'Arte del
Minist. della Pubbl. Istr., 1911. p. 50; v. Vol. IV, p. 428.
(6) I have to thank Count Umberto Gnoli for this piece of information.
UMBRIA. 65
the shelter against the rocks, St. Joseph in meditation and the
shepherds, and the Adoration of the Magi, are by quite a different
artist. Here the basis of the work is the same, but the more
elegant forms reveal an influence of Northern Gothic art. On the
wall opposite the entrance a modest local painter working under
a Sienese influence has left some figures of saints; they include
SS. Clare, Francis, Agnes, Elizabeth and Mary Magdalene, while
on the arch which separates the chapel from the nuns' choir we
find a pretty figure of St. Clare. A mediocre fresco of Pope Urban
V with the heads of SS. Peter and Paul and two little kneeling
adorers decorates the nuns' choir.
More directly influenced byLorenzetti,I think, was the painter
who executed on the right wall of the charming little church of
S. Damiano two frescoes in connection with this sanctuary; the
first shows the crucifix ordering St. Francis to restore the build-
ing, and the second the father, Bernardone, threatening his son,
who was then living at S. Damiano, because he had sold some
merchandise to defray the expenses of his work. Although these
paintings have, on account of certain topographic details, been
ascribed to between 1305 and 1315 (1), they are, without any
doubt, productions of the second half of the 14th century.
The same church contains, in the apse, a fresco which sooner
belongs to the group which shows the influence of Simone Mar-
tini's current. It is a half-length figure of the Virgin between two
saints near one of whom we can still read the name "(S.Ru)ftnus"
while the other, according to the later inscription, is St. Damian.
They are, however, coarsely executed figures in which the man-
ner of the charming Sienese master is completely disguised (2).
A beautiful painting belonging to Simone's school is a Maesta,
which I have already mentioned in connection with similar
representations in Perugia, in which the Virgin, holding the Child
erect on her knee, is surrounded by angels while St. Francis
stands near by. This fresco comes from the facade of the church
"della Carita" and is now preserved in the town Gallery (nos. 3
(*) L. Brancaloni, Storia di S. Damiano in Assisi, Assisi, 1919. p. 153.
(2) L. Brancaloni, op. cit., p. 21 et seq., is of opinion that this work which
he judges superior to Cimabue's Madonna in the Lower Church, already
existed in 1150!
v 5
66 UMBRIA.
and 4). It has been attributed to Simone Martini himself 0) but
for this there is no reason. In the monumental forms there are
even reminiscences of Lorenzetti's art. In spite of its fine qualities,
however, this work can never be considered anything but a
provincial production. It is one of those Maesta of which, as we
saw, the town of Perugia also possessed a few examples (2).
A fresco in the hall of the old monastery of St. Hildebrand,
now occupied by Benedictine nuns, dates from about the year
1400 or even slightly later. The painting is a free copy of the
Stigmatization of St. Francis as it is represented in the Upper
Church. We see the same composition with the landscape and
the monk reading, only the attitude of St. Francis has been
slightly changed. The colours are bright, and the work sur-
rounded by an ornamental frame composed of medallions con-
taining heads. A knowledge of Sienese painting is obvious and
the artist seems to have worked under a strong influence of
Simone Martini, leading the way to Sassetta.
Let us not forget that Ilario da Viterbo has left us a work,,
signed and dated 1393, in the Porziuncola. This painting is almost
entirely inspired by Simone Martini and is even in part an adap-
tation of his famous Annunciation of 1333; but on account of the
artist's origin, he, as well as Cola Petruccioli d'Orvieto, some
of whose works we also find in Assisi, must be dealt with later on.
Giotto and the disciples he brought with him from Florence
had, at Assisi, some pupils who profited so much from the lessons
they received that we must consider them as forming part of the
Florentine school. Among them, for example, may be found the
artist who executed the Coronation of the Virgin and other fres-
coes in the little tribune on the left of the nave of the Lower
Church and man}T other paintings, and the less meritorious artist
who painted the now very damaged frescoes in the right transept
of Sta.Chiara(3). I do not even care to affirm definitely that all
these masters were Assisan and not Florentine, but I think most
of them were, more probably from Assisi.
i1) A. Gosche, Simone Martini, Leipzig, 1899, p. 77, refers to the opinion of
A.Schmarzow that the work is from Simone's own hand. Venturi, Storia.
dell' Arte italiana, V, p. 613 note 1, also seems to accept this attribution.
(2) v. p. 50 of this volume.
(3) v. Vol. III. pp. 264, 266.
UMBRIA.
67
Fig. 42. The Madonna and St. Clare in the midst of angels, Umbrian School,
Ist half of the 14th century. Vault of Sta. Chiara, Assisi.
Photo Alinari.
The painter who adorned the vaults over the altar in Sta.
Chiara and who has been frequently identified with Giottino I1)
was certainly Umbrian; he imitated the Giottesque artists active
(\| L. Fiocca, Rassegnad'Arte. 1910, p. 122.
UMBRIA
Fig. 43. St. Agnes, Umbrian School, isthalf of the 14th century.
Detail of a fresco in the vault of Sta. Chiara, Assisi.
Photo Benvenuti.
in S. Francesco in the arrangement of his decoration rather
than in his execution, while his manner is obviously influenced by
Meo da Siena. As in the vault of S. Francesco so here too the
space is divided into four triangles separated by heavy ornamental
borders. The composition of the frescoes in Sta. Chiara with the
UMBRIA.
69
groups of kneeling angels at either side resembles most closely
the allegory of obedience in the Basilica. This master, however,
is not only inferior to the leading artist of the corresponding de-
coration but also to his assistants. The figures are extremely
long, the faces, necks and particularly the eyes so elongated that
the result is grotesque, the forms ugly and misshapen; even the
drawing is hard.
Fig. 44. Crucifixion and saints, Umbrian School, Ist half of the 14th century.
Sta. Chiara, Assisi. Photo Alinari.
We must, however, grant that this artist had a real talent for
ornamentation, for the decorative effect of his work is excellent.
The composition in each of the four triangles is almost iden-
tical, the lower corners of each compartment are occupied by
groups of kneeling angels, while in the centre two tabernacles,
inlaid in marble, form the background to two figures of female
saints, over whose heads flies an angel. The Madonna and Child
are depicted with St. Clare (fig. 42), St. Cecily with St. Lucy, St.
Agnes (fig. 43) with St. Rose of Viterbo (?) and St. Catherine
with St. Margaret ; the figures are all very lifeless and without
any variety of expression or attitude.
7o
UMBRIA.
The same poor artist executed, without any doubt, the triptych
which hangs in the St. George chapel of this church (fig. 44). It
shows in the centre, the Crucifixion with angels hovering above
and the Madonna, St John and the kneeling donor at the foot of
the Cross and in each of the wings, which are about the same
size as the central panel, two full-length figures of saints and a
three-quarter-length figure of an angel in the terminal. Although
far from beautiful the panel painting is very superior to the
frescoes.
A fragment of what must have been a charming fresco showing
a faint Giottesque influence will be found in the left transept of
the same church (fig. 45). It represents the Nativity and its great
charm lies in the deep feeling that emanates from it.
A crucifix in the municipal museum, although of little artistic
value, also belongs to the Giottesque tradition. It was obviously
made for Assisi, for, besides the Virgin and St. John, we see a
small image of St. Rufinus, bishop and patron saint of the city.
A fresco showing some resemblance to the Florentine current
adorns, along with the Coronation of the Virgin, and scenes from
St.Stanilaus' legend, described in another volume('), the tribune
in the nave of the Lower Church. The Lord on the Cross is re-
presented between theVirgin and St. John; the well-draped figures
are of good proportions and their expressions very dramatic.
Some very fragmentary pieces of fresco on the facade of Monte
Fromentario (via Principe di Napoli), among which, however,
we can recognize the enthroned Virgin surrounded by saints and
the Saviour seated in the midst of the Apostles, as in represen-
tations of the Last Judgment, seem to belong to the Giottesque
tradition although they date from about the middle of the 14th
century. Some fragments inside the Porziuncola which appear to
be of about the same date, show also Giottesque elements and we
still find traces of the same influence in the frescoes representing
Jesus at the age of twelve teaching in the Temple and the Flight
into Egypt - the latter unfinished — in the apse of the church
of Roccaciuola, a short distance from Assisi.
Lastly we find in Assisi, as elsewhere in Italy, the outcome of
the late Gothic cosmopolitan painting. Typical of this current is
I1) v. Vol. Ill, p. 259.
UMBRIA.
71
Fig. 45. The Nativity, Umbrian School, ist half of the 14th century.
Sta. Chiara, Assisi.
Photo Benvemiti.
a fresco of the Madonna on the wall to the left as one enters the
Lower Church (fig. 46). According to Fea it is a work by Cec-
colo di Giovanni of Assisi, executed after 1420 (x); nowadays it
f1) Fea, op. cit.j, p. 10.
72
UMBRIA.
is generally attributed to Ottaviano Nelli, but it looks more like
the production of an immediate predecessor. Fea, who was a
serious writer, doubtless had very good reasons for his attribu-
tion to this painter, whose name he must have found in records
since lost. He adds that the faces of the lateral saints have been
repainted by Alluno, but this is not noticeable on looking at the
fresco.
The Child Jesus, Who stands on His Mother's knee, holds a
little bird and wears a piece of coral round His neck to ward off
the evil eye. The Virgin who is seated on a large throne adorned
with symbolic statues which seem to be of North Italian inspira-
tion, is escorted on the left by two holy monks and on the right
by a saintly bishop. The colours of the fresco are bright.
A fresco after the same manner adorns a niche in the facade
of S. Crispino, near the Porta Moiano ; it represents the Madonna
on an elaborate throne, painted in grisaille, holding the Child,
fully dressed, standing on her knee — a detail found in Nelli's
works — between SS. Francis and Clare while the corporation
of St. Crispin — the shoemakers — are depicted kneeling in
prayer. On the projecting walls of the niche we see SS. Crispin
and Blaise, from which we gather that the weavers also met
in this chapel. This painting, which may have been executed
in the last years of the 14th century, already manifests many
elements which developed in Nelli's art. Another fresco of a few
years later but all the same prior to Nelli, whose style it also
foreshadows, adorns a wall, which is decorated with other
paintings of later date, behind the refectory of the episcopal
seminary; it represents SS. Ruiinus, James and Clare. The staff
that the first saint holds in his hand is executed in grisaille and
ornamented in the manner that Nelli followed later. The tech-
nique of the colours is much finer in this painting than that of
the drawing.
*&•
Montefalco is one of the artistic centres which preserves a
large number of paintings of the 14th century revealing the
existence of a local group with fairly pronounced characteristics;
it produced at least two masters of a certain importance. We
shall call one of these two the Master of St. Clare of Montefalco,
since it is in the church dedicated to this saint that he has left
UMBRIA.
73
his most important work (*). It comprises a series of frescoes
adorning the chapel of the Holy Cross behind the sacristy of the
church. The altar wall shows a large Crucifixion with groups
of soldiers and Jews, the Virgin fainting in the arms of her com-
panions, St. John supporting his head in his hand and Mary
Magdalene clinging to the foot of the Cross; opposite we see a
small image of the donor. Six angels fly around the Crucified
while the inscription on the lower border of the fresco gives us
Fig. 46. Ceccolo di Giovanni (?), Madonna and saints, beginning of the
15th century. S. Francesco, Assisi.
Photo Benvenuti.
the donor's name and the date, 1333 (-). The lunette on the left
wall is adorned with a figure of Christ between two angels ;
below this to the right and left of an arch we see the saint of
Montefalco as a child praying before her sister, the Blessed
Giovanna, and the Virgin and Child appearing to the saint; still
i1) L. Fiocca, Gli affreschi Trecentisti nella cappella della chiesa di S.
Chiara in Montefalco, Rassegna d'Arte, IX, 1909, p. 164.
2) It has been wrongly believed that another figure has been inscribed be-
tween the last C and the first X.
74
UMBRIA.
lower on the same side are represented St. Blaise in a grotto and
the animals seeking his protection, a widow bringing a plate, on
which is placed the head of his pig, to the imprisoned saint, and
the figure of a kneeling warrior. In the arch we find the enthroned
Virgin affectionately clasping the Child in her arms, between
two angels, while lower down is depicted St. Clare's vision :
Christ carrying the Cross appears to her and impresses the signs
of the Passion on her heart; the Blessed Giovanna stands on the
right.
The wall opposite is adorned, above, with a figure of the
Saviour crowned within a mandorla which is surrounded by
angels, while SS. Blaise and Catherine each present a tonsured
figure clothed in black and white, perhaps Augustine monks.
Below on one row are represented the death of St. Clare ol
Montefalco who, half raised on her couch, is surrounded by
kneeling nuns; a half-length figure of the dead Christ; and the
martyrdom of St. Catherine, escorted by a group of persons,
while in the background of this fresco a town is represented.
The vault shows in the four triangles, which are separated by
richly ornate borders, the heads of the four symbols of the
Evangelists on human bodies.
Other works from the same hand are found in the church 01
Turrita, a short distance from Montefalco. Here we see in the
apse a rather grandiose representation of the Crucifixion, very
similar in composition to the one in Sta. Chiara. Fragments
of a very confused composition which might have represented
the Ascension are still visible above the apse, while at the side
we can distinguish the Madonna with St. Fortunato and another
saint. On the left wall near the main entrance are some remains
of an Annunciation and near the choir some fragments of figures
showing the date 1332. All these are from the hand of the
Master of St. Clare of Montefalco.
I think we can ascribe to the same artist a fresco in the ex-
convent of Sta. Croce at Trevi (fig. 47). It shows the Lord on the
Cross with five figures of saints standing below and four angels
flying in mid-air, three of them with chalices to catch the blood
from the wounds of the Crucified ; to the left are the Virgin and
"hild and to the right the Annunciation, against a background
of architecture and the Calvary. This decoration is superior in
UMBRIA.
/O
Fig. 47. The Crucifixion and the Madonna, Umbrian School, middle ot the
14th century. Sta. Croce, Trevi.
76 UMBRIA.
execution to the frescoes of Montefalco and seems to be of
slightly later date.
A reliquary diptych showing on one side the enthroned Ma-
donna, at whose feet kneels a group of adoring nuns, and on the
other side the Lord on the Cross between the Virgin and St.
John, which a short time ago was presented to the Fogg Art
Museum, Cambridge, U.S.A., is no doubt from the same hand.
Although there is no trace, at least in his works at Montefalco,
of aesthetic principles, the Master of St. Clare of Montefalco
had all the same certain qualities. Before all he is an amusing
painter, full of spirit and with a decided sense of realism. His
figures, however, are ungraceful and almost without form, the
drapery is very conventional, the features and contours are
executed in black, and the shadows look like frames around the
faces which are left in white and without any relief. Nevertheless
the artist obtained a great variety of expression and attitude,
and as a popular narrative painter he was not entirely lacking in
talent. The frescoes at Trevi show some less ugly heads, those
of the Virgin and her two companions under the Cross might be
said to be almost beautiful, but the proportions and drawing of
the figures are again very mediocre.
A certain resemblance will be found between the works of
this painter, especially that at Trevi, and a fresco in the church
of S. Francesco at Citta della Pieve, representing the Saviour on
the Cross with the Virgin, SS. Bartholomew and St. Antony of
Padua (?) on the left and SS. John, Francis and Louis of Tou-
louse on the right. Angels fly around the Cross while below are
four figures of prophets and Evangelists. No doubt on account
of the proximity of Siena, this artist came under the influence
of the Sienese school, especially that of Pietro Lorenzetti, and
this gives to his figures another aspect, differentiating them
slightly from those of the painter of Montefalco O).
f1) F. Camiti, Un antico dipinto a Citta della Pieve, Rassegna d'Arte
Senese, 1908, p. 10, believes that this painting may be from the hand of
Giovanni d' Asciano, the nephew of Barna da Siena, or at least by the painter
who executed the frescoes dating from 1372 in the church of S. Francesco at
Asciano. I see no reason for this attribution. The opinion held by Sig.
Litpatelli (Umbria, 1898, 1st fasc.) that this is a work by Francesco da Castel
della Pieve who was active in 1449, is absurd on account of the incompata-
bility of the dates.
UMBRIA.
77
An artist, whose aesthetic feeling was much more highly
developed, executed some works in the church of S. Francesco
at Montefalco which has now been transformed into a museum.
The whole of the chapel on the left of the choir was decorated
by this artist. Here we see round the window the Easter Lamb,
SS. Onuphrius and John the Baptist, and to the side the Annun-
ciation and some fragments of a representation of Christ on the
Cross; He is clothed in a long robe and His arms are entirely
covered - - this being the only part of the fresco intact — after the
type of the one at Lucca. On the left wall we find the Crucifixion;
Fig. 48. Detail of a Crucifixion, Umbrian School, middle of the 14th century.
S. Francesco, Montefalco.
eight angels hover round the Redeemer; below, the fainting
Virgin is supported by two holy women ; St. John on the other
side looks sadly at this group while the Magdalene and St.
Francis kneel at the foot of the Cross (fig. 48). The right wall is
divided into two different zones; in the upper is depicted the
Descent into Hell : the Saviour followed by angels approaches a
grotto, taking by the hand the nearest of the figures that stand
therein. Below, we see the Noli me tangere, in which Christ
carrying a spade on his shoulder turns away from Mary Mag-
dalene who kneels on the ground with outstretched arms; two
angels are present at this event. The entrance arch of the chapel
is adorned with the somewhat majestic figures of SS. Peter and
Louis of Toulouse and above with medallions showing, centrally,
David, and at either side two prophets. In the vault the four
78 UMBRIA.
Evangelists are depicted sitting writing at desks, below which,
in each of the corners, there is represented a small figure of a
prophet.
To follow this artist's activity we must now proceed to the
right aisle where on the right wall under the fifth vault we
recognize this master's hand in the remains of a Crucifixion of a
more crowded and elaborate composition than the one in the
chapel to the left of the choir. Another work by this artist adorns
the projecting part of a niche on the left wall ; it is a figure
of a saint with his stomach cut open in reminiscence of his
martyrdom. The same hand will be discovered in the frescoes in
the chapel to the right of the choir where the window arch is
decorated with the figures of SS. Lucy, Apollonia, the Virgin
and angel of the Annunciation, St. Francis with a female donor
and the Baptist, and the right wall with the Entombment in
which the body of Christ, surrounded by faithful followers, is
being lowered into a coffin (fig. 49).
We see on the left a small composition of the Crucifixion and
in the arch several figures of saints, all by the same artist, but the
isolated figures in this chapel should, I think, be attributed only
to a helper who likewise can be held responsible for the figure
of a holy deacon on one of the pillars of the church.
The leading artist of this decoration was inspired by the
Florentine school rather than by the Sienese (]). This is manifest
in his synthetic composition, the simple but dramatic action and
the general appearance of his figures. Nevertheless he possessed
certain individual peculiarities, such for example as the round
shape of the faces, the strongly marked shadows and the some-
what thickset forms. The beauty of the faces reveals the master's
fairly marked sense of the aesthetic ; dramatic action and
movements are well rendered.
Another painter, and one whose work resembles the above-
mentioned master's, executed, in the last vault on the right, a
medallion containing a half-length figure of the Saviour holding
a book, in the midst of the four symbols of the Evangelists sepa-
rated from one another by a large but simply decorated border.
f1) M. Guardabcissi, Indice guida dei rnonumenti etc. esistente nella Pro-
vincia dell' Umbria, Perugia. 1872, p. 119, rightly remarks that they remind
one of Giotto's school.
UMBKIA.
79
The chief difference between these and the other frescoes lies in
the colours which are here very bright, almost violent. The
Redeemer's head shows the same pronounced effects of chiaro-
scuro as we found in the works of the foregoing, perhaps
Florentine, master. It is my opinion that all the frescoes in
S. Francesco, that have been mentioned up until now, date from
the middle of the 14th century.
A large crucifix dating from the beginning of the 14th century
Fig. 49. The Entombment, Umbrian School, middle of the 14th century.
S. Francesco, Montefalco. Photo Benvenuri.
is preserved in S. Francesco I1) ; half-length figures of the Virgin
and St. John adorn the ends of the horizontal bar, that of God
the Father is seen in a medallion at the top of the cross, while a
full-length figure of St. Francis is represented near the feet of
the Crucified. It is a panel of great importance, beingan example
of the transition stage between the Italo-Byzantine manner and
the Giottesque school. The artist at an early period in his career
was no doubt a disciple of the former tendency, but gradually
came under the influence of the great Florentine.
(!) Mentioned already in Vol. I, p. 317.
80 UMBRIA.
The pillars to the right of the nave are also decorated with
frescoes; one shows an enthroned Madonna with the date
1396 (x) ; another the Virgin suckling the Child, a painting execut-
ed in a manner very similar to that of the artist who adorned the
chapel to the right of the choir.
Still always in the same church we find, as we did at Assisi,
paintings of the beginning of the 15th century characteristic of
the transition between the style of the Trecento and that of the
cosmopolitan Gothic of the 15th century. These will be seen in
the fourth vault to the right of the nave, which is adorned with
the four Evangelists and the four Fathers of the Church seated
on thrones, the one teaching or dictating to the other. The four
couples, with the symbol of an Evangelist in a medallion above
each, fill up the four triangles of the vault (fig. 50) (2). The in-
trados of the entrance arch is adorned with a series of medallions
containing prophets. The four triangles of the fifth vault, which
is called the chapel of St. Antony, have, at a slightly later date,
been adorned with scenes from the life of the titular saint
(fig. 5 1 ) (3). Although we find in these frescoes still many elements
of 14th century painting, such for example as interiors shown by
a cross-section of the building, the costumes and in particular
the general spirit of the work are typical of that art of the be-
ginning of the 15th century, which, in this district, at a slightly
later date, was so well interpreted by Ottaviano Nelli.
After the miniaturist Oderisi, Gvibbio produced the painter,
Guido or Guiduccio Palmerucci (4) from whose hand we do not
possess one authentic work. The artistic personality of this mast-
er, however, can, with little effort and without recourse to insuf-
ficient hypotheses, be built up by the simple means of putting
together the documents in which his name is mentioned and the
(*) A Chas been added, so that the date now reads 1496.
(2) I do not know why G. Angelini Rota, Spoleto e il suo territorio, Spoleto,
p. 189, says that these paintings were ordered in 1440.
(3) They show the saint distributing his possessions to the poor, becoming
a monk, beaten by demons, helped by a nun, vanquishing a dragon, the
miraculous appearance of food, and the saint curing a cripple.
(4) R. van Marie, Guido Palmerucci e la sua scuola a Gubbio, Rassegna
d'Arte Umbra, 1921, p. 7.
UMBRIA.
81
paintings in Gubbio contemporary with these records. We find
then, instead of a feeble Giottesque, as Lanzi and Rosini called
him, an artist of considerable merit who was inspired, before all,
by Pietro Lorenzetti.
The documents are six in number.
1315, the name of Guiduccio figures in the register of the Ghibel-
lines of Gubbio (').
Fig. 50. The Evangelists and Fathers of the Church, Umbrian School,
circa 1400. S. Francesco, Montefalco.
1337, it is recorded that he executed some paintings in the church
of Sta. Maria dei Laici (2).
1342, January 31th, the councillors of Gubbio decided that Gui-
duccio, who had been an inhabitant of the quarter of S.
Pietro, might be allowed to return to the town. He had been
banished on account of offences committed against Buzio
(') Crowe and Cavalcaselle, ed. Langton Douglas, III, p. 168. This document
is now missing from the archives of Gubbio.
(2) Crowe and Cavalcaselle, loc. cit. This document has also disappeared.
v- 6
82
UMBRIA.
di Ceccolo, at the time of Pannocchia da Volterra who was
podesta in 1326 and from May to November of 1337. He
was fined ten golden florins, and forced to make peace
with the person he had offended and to paint an Annunci-
ation in the Palazzo Pubblico f1).
1342 February 13th, Guiduccio returns to Gubbio and promises
to execute the painting or to see that it is done (2).
Fig 51. Scene from the life of St. Antony, Umbrian School, circa 1400.
S. Francesco, Montefalco.
1342 February 28^, the gonfalonier and the consuls decide
that Guiduccio shall paint with his own hand, his own
colours and at his personal expense, an Assumption of the
Virgin in the "Sala superiore" of the Palazzo Pubblico.
Further he had to adorn a box with the insignia of the
podesta and other officials (:t).
1349 February 18th , the name of Guiduccio appears in a record.
f1) Mazzatinti, Arch. Stor. per le Marche e per l'Umbria, III, 1886, p. 5.
(2) Idem, v. also Giornale di Erudizione Artistica, II, 1873, p. 187.
(3) Gualandi, Memorie originali italiane risguardanti le belle arti, IV,
Bologna, 1843, p. 31. Croive and Cavalcaselle, op. cit, p. 6.
UMBRIA.
83
Fig. 52. Guiduccio Palmerucci, Madonna and saints. Palazzo Pubblico,
Gubbio.
Photo '/.. Rossi.
84 UMBRIA.
If, on the one hand, there is no mention of any particular work,
these documents offer us on the other hand, proof of the artist's
activity during the first half of the 14th century in the Palazzo
Pubblico and in Sta. Maria dei Laici. Moreover in both these
places we find paintings of that period and from the same hand.
Further the manner in which the civil authorities allowed him
to redeem his offense leads us to suppose that Palmerucci was
an artist of considerable importance, and, as we shall see later,
it was just the painter whose works have been preserved in the
Palazzo Pubblico and in Sta Maria dei Laici who completely
dominated the school of Gubbio during the 14th century. It is
highly probable, therefore, that Palmerucci and this master are
one and the same person.
The most important work that we possess by Palmerucci is the
fresco in the chapel on the first floor of the Palazzo Pubblico
(fig. 52). Before the enthroned Virgin, who holds the Child partly
wrapped in her cloak, seated on her knee, the podesta kneels in
adoration ; three Apostles and a holy bishop, doubtless St.Ubaldo,
the patron saint of Gubbio, stand behind. The numerous qualities
of this painting provide us with the proof that it is the production
of a fairly skilful artist. Certain characteristics, in particular
the ample fulness of the figures, the outline of the eyes and the
prominent mouths allow us to ascribe to the same artist some
other works, such for example as the frescoes, two representing
the Madonna (fig. 53) and one St. John the Baptist (fig. 54), which
were removed from the walls of Sta. Maria Nuova and brought
to the Gallery. In spite of the restoration, which is fairly exten-
sive, we notice here the same characteristics and the same type
of Infant Christ.
Another work from the same hand is a figure of St. Antony
which adorns a niche on the outside wall of Sta. Maria dei Laici
and which Cavalcaselle already rightly attributed to Palmerucci;
the figure shows a striking resemblance to the oldest of the three
Apostles in the fresco in the chapel.
The greater part of the old pictures in Gubbio have been so
considerably repainted in the 17th and 18th centuries, that at the
present moment little can be said with certainty. It has been
impossible to restore its original primitive appearance to the
polyp tych in the Gallery of Gubbio (fig. 55), which has been
UMBRIA.
8:
Fig. 53. Guiduccio Palmerucci, two Madonnas. Pinacoteca, Gubbio.
Photo Z. R ssi.
published as a work of Pietro Lorenzetti's (*)• I am inclined to
believe that the execution of this panel, in which the motif of the
(') U. Gnoli, Un polittico di Pietro Lorenzetti, Rassegna d'Arte Umbra,
1900, p. 22.
86 UMBRIA.
frame, which forms a variation on the coat of arms of the town,
gives it a certain official air, might have been entrusted to the
same artist who, in the Palazzo Pubblico executed the fresco
which, on account of its site and the presence of the podesta, is
not exempt from a similar official character; especially when we
admit that in both cases the artist's chief source of inspiration
is the art of Pietro Lorenzetti. Not only do we find in this polyp-
tych the same characteristics as in the above mentioned work,
but even the same ornamental motif as in one of the frescoes
from the church of Sta. Maria Nuova.
Mr. Perkins has recently brought to light a triptych, which
without any doubt is a work by Palmerucci, but which shows the
artist less exclusively influenced by Lorenzetti (x). The painting
consists of a half-length figure of the Virgin between those of
SS. Francis and Louis of Toulouse. It passed from the Caccialupi
collection at Macerata into that of the Rev. Mr. Nevin in Rome
but the latter was dispersed in 1907 and the actual proprietor is
unknown to me. The graceful forms and sweetness of expression
are elements sooner borrowed from Simone's art. The transition
between this picture and those with which we have already
dealt is exemplified by two fragments, originally apparently
belonging to one picture, in the Pinacoteca of Gubbio (nos. 5
and 6); one, which has been cut into a round, shows the bust ol
the Virgin with the Child (fig. 56), the other, a predella panel,
represents the Annunciation (-).
The finest and most important painting by this master is a
polyptych representing the enthroned Virgin and four full-length
figures of saints in the Lanckorowski collection, Vienna (:i).
(*) F. M. Perkins, Un trittico di Guido Palmerucci, Rassegna d'Arte Umbra,
1921, p. 97. In this article Mr. Perkins mentions another triptych by Palme-
rucci, showing the Virgin between SS. John and Catherine; it also belonged
to the Rev. Mr. Nevin but passed into the Serrestori collection, Florence.
He referred to this picture in an article in the Rassegna d'Arte, 1907,
p. 92 note
(2) They were shown at the Exhibition of Umbrian Painting, held at
Perugia in 1907, as works by Palmerucci. F. M. Perkins, Rassegna d'Arte,
1907, p. 88, hesitatingly confirms this attribution. U. Gnoli, op. cit., p. 29*
ascribes them to the school of Lorenzetti.
(3) M. Salmi, Un polittico di Guido Palmerucci, Belvedere (Vienna),
1923, P- 3«-
Fig. 54. Guiduccio Palmerucci, St. John the Baptist. Pinacoteca, Gubbio.
Photo Z. Ko;.si.
88
UMBRIA.
In the triptych published by Mr. Perkins, it is not manifest that
Palmerucci's art is based on that of Lorenzetti, who, however,
completely dominates the Gubbian artist in the foregoing polyp-
tych and in some of his other productions. Nevertheless we have
nothing to prove that Palmerucci went, as it has been believed,
to Siena during his exile and that while there he received his
Fig- 55- Guiduccio Palmerucci, Polyptych. Pinacoteca, Gubbio.
Photo Alinari.
artistic education from Lorenzetti himself. For at this period he
was already in all probability a fairly mature artist and it was
sufficient for him to go to Assisi to find paintings by Lorenzetti.
There are, perhaps, several other works by Palmerucci at Gub-
bio but on account of their present repainted condition nothing
can be affirmed. The fresco of the Madonna between SS. Ubaldo
and John the Baptist in the large hall on the ground floor of the
Palazzo Pubblico, is among their number. The form of the
letters of the inscription held by the Baptist allows us to place the
work in the first half of the 14th century, while the proportions
UMBKIA.
89
of the figures seem to correspond to those in Palmerucci's works.
Judging from the forms, one might also admit the possibility
that a Crucifixion, with the Virgin, St. Francis, the two SS. John
and Mary Magdalene at the foot of the cross, in the cloister of
Fig. 56. Guiduccio Palmerucci, Madonna. Pinacoteca, Gubbio.
Photo Minist. del. Pubbl. Istr.
S. Francesco, is from the same hand. It was repainted in 1525
and again in 1773. Anologies of form will be observed in other
works, such for example as the Madonna in the monk's choir
of the church of S. Benedetto, another in the choir of Sta.
Maria Nuova and a triptych in the Pinacoteca (no. 18) represent-
ing the Virgin between SS. Peter and Paul and God the Father
and two angels in the pinnacles. It is impossible to say whether
90 UMBRIA.
these paintings, in their actual state, conceal works of Palmerucci,
or only of his school. The latter is more likely, especially since
certain untouched productions provide us with proof of the
existence of this school. Thus, for instance, there is a Madonna,
of no great beauty, originating from the church of Sta. Lucia,
but now in the Pinacoteca (no. i), which reveals its master
as a feeble artist but one directly inspired by Palmerucci.
Further, in one of the old chapels and in the refectory of S.
Ambrosiana, we find fragments of a Calvary and of a Crucifixion,
coarsely executed but belonging, all the same, to this current.
A much more refined work is the figure of St. Antony near the
entrance in Sta. Maria Nuova, which Cavalcaselle attributed to
Palmerucci himself, but which is a late school work, dating
probably from the last quarter of the 14th century.
Two paintings in the author's collection belong to the school
of Palmerucci ; one of them is a good work executed in the imme-
diate surroundings of the master, showing little more than the
heads of the Virgin and Child (fig. 57). The other, in which two
angels and St. Antony escort the Madonna, is the work of a
naive rustic painter.
The enumeration of these paintings is sufficient proof of the
importance and length of duration of the school created by
Palmerucci which became a focus of Lorenzetti's art in Umbria(1).
Ot other Gubbian paintings I should still like to mention a fine,
early 14th century crucifix in the town Gallery (no. 814, from the
hospital, and it should not be confused with the Giottesque cross
mentioned in Vol. Ill, p. 255), which is executed in peculiar soft
colours.
The entrance arch of the first chapel to the left inS. Dominico,
is adorned with a figure of a female saint (St. Aurea), which
(') Cavalcaselle attributed to Palmerucci still, the head of a monk, now
lost, in a cupboard in Sta. Maria dei Laici, and some remains of frescoes,
including a figure of St. Antony, in the Spedaletto, a church which no longer
exists.
Cavalcaselle has also pointed out the incorrectness of the attribution to
Palmerucci of a series of frescoes executed after 1387, representing scenes
from the life of St Anton)7, in the church dedicated to this saint at Cagli.
It has been claimed that an inscription below ran: " Girfdits Palmerutti de
Agitb. pinxit MCCC[XX]II1" but this is false, v. Crowe and Cavalcaselle,
op. cit., Ill, p. 172 note 1.
I'MBRIA.
9i
decidedly belongs to the school of the Lorenzetti, particularly to
that of Ambrogio, but I do not think that Palmerucci's influence
can be detected in this fresco.
Gualandi ( l) and Cavalcaselle (-) mention as well the following
Gubbian painters : Giovanni Agnolo Donti, Bartolo di Cristo-
foro, MattioloNelli, CeccoMasuzi, all active in 1338 in Sta. Maria
dei Laici, Martino Nelli,
the father of Ottaviano,
mentioned in 1385,
Agnolo di Masolo in
[370 and at his death in
1399, Donato in 1374,
Gallo in 1389, Pietruccio
di Lucca in 1380 and
Niccolo di Maestro
Angelo in 1399.
Orvieto (■') possessed
a school of painting pe-
culiarly its own, which
developed in quite a
different manner from
that of the rest of Um-
bria; it was dominated
entirely and exclusively
by the art of Siena,
which city is not far
distant from it.
AfterPerugia, Orvieto
was the most active artistic centre in Umbria during the 14th
Fig. 57. Workshop of Guiduccio Palmerucci,
Madonna. Author's Collection.
(') Gualandi, op. cit, IV, p. 48.
( '-') Crowe and Cavalcaselle, op. cit., Ill, p. 174.
('■') L. Luzi, II Duomo di Orvieto, Firenze, 1866. L. Fnini, II Duomo di Or-
vieto. Roma, 1891. The Same,\\ Santuario del SS. Corporale nel Duomo di
Orvieto, Roma, 1896. P. Perali, Orvieto, Orvieto, 1919. L. Fitnii, Orvieto,
Bergamo ino date). R. van Marie, S'imone Martini et les peintres desonecole,
Strasbourg, 1920. p. 164. Tlie Same, La scuola pittorica orvietana, Boll.
d'Arte del Minist. della Pubbl. Istr., 1924. p. 305, from which the following
is freely translated.
92 UMBRIA.
■
century; unhappily most of this activity is again only recorded.
There was no school of any importance in Orvieto during the
13th century and it is only after Simone Martini had worked
there that we note the presence of a certain number of painters.
The origin of Orvieto's great artistic activity, however, dates
back to the miracle of Bolsena (1263), to which the Cathedral
owes its existence. Simone Martini worked in Orvieto about
1320 (1), at least this is the date that we find at the foot of the
central panel of the polyptych that he executed for Trasmondo
Monaldeschi, Bishop of Soana, who is represented in miniature
beside the figure of Mary Magdalene. The work is now preserved
in the Opera del Duomo.
It is highly probable that Simone's sojourn in Orvieto was
of a considerable length of time, for, besides the above altar-
piece, the city possessed another polyptych from his hand, which
some time ago passed into the Gardner collection, Boston.
The presence in Orvieto of his brother-in-law, Lippo Memmi, is
very likely, on account of the existence of the Madonna della
Misericordia showing his signature (2) and another Madonna,
this one in half-length figure, with the Redeemer between two
angels above, in the Cathedral Museum, a work which is gener-
ally ascribed to Simone but which I believe is also from Lippo's
hand (3).
It is not surprising, therefore, that the group of painters in
Orvieto was considerably influenced by Simone. They did not
all belong to his school; nevertheless we can observe in Orvie-
tan paintings until the end of the 14th century, an effort to create
graceful figures of an idealistic musing beauty, characteristic of
Simone and his adherents; the technique, however, followed a
more independent course.
A certain Sienese influence doubtless also resulted from the
presence of the reliquary, containing the relics of the miracle
of Bolsena, which is preserved in the chapel which forms the
left transept of the Cathedral. It is one of the finest pieces of
goldsmith's art of the 14th century which we possess and is
(') v Vol. II, p. 192.
(•') v. Vol. II, p. 252.
(3) v. Vol. II, p. 254.
UMBRIA. 93
adorned with many enamel incrustations, representing scenes
from the Lite of Christ and the history of the Eucharist.
It was executed by the Sienese goldsmith, Ugolino di M. Veri
between 1337 and 1339. As much on account of its splendour
as the sanctity of the relics that it contains, this work must have
exercised a great influence on the artists of Orvieto. The fact
that the enamel incrustations are executed in a style resembling
Simone Martini's can only have helped to strengthen the influence
of an already existing current.
The choir stalls in the Cathedral, which are adorned with
figures inlaid in wood (x), were executed about the same time as
the reliquary; the little that remains of this work in the Opera
del Duomo is sufficient proof that again the figures were inspired
by Simone's art.
Thus it was that the style of the great Sienese master found
its way into Orvieto where his influence was of long duration;
while other artists who were active there, such as Andrea and
Nino Pisano and Andrea Orcagna, did not, as far as we can
discover, attract any local adherence.
The extraordinary number of painters that we find in Orvieto
after the second quarter of the 14111 century can, of course, be
accounted for by the construction of the Cathedral.
Their names in chronological order are the following (2):
Giovanni Bonino di Assisi (1325— 1345 makes windows and
mosaics), Buccio di Leonardello ( 1325 - 1369), Gianotto di Puccio
detto Vale Otto (1329— 1339), Puccio da Perugia and Cola Pro-
fecti (also Perfetti or Prefetti, 1325 (!)~ 1339), Guidotto Leonar-
delli (1330), Gianotto di Rolando (1330), Coluccio Narducci
* I337~ J339)> Puccio and his sons Gianotto, Angelello, Minuccio
and Francesco (1339), Andrea di Buccio di Vanne Tabarie (1339),
Ugolino di Prete Ilario (1357—1403; he died before 1408 and
some of his works have come down to us), Petrucciolo di Marco
(1357 — 1361), Giovanni di Buccio di Leonardello (1357 — 1370),
(') Fitmi, II Duomo. p. 276.
('-') Almost all the documents concerning these painters will be found in
Fit mi, II Duomo; as I do not wish to fill up the text with these records I refer
the reader to the index of that work.
(:!) Perali, op. cit.,p. 101.
94 UMBRIA.
Domenico di Meo Andreuccio (1360 - i392|,Cecco (i363),Nofrio
di Caterina (1367, probably the same as Onofrio di Amedeo,
1370), Lorenzo di frate Giovanni (1367), Francesco di Antonio di
Cecco (1370 — 1378), Nicola di Zenobio 1370- 1373), Angelo di
Lippo (1370), Onofrio di Amedeo (1370), Meco Costi (1370), Cola
Petruccioli (1372— 1394; we have also some extant paintings by
this master), Nallo di Ciuccio (1375), Giovanni di Andreuccio
(1375), Andrea di Giovanni (1378 -1417; another artist whose
productions have been preserved), and Francesco a monk from
the Abbey of S. Salvatore.
I shall not cite the great number of artists whom we find work-
ing at the mosaics, which were started in 1 32 1 under the guidance
of Maitani who at that time was director of the construction of
the Cathedral ( ').
It is well known that when Andrea Orcagna undertook the
direction of the works in 1359, he also executed a mosaic which,
however, did not last for any time but fell almost immediately
into ruins. Fumi has demonstrated that the mosaic which the
Victoria and Albert Museum acquired, is false (-).
A certain Nello di Jacomino da Roma, who came from Orvieto,
will be found, especially after 1360, taking an important part in
the works, while of the painters that I have just mentioned, the
following were also employed as mosaic workers: Ugolino di
Prete Ilario, Giovanni di Buccio di Leonardello, and Pietro di
Puccio; also the monks Francesco and Andrea di Giovanni, the
latter in 1417 together with the painters Bartolommeo and Pietro
di Orvieto who are here mentioned for the first time and conse-
quently belong entirely to the 15th century.
No authentic works prior to those of Ugolino di Prete Ilario
(1357) have been preserved, but we find in Orvieto a certain
number of anonymous paintings of the first half of the 14th
century, some of which are even dated. These, for the greater
part, adorn the walls of the little church of S. Giovenale where
in the second niche to the right we see a fresco representing the
(') Fumi, op. cit., p. 103.
(2) In connection with Orcagna"s activity and the attribution to him of the
false mosaic said to have come frcm the facade of the Cathedral and preserv-
ed in the Victoria and Albert Museum, v. Vol. Ill, p. 464.
UMBRIA. 95
Virgin sitting on a high throne behind which two angels support
a curtain; lower down at the sides are depicted a holy bishop
and a young saint near whom kneel three miniature adorers
husband, wife and a little child. The inscription which is seen at
the foot of the fresco in the centre is considerably effaced ;
nevertheless in the first line we can still read : " MCCC. V
XII die ". The date, 1305, moreover, corresponds perfectly
to the style of the painting which still shows many peculiarities of
Italo-Byzantine art of the 13th century, but in which the freer
expressions and attitudes already belong to the manner of the
subsequent century.
After the third niche on the same wall we find a similar
composition of which the Madonna and Child on a high throne,
and remains of a bishop, of St. Michael and of two miniature
adorers can still be distinguished. The last mentioned figures
have alone retained their original appearance which differs but
little irom that of the adorers in the previous fresco. The figure
of the Virgin has been entirely repainted in the Orvietan manner
ol the end of the 14th century. The inscription below in the centre
is very legible : "Anno Dni MCCCXII de Mense Januaru".
Another fresco, resembling the two previous in style and
composition, adorns the right wall near the entrance; it again
represents the Virgin between a holy bishop and a saintly
deacon with one little adorer, but does not show the date.
All these paintings are crude in appearance, and closely
resemble provincial productions of the 13th century, showing the
woodenness of drawing and the hard colouring of works of that
period.
The Madonna of S. Bnzio which now adorns the altar of the
chapel decorated by Fra Angelico and Signorelli, in the Cathe-
dral, can also be ascribed to the beginning of the 14th century
(fig. 58) i1). Four angels hover around the central group while
above, appears the head of God the Father. It is a painting which
has been inspired by Sienese art but is not without Byzantine
reminiscences which, however, have probably been transmitted
through Duccio's early manner.
(') To identify this painting with another which, in 1199, was used as a
reliquary for the blood of St. Peter of Parenzo is an absurd mistake but one
still made at the present time, e. g. by Perali, op. cit., p. 57.
96 UMBRIA.
The painting is extremely well executed and points to the
existence of a school of finer technique than one would expect
to find at that time in Orvieto.
In the church of S. Lorenzo, high up on the left of the nave,
there are four scenes from the life of the patron saint (giving
alms to the poor, before his judge, his martyrdom on the gridiron,
and delivering souls from Purgatory) executed in a coarse man-
ner and showing underneath the date " MCCCXXX. L. V",
which has been read 1330, and the monogram of Lello Viviani
who in 1325, worked at the mosaics and the windows of the
Cathedral (1). This manner of signing was quite unknown at
that time, for which reason I am rather doubtful about the
authenticity of the inscription which does not seem original
although it may very well be a true copy of an old one. The
paintings to all appearances date from the first half of the 14th
century.
The first well-known figure in the school of Orvieto isUgolino
di Prete Ilario about whom there exists a large number of docu-
ments!2), dating from 1357 when he started the decoration of
the SS. Corporali chapel, which he seems to have finished in
1364, for not only do the records mention that he was still work-
ing at this enterprise but at the side of the Crucifixion, which
is the most important fresco, we see the inscription : "Hituc cap-
pellam dcpinxit Ugolinus pictor dc Urbcveteri Anno domini
MCCCLXIV di iovis VIII, mensis junii" . In 1358 the same
artist worked at the windows of the chapel. The year after he is
among those who receive Orcagna, and is paid for two "Maesta"
pictures of the Madonna. He was a member of the commission
that in 1362 judged Orcagna's mosaic and in 1363 Giovanni di
Lionardello's. We find that, in 1365, together with the latter
artist, he signed a mosaic on the facade of the Cathedral. In 1370
he was entrusted with the painting of the choir at a payment of
six florins a month, but one of the conditions — that he should
be replaced if his work was not judged to be satisfactory — leads
us to suppose that the general opinion of his capabilities was not
(') Perali, op. cit , p. 102.
(2) These records have all been published by Fiinii, II Duomo di Orvieto.
for the mosaics v. from p. 121 et seq. and for the paintings p. 385.
Fig. 58. Madonna della Stella or di S. Brizio, beginning of the 14th
centlirv. Cathedral, OrvietO. Photo Raffaeli Armoni.
q8 UMBRIA.
very high. Among the numerous documents concerning him,
one of 1374, in which we learn that he bought gold leaf for the
decoration of the chapel from Luca di Tomme, the Sienese pain-
ter, is of considerable importance. In 1378 he is still occupied at
the decoration of the choir of the Cathedral, while his helpers
continue the work until 1380. A register of this latter year men-
tions Ugolino as "magistro mosaici". He made his will in 1384,
and from a document of 1403, which informs us that his wife
looked after his affairs, we can gather that he was infirm. Another
of 1408 speaks of him as the late Ugolino di Prete Ilario, conse-
quently he must have died during or before this year.
In the decoration of the SS. Corporale chapel which Vasari
ascribes to Cavallini, Ugolino was helped by Giovanni diLeonar-
dello, Petrucciolo di Marco, Domenico di Meo, Antonio di An-
dreuccio and Pietro di Puccio.
In 1853 the frescoes were so thoroughly repainted that little
of the original work remains visible ; but the compositions show
that in many instances the painter was inspired by the enamel
incrustations of the reliquary.
The walls of the chapel are entirely covered with frescoes. Of
the two vaults the first is adorned with scenes from the Old
Testament having reference to the Eucharist, while the paintings
in the second illustrate the Eucharistic teaching in the Christian
church.
The walls show other scenes referring to the Holy Sacra-
ment, beginning naturally with the Last Supper. Then follow
the miracles in connection with the Host, an important part
being given to that of Bolsena which occurred in 1263 and of
which the building of the Cathedral was a direct outcome. The
miracle is as follows : a priest who had doubts about transub-
stantiation was one day about to celebrate mass when he saw a
drop of blood oozing from the Host ; the Sacrament, the chalice
and the altar cloth stained with the blood are preserved in
Ugolino di Veri's reliquary. Many of the scenes narrate how the
miracle was recognized and celebrated first by the bishop, then
by the Pope and lastly by the Church. The altar- wall is decorated*
with an important representation of the Crucifixion, showing the
three crosses and a large number of people.
The ornamentation of the enormous choir of the Cathedral is.
UMBRIA.
99
even still more grandiose. In this enterprise Ugolino was assisted
by Pietro di Puccio, Angelo Lippo, Nicola di Zenobio, Meco
Costi, Cola Petruccioli, Francesco di Antonio, Giovanni di An-
Fig. 59. Ugolino di Prete llario, the Nativity of the Virgin, 1370 — 1380.
Cathedra], Orvieto.
Photo Raftaeli Armoni.
dreuccio, Nallo di Ciuccio and Andrea di Giovanni. The entire
work comprises an extensive and elaborate series of frescoes.
Besides the figures of saints in the lunettes, the Twelve Apostles
in the window embrasures, and other figures of saints and
prophets on the walls to the right and left, we find a very long
cycle of scenes from the life of the Virgin beginning with Joachim
ioo UMBRIA.
driven from the temple and illustrating every other incident up
to her Resurrection (fig. 59).
The Life of the Saviour is also fully narrated from the Annun-
ciation up to His teaching" in the Temple at the age of twelve.
The latter scene is depicted in four episodes, in which the artist
shows his independence of iconographical tradition; as he does
also in representing on the window-wall St. Joseph working at
carpentry while the Virgin busies herself with the Child, an
illustration obviously drawn from the Apocryphal Gospels.
With the exception of some frescoes on the right wall which
have been repainted by Pinturrichio and Antonio da Viterbo or
Pastura, the choir paintings have retained much of their original
appearance and show Ugolino di Prete Ilario as an adherent of
Luca di Tomme, the Sienese master, who was active from 1355
until 1389 or 1392. The types of his figures, the unpleasingfeatures
and the peculiar shape of the heads all prove this in an unquest-
ionable manner. Moreover, the document of 1374, to which I have
already referred, confirms Luca's presence at that time, in Or-
vieto and Ugolino's acquaintance with him.
Cola Petruccioli (*) was a less important artistic personality
than Ugolino di Prete Ilario but had more influence on Umbrian
painting on account of his sojourns in various Umbrian towns,
where works from his own hand or of his school are still to be
found.
Cola, who might be the son of a painter called Petrucciolo di
Marco whose name is recorded in various instances between the
years 1357 and 1361, is mentioned for the first time in 1372 when,
as Ugolino di Prete Ilario's assistant, he worked in the choir of
the Cathedral of Orvieto, for which decoration payments were
made until 1380. In this year he signed and dated a fresco in the
subterranean chapel of the same Cathedral. The inscription on
a diptych at Spello shows his name and the date, 1385 (L>) ; while
(') B. Berenson, A Sienese little Master in New York and Elsewhere, Art
in America, Feby. 1918. G De Nicola, Studi sulT arte senese, Rassegna
d'Arte, 1919, p. 99. U. Gnoli, Pittori e miniatori, p. 85. I do not agree with
several of the attributions made by the above writers.
(2) G. Crtstofani, Un dittico inedito di Cola Petruccioli di Orvieto, Augusta
Perusia, 1907, p. 55.
UMBRIA.
101
Fig. 60. Cola Petruccioli, Crucifixion. 1380. Cathedral, Orvieto.
Photo R;ift"aeli Armoni.
two documents of 1394 inform us that he painted coats of arms
on a tower, a gate and on the Palazzo Pubblico of Assisi (1).
From a demand for citizenship made by his son, Policleto, in
1408, we learn that Cola died in Perugia in 1401, after having
(:) Brisi, La Rocca di Assisi, pp. 120 and 162.
102 UMBRIA.
lived there for twenty years (x). The latter fact was known to
Mariotti and recorded in his "Aggiunte alle lettere pittoriche";
Policleto who is mentioned between 1408 and 1446, became a
citizen of Perugia.
The fresco of 1380 represents the Saviour on the Cross be-
tween the Virgin and St. John. The inscription at the foot of the
painting runs : "Hoc opus ( fee) it fieri Savinus Vanutii sub A. D.
MCCCLXXX die Mes' Febarii Cola us Petrucciol Amena"
(fig. 60). It is a very mediocre work ; the drawing is hard, the
expressions painful and the forms clumsy and out of proportion.
It recalls Luca di Tomme's art ; but so too did the paintings of
Ugolino di Prete Ilario and it is more probable that Cola borrow-
ed this element from the latter painter with whom he collabor-
ated, than directly from Luca di Tomme. The three figures that
compose this painting negative the existence of any artistic or
aesthetic refinement on the part of the master.
The diptych in Spello, however, shows a considerable im-
provement. Although Cola's sense of the beautiful is not very
subtle, his figures here are better drawn, more lifelike and more
expressive. The panel to the left represents the Crucifixion
(fig. 61); two angels hover near the Crucified and six of the
Faithful, among whom we can recognize the Virgin, St. John
and Mary Magdalene, stand below. In the pinnacle, which is
separated from the lower part by an ornamentation in relief, we
see the angel of the Annunciation as pendant to the Madonna on
the other panel ; here the principal representation is the Coron-
ation of the Virgin ; the Saviour is seated on the same throne
as His Mother who bends towards Him to receive the curious
pointed crown {-); ten angels, six of whom play musical instru-
ments, are grouped around the throne. Although we cannot
classify this panel as a work belonging to the Sienese school, the
colour and drawing, as well as the decorative details, prove that
the meticulous technique of the Sienese manner has strongly
influenced the artist.
i1) U. Gnoli, La data della morte di Cola Petruccioli, Bollet. d'Arte del
Minist. della Pubbl. Istr., 1924. p. 335.
(-) The same form of crown is found in works of the Orcagna; might it
not have been these Florentine painters who introduced this model in the
town of Orvieto?
Fig. 61. Cola Petruccioli, Crucifixion. Pinacoteca, Spello.
Photo Minist. del. Pubbl. Istr.
104 UMBRIA.
A fragment of another work of Cola's still exists at Assisi;
originally it decorated the lunette in the chapel of the Confrater-
nity of S. Ruffino but it has been removed from this site and is
now preserved in the church. It shows the Coronation of the
Virgin; the Madonna seems to have been depicted in an attitude
similar to that in the panel at Spello. To the left of the throne
which is very decorative stand three figures ; one might be
St. Francis and another an angel but as the heads are missing
it is difficult to identify these images i1).
I doubt whether it was Cola Petruccioli who executed the
fresco in a niche on the outside of the church of S. Lorenzo,
Assisi, representing the Virgin on a monumental throne adorned
with statuettes, between St. Francis, near whom kneels a flagel-
lant, and St. Laurence, which latter figure is considerably repain-
ted. On the projecting lateral walls we see traces of the figures
of two bishops in decorative Gothic frames, while above, God the
Father is depicted in a glory of seraphim. Some fragmentary
pieces of fresco outside the niche point to the previous existence
of some figures of prophets and the Annunciation. What makes
it possible that this is really a work by this artist is the signature :
" Chola pictor\ inscribed on the back wall of the niche ; and on a
close examination of the figures, we notice certain technical
details which connect them with Cola Petruccioli's other works.
Nevertheless the quality of the colours and the drawing is so
very much inferior to what we find in his authentic works that
the doubt is justified.
Inside the church, which is now used as a storehouse, traces
of painting from the same hand are found on the walls; we can
distinguish a Crucifixion with the fainting Virgin, a bearded saint,
St. John and some angels. From the clearly visible incised out-
lines of the figures, this work appears to bear more resemblance
to Cola's authentic paintings than the frescoes on the outside.
A link between his genuine works and the frescoes in and
outside S. Lorenzo, Assisi, which to a certain extent makes it
probable that the latter too are by this artist, will be found in
I1) H. Thode. Franz von Assisi. 2 '-' ed., Berlin, 1504, p. 624. speaks of this
fresco but denies its attribution to Cola whose works he confounds with
those of the Assisan painter that Mr. Siren identifies with the Florentine
Giottino.
I'MURIA.
10
D
c-wtftjudiWJtt^
-*, .
Fig. 62. Predecessor of Cola di Petruccioli, Madonna and angels, 1371.
Magione.
Photo Anderson.
106 UMBRIA.
two figures of saints - - SS. John and Bartholomew — in the
chapel to the right of the apse in the church of S. Agostino,
Perugia, where they are placed close to the figure of the crucified
Saviour which, with the exception of one arm, has been entirely
effaced. The two saints are low of stature and heavily draped;
they are less pleasing than those at Assisi but there is a decided
connection in the features of the faces. The inscription at the foot
bears the date 1398 11).
In the old cloister of Sta. Prassede at Todi there are two
heads, the remains of an Annunciation, which seem to be from
Cola's hand. I am also doubtful about a little panel in the Gallery
of Montepulciano (no. 56) ; it is enclosed in a frame which serves
as a reliquary and shows in the upper part the seated Madonna
and in the lower, the Baptist and a holy bishop.
There are some other works which might be attributed to this
master. In accordance with Mr. Berenson, I ascribe to him a trip-
tych in the Metropolitan Museum, New York, showing in the
centre, the Virgin and Child in the midst of four saints and three
angels, and above the Lord on the Cross, and in each of the
wings five saints with a figure of the Annunciation above ('-').
Still more characteristic of Cola's art is the centre piece of a
similar triptych. It shows the Virgin suckling the Child in the midst
of four saints and two angels and the reclining figure of Eve below,
a representation peculiar to this group of paintings. The panel is
preserved in the Schniitgen Museum, Cologne (3). Of two small
wings from a triptych, containing figures of saints, in the Gallery
of Gubbio, one can only say that they closely approach Cola's
manner.
Dr. De Nicola is of opinion that Cola executed also a picture in
the church of Istrice di Siena, depicting in the centre the Virgin be-
tween four saints with a figure of a saint in each of the side panels,
(l) W. Bombe, op. cit.. p. 43. M. Salmi, Gli affreschi ricordati etc., observes
Cola's influence in this fresco.
('-') I do not agree with Mr. Berenson in ascribing to Cola a fresco of the
Annunciation and the Nativity in S. Giovenale, Orvieto, a triptych in the
Loeser collection, Florence, another in the Lichtenstein collection, Vienna,
v. Vol II, p. 542 ') and an Assumption of the Virgin at Bettona which I have
already described (Vol. II, p 538) as the work of a well defined follower of Fei.
(3) Published by Herr Sc/ntbring, in Rassegna d'Arte, 1912, p. 163. as a
production of the school of Ambrogio Lorenzetti.
UMBRIA. 107
the Holy Trinity, the figures of the Annunciation and two saints in
medallions above, and below, the dead Saviour between two Evan-
gelists. I do not agree with this attribution. The same art critic
also ascribes to Cola a triptych in the Angeli collection, Florence.
There are several painters whose style shows much connection
with Cola Petruccioli's art and one of them seems to have been
the main source of inspiration of this master's second manner.
A Madonna and Child in the parish church of Magione (fig. 62)
can be ascribed to this anonymous artist. The central group is
surrounded by eight angels, a knight kneels at the Virgin's feet
while below is the reclining figure of Eve between what appear
to be two kneeling pilgrims. The Madonna wears a crown ot
Orcagnesque model. The inscription below shows the donor's
name and the year 137 1.
This fresco which dates from the year prior to the first mention
of Cola might very well have been considered a work from his
own hand, had we not other dated paintings which prove that
still in 1380, the influence of Lucadi Tomme's art is very evident;
and it is not until 1385, when he executed the diptych, that his
manner closely resembles this anonymous artist's.
A very damaged fresco of the Annunciation and the Nativity,
in which Joseph is adoring the Child, in a niche on the right wall
near the apse in S. Giovenale, Orvieto, might also be by this
painter, even though the execution is superior and the work
reveals in a more marked manner the influence of Simone Mar-
tini's tradition. This painting dates from between 1360 and 1370
(figs. 63 and 64) i1).
A fresco directly inspired by Cola Petruccioli is preserved in
the church of S. Agostino at Montefalco, and represents the
Coronation of the Virgin. Angels and saints are grouped around
the principal figures while below we see once more the recumbent
figure of Eve. The crown which the Saviour places on the Virgin's
head is always of the same model.
The Opera del Duomo of Orvieto possesses a little panel, the
centre of a triptych, showing the Virgin and saints, which is
reminiscent of Cola's art.
(') As I have already said Mr. Berenson ascribes this fresco to Cola. Be-
fore him, G. Cagno/a, Rassegna d'Arte, 1907, p. 23, described it as a doubt-
ful work of Bartolo di Fredi's.
to8
UMBRIA.
f&
Fig. 63. Predecessor of Cola di Petruccioli, the Annunciation and Nativity.
S. Giovenale, OrvietO. Photo Minist. del. Pubbl. Istr
IWIIIKIA.
109
Fig. 64. Detail of fig. 63.
Photo Kaft'aeli Armoni.
Several works can be attributed to another artist who,
although also manifesting a connection with Cola, worked in a
more independent manner, showing more robust forms and a
plastic effect that is almost Florentine. To this artist then, we
can ascribe the two figures of SS. Antony Abbot and James,
I IO
UMBRIA.
Fig. 65. School of Orvieto, centre of a triptych. Pinacoteca, Trevi.
Photo Minist. del. Pubbl. Istr.
UMBRIA.
i i i
Fig. 66. Detail of fig. 65.
Photo Benvenuti
that adorn the second niche to the right in the Cathedral of
Orvieto and that date from 1390 (?). Other paintings by the same
artist are found in the Pinacoteca of Trevi (between Foligno
and Spoleto). One of them is a triptych illustrating in twenty
divisions - - two of which are subdivided to afford place for two
pairs of saints -- the Life of Christ from the Annunciation to the
Descent into Hell, and including the Coronation of the Virgin
(figs. 65 and 66).
112
UMBRIA.
Fig. 67. School of Cola di Petruccioli, panels of an altar-piece.
Pinacoteca, Trevi,
Photo Minist. del. Pubbl. Istr.
The same gallery possesses four other panels, each of three
scenes one above the other, narrating the story of the Redeemer
from the Annunciation to the Incredulity of Thomas (figs. 67
and 68). The manner of painting closely resembles that of the
previous work but I do not think, however, that they can be
ascribed to the same artist.
UMBRIA.
"3
Although the technique in both cases is a little different from
Cola's, the types clearly indicate a knowledge ot this master's
works.
In determining the origin of Cola's art, I think Mr. Berenson
gives too much importance to its resemblance to Fei's painting,
with the result that he attributes to our artist a work by one of
Fei's direct followers. The connection certainly does exist, and
very clearly too, in the type of Madonna surrounded by saints
Fig. 68 School of Cola di Petruccioli, panel of an altar-piece.
Pinacoteca, Trevi.
Photo Benvenuti.
such as Fei shows in his little triptychs, but Cola is a more
spirited though less refined artist ; the faces of his figures are
sometimes a little vulgar but always more individual. I am not
of Mr. Berenson's opinion that he is Sienese but look upon him as
a truly provincial artist whose apprenticeship passed atOrvieto,
where Ugolino taught him the none too fine principles of painting
of Luca di Tomme ; later he came into contact with the artist who
in 1371 executed the fresco at Magione. Cola, like many painters
whose manner of expression is not too restricted by the prin-
ciples of an exclusive school, shows, particularly in his diptych
at Spello, a natural gift for tragic expression.
With the exception of Pietro di Pucci, whose place is among
v 8
ii4 UMBRIA.
the artists of the Pisan school, the only other painter who has
left authentic works at Orvieto is Andrea di Giovanni. He is
mentioned in 1378 and 1380 as assistant to Ugolino di Prete
Ilario i1). From the documents we gather that he was entrusted
with various minor decorative parts. In 1402 he painted a picture
for Corneto; in 141 1 he was employed by the son of Bonconte to
fresco a chapel in the Cathedral and in 1417 he undertook the
restoration of the mosaics on the facade of the Cathedral. He
must have been an artist of considerable renown because he
was paid seven florins a month, that is to say one more than
Ugolino had previously received.
The two works that can be attributed with certainty to Andrea
show a good deal of diversity although they were executed
within a short time of one another. One of them, which is preserv-
ed in the church of S. Ludovico, is called the banner of the In-
nocents (fig. 69).
This picture shows, above, a bust of the Saviour escorted by
four cherubim and in the centre the Lord as a boy with the Lamb
against an elliptical aureole, the border of which is composed of
nine figures of angels; above and below are depicted the sym-
bols of the Evangelists while at either side of the aureole we see
a group of saints. From below two groups of little martyrs, bleed-
ing from their wounds, look up in adoration at the Holy Child.
At the foot of the picture a very damaged inscription gives the
name of the artist, "Andreas Joins" and the date 1410.
The other authentic work adorns the lunette above the left:
side door of the Cathedral and represents the Madonna and
Child between two angels (fig. 70). In 1412 the artist reseived 4
florins 5 sous for this fresco. It is a work which clearly shows
to what an extent the painters of Orvieto were still inspired by
Simone's art even almost a hundred years after his sojourn in
this town.
Andrea's fresco obviously belongs to a more evolved stage in
the art of painting, nevertheless we notice the same tendency to.
produce ideal forms of beauty, the same dreamy expression and
(*) U. Gnoli, Pittori e miniatori, p. 25, attributes to Andrea di Giovanni, the
Madonna at Magione which I have previously ascribed to a predecessor of
Cola's.
UMBRIA.
115
Fig. 69. Andrea di Giovanni, the Banner of the Innocents, 1410.
S. Llldovico, OrvietO. Photo Rafiaeli Aruioni.
n6
UMBRIA.
the same graceful lines, only executed in a much less perfect
manner. It was particularly in painting the Madonna that Andrea
was influenced by the principles of the great Sienese artist; for
the banner of the Innocents he employed quite another style,
here the round heads and sturdy bodies are unattractive and the
general effect not very artistic.
Fig. 70. Andrea di Giovanni, Madonna and angels, 1412. Cathedral, Orvieto.
Photo Raffaeli Armoni.
As Andrea's name is recorded as early as 1378, these two
paintings are certainly productions of his old age when he no
doubt worked in a traditional and uninspired manner. To a less
mature stage in his career I think we might attribute a Madonna
with the Child, Who holds a crown in each of His hands, in the
Rhode Island School of Design, Providence, U S.A. (fig. 71), in
which the artist shows his dependence on Sienese masters such
as Fei and Bartolo di Fredi, with whose Madonnas this one has
many points in common f1).
(') R. van Marie, A youthful work of Andrea di Giovanni, Art in America,
1921, p. 102.
UMBRIA.
117
Fig. 7r. Andrea di Giovanni, Madonna. Rhode Island School of Design.
Providence, U.S.A.
An older example of Sienese inspiration is preserved in the
church of SS. Andrea e Bartolommeo, where the tomb of
a Monaldeschi at the end of the right wall near the choir is
n8 UMBRIA.
adorned with a fresco, now considerably effaced, of the Virgin
sitting on a monumental throne between SS. Paul and John
the Baptist. It is a work directly inspired by the art of Simone
Martini whom the painter follows here in spirit as well as in form.
Some other paintings, although from different hands, show
such a close connection in style, that they comprise a fairly
homogeneous group.
Showing most resemblance to Simone's art and I think the
earliest of this group is the figure of a bishop, dressed in red,
with a devotee, that we see in the church of S. Giovenale, to the
left on entering by the principal door (fig. 72). Although in a very
ruinous condition it is a magnificent work of a profoundly
religious feeling and an excellent technique.
Among the other paintings belonging to this group there are
two dated works; one, in the second chapel to the left of the
choir in S. Domenico, represents the enthroned Virgin in the
midst of saints, at the foot of which we read' 'MCCCfLJXXX . ..";
other numerals might have followed for the date does not seem
to be complete. Adjacent to this fresco another painting shows
two monks being martyred by Oriental soldiers, while a frag-
ment of a third fresco is visible on another wall of this chapel.
The second dated work which can be ascribed to the same
hand adorns a pillar in the left aisle of S. Giovenale; it represents
the enthroned Virgin suckling the Child, St. Sebastian, young,
beardless and clothed and St. Antony Abbot, near whom kneels
an adorer (fig. 73). The date 1399 is very clear in the inscription
at the foot of the painting.
Executed after the same style but, on account of the greater
plasticity of the faces, obviously from another hand, are four
figures of saints, in the second niche in the left wall of the same
church, depicting St. Bernard (?), the Baptist, a holy bishop and
St. Laurence holding a gridiron. The lower part of these figures
is missing. The same artist decorated the second niche on the
right wall with the figures of the Virgin nursing the Child be-
tween two saints, but the heads alone remain clearly visible.
A great number of other paintings which I shall not describe
in detail are still found in the church of S. Giovenale which
might be called a "sampler" of Orvietan painting of the 14th cen-
tury, for it contains examples of this art in almost all its aspects.
I'MBRIA.
119
I shall include these in the list of Umbrian works of the Trecento
that I give at the end of the chapter.
I must mention, however, a fresco of the Virgin enthroned be-
Fig. 72. Detail of a holy Bishop, Orvietan School, circa. 1360.
S. Giovenale, Orvieto.
Photo Raffaeli Armoni.
tvveen SS. Augustine and Severus, fragments 01 angels and the
Virgin of an Annunciation which are preserved on the walls ot
the Abbey of S. Severe on the outskirts of the town. These
paintings, as well as the others that I have mentioned before,
confirm that Simone Martini's tradition flourished at Orvieto
longer than elsewhere; but on account of the larger proportions,
120 UMBRIA.
the rounder heads and a greater plasticity, the productions of
Orvieto can be recognized from those of Siena or from other
Umbrian works, so that we are quite justified in believing in the
existence of an Orvietan school.
There is no other province in Italy in which we find painting
of this period in such abundance as in Umbria, and as I know
this region particularly well I think I shall be able to give an
almost complete list of the works.
This large quantity of paintings in Umbria might, I believe,
be explained by the marked piety of its inhabitants, for by far
the greater part of these works are votive paintings.
Apart from those already mentioned the following 14th
century paintings are found in Umbria :
Assist, via Venti Settembre 27. in a niche, Maesta, Umbro-Sienese of
the end of the 14th century; vicolo S. Stefano, Maesta, Umbrian with
reminiscences of Andrea Vanni's art; via Properzio 13 — 15, fragment of
a pretty Madonna ot about 1400; Pinacoteca, detached frescoes: no. 1,
fragment of a Crucifixion from the confraternity of S. Crispino ; no. 2,
Christ in the Garden of Olives; no. n, Madonna and angels by the same
artist as no. 2; nos. 12—19, fragments of about 1400 from the churches
of S. Cristino and Sta. Caterina, works of a feeble Umbro-Sienese painter;
no. 39, St. Lucy from the hospital dei Pellegrini ; no. 42, fragment of a
Madonna with St. Francis from the Poitata dei Gori; Lower Church of
S. Francesco, near the entrance to the left, St. Christopher; Sta. Maria
Maggoire or del Vescovado, traces of some wall painting among which
on the first pillar to the left a Madonna della Misericordia and two saints
showing the date 139..; S. Stefano, on the left wall, a Madonna between
two saints and two devotees almost entirely repainted, school of Palme-
rucci of Gubbio ; S. Ruffinuccio, on the arch before the choir, repainted
figure of St. Antony, after the manner of Giottino of Assisi. Bettona,
Palazzo dei Priori, at the top of the stairs, two saints, a fine work recalling
productions of Simone's school; in the large hall, Madonna between three
(or four) saints, a beautiful painting reminding us of Pietro Lorenzetti's art.
Bevagna, S. Domenico, in the lunette over the door, a Madonna and four
angels of the school of Fabriano; in the old Chapter House, the Lord on
the Cross between the Virgin, St. John and two saints, mass of St.
Gregory and figures of saints, executed after the manner of the painter
who adorned the vault of Sta. Chiara, Assisi; choir of the church, various
scenes from the life of St. Dominic and a damaged Annunciation, resembling
in style the productions of the school of Fabriano. Cannara, Pinacoteca,
detached frescoes from Collemanico, Madonna nursing the Child and the
Baptism of Christ. Caprignone (comm. of Gubbio), church, left wall, Madonna
I'MBKIA.
121
enthroned with two angels and two saints, handsome painting of the Umbro-
Lorenzetti manner. Casein, S. Francesco, lunette over the door, Madonna
between two saints, dating from about 1400. Cereto (Valle di Norcia),
S. Lorenzo, a standing figure of the Madonna, 14th century; Crucifixion, of
OfHrtu ■ am 1 ^ttsyrf ■ v - nrwii.A^#-ay<M»ote>-Otr'v
- ^»tfi* ;• *r ■ .-< H?.it- fj t.«i'TMmisJub ■ wont •■ -ui^7
Fig. 73. Madonna and saints, Orvietan School, 1399. S. Giovenale, Orvieto.
Photo Raffaeli Armoni,
the end of the 14^ century showing a Sienese influence ; Madonna and
saints 1408; an Annunciation; traces of a Descent from the Cross belonging
to the Lorenzetti's school; a tree of Jesse, late 14th century Giottesque
tradition and some other fragments; S. Giacomo, some frescoes in part
still covered with whitewash but of which a Last Judgment of the
Florentine school is visible; Benedictine monastery, Crucifixion, Noli me
tangere and the Maries at the Empty Sepulchre. Citerna, Crocifisso church,
122
UMBRIA.
2nd altar to the left, Crucifixion showing the influence of Spinello Aretino.
Citta di Castello, S. Domenico, St. Anna, the Virgin and Child, Sienese tradi-
tion, end of the 14th century. Citta delta Pieve, Augustine monastery,
refectory, besides some later frescoes, a Noli me tangere and two saints,
1363, Florentine tradition, showing some connection with the frescoes adorn-
ing the left chapel in S. Francesco. Montefalco; Sta. Maria Maddalena (or del
Suffragio), crucifix bearing some resemblance to the Maesta in Sta. Chiara,
Montefalco; Oratory of St. Bernardino, entrance, Madonna enthroned be-
tween two saints, a beautiful fresco which seems to reveal an Orvietan
inspiration. Civitetla Benozsone, S. Francesco, ruined frescoes of the Cru-
cifixion, and the Descent from the Cross, a very dramatic, late Giottesque
production. Collescipoli, Campo Santo, Crucifixion, Corciano, near Madonna
del Serraglio, Madonna repainted in the 17th century. Deruta, S. Francesco.
St. Catherine presenting the devout to the Virgin and the miracle which
occurred at her martyrdom, 139...; fragments of the Resurrection; the
Virgin between four saints, Umbro-Sienese; on the arch, God the Father
and four prophets; in the cloister, Madonna and two saints. Eggi (near
Spoletol, S. Giovanni, the Annunciation, Virgin and Apostles, about 1400.
S. Felice di Narco (near Ferentillo), S. Felice, left wall, Adoration of the
Magi by a late rustic follower of Lorenzetti, the almost effaced date below
seems to be 1400. Foligiio, Pinacoteca, detached frescoes: no. 11, Cruci-
fixion; no. 5, Descent from the Cross showing characteristics of Loren-
zetti's school. Some frescoes, which I have been told originate from two
different churches, are now united and I think might be ascribed to the
same hand as the foregoing work; a long fragment, no. 2, representing
the Betrayal of Judas and a small part of a large Crucifixion comes from
the church of the Sacro Cuore. while from S. Giovanni are the frescoes nos.
1 and 7 showing the Saviour rising from His tomb, the Prayer in the Garden
of Olives, the Annunciation and the funeral of a saint, LorenzettFs influence
is very evident; Sta. Maria infra Portas, left aisle, Crucifixion, Gothic forms ;
in the nave, SS. Peter and Paul, and of later date a figure of Mary
Magdalene; S. Tommaso, the Incredulity of Thomas, school of the Assisian
Giottino; heads of a Pieta, a local production revealing a Sienese in-
fluence; S. Francesco, sacristy, fragments of a Madonna della Misericordia,
the Marriage of St. Catherine, and a figure of St. Peter ; in the organ loft,
the boy Christ with the Doctors reminiscent of Ugolino di Prete Ilario's
art; Convent of Sta. Lucia, old refectory, Crucifixion with St. Francis and
other monks, Giottesque work heralding the school of Foligno of the
15th century; Convento delle Contesse, chapel, the Blessed Angelica and
a crucifix of the end of the 14th century; Casa Caselini near the Porta
S. Giacomo, remains of the decoration of the rooms on the ground-floor,
medallions of the Saviour and the Apostles. Outside the town, Sta. Maria
in Campis, chapel to the left, large Crucifixion and figures of the Evangelists
in the vaults, Florentine style, circa 1370; St. Antony, and scenes from
his legend, circa 1400, announcing Nelli's art; Sta. Maria Assunta at Tenne,
Madonna recalling Luca di Tomme's works and traces of a Crucifixion;
Sassovivo, fragmentary frescoes among which a battle scene can be disting-
UMBRIA. 123
uished. Greccio, in the modern chapel above S. Mario, a panel representing
St. Francis weeping, an expressive painting of the Ist half of the I4thcentuiy.
Gianodel Umbria, S. Francesco,Crucifixion, circa 1350. Florentine tradition.
Gun/do Tadino, Pinacoteca, panel with scenes from the Life of the Saviour,
circa 1370; fragmentary frescoes in the chapel of the castle. Gubbto,
S. Francesco, vault of the chapel under the bell-tower, the Saviour in a
medallion and originally the four Evangelists but now only two remain ;
figures of saints on the walls are executed in the Umbro-Sienese manner;
in the cloister, Assumption of the Virgin and the miracle of the house of
Loreto by a predecessor of Nelli's with Gothic elements; S. Ambrogio,
old refectory, Crucifixion, a coarse work showing both Sienese and Giot-
tesque characteristics; sacristy, Calvary, resembling in particular the
works of the Lorenzetti's school; Sta. Maria Nuova, Saviour and two
saints of which the heads are missing, executed in the same manner.
The painter Donato di Maestro Andrea di Giovanni is mentioned at
Gubbio in 1340 (Thieme-Becker, IX, p. 429). Massa Martaua, Sta. Maria
in Pantano, four figures of saints. Montefalco, S. Francesco, fragments
to the left of the nave, the Madonna on an imposing throne, fragments
representing devotees remind us of the productions of the Master of
Sta. Chiara of Montefalco; Madonna nursing the Child (panel in a niche)
end of the 14th century of Sienese inspiration; S. Agostino, sacristy, the
four Church Fathers and eight saints, a local work of about 1400; the
church of Turrita, near Montefalco, two frescoes of the Madonna and a
large figure of St. Christopher, circa 1400. Monteleone di Spoleto, ex-convent
of S. Francesco, tomb adorned with figures of the Virgin, St. John and
St. Stephen; old refectory, Christ on the Cross. Montone, S. Francesco,
Madonna della Misericordia, Nativity and saints, Florentine tradition ; on the
altar to the right, busts of the Virgin and St. Leonard, circa 1400, showing
reminiscences ofSimone's art. Morra (nearCittadi Castello), parish church,
Madonna and Child: S. Crescenzio, St. Crescent on horseback. Narni,S.
Domenico, St. George and the dragon, a painting of Sienese inspiration
showing the date "MCCCL " ; several figures of saints and two Crucifix-
ions are visible on the walls and pillars of this church; Cathedral, Crucifixion
of the school of Fabriano; S. Agostino, some unimportant mural paintings.
Orvieto, S. Giovenale, entrance wall, Crucifixion; right wall, between the
i-c and 2nd niches, Christ crucified and the instruments of the Passion;
between 2ld and 3rd niches, holy bishop and adorer; 3rd niche, Madonna;
beyond 3rd niche, St. Michael weighing the souls; further on the same wall,
the remains of a Madonna, and towards the end of the wall, Christ on the
Cross, St. Sebastian and another saint, a painting showing some connection
with Cola's art; chapel to the right of the choir, two half-length figures;
entrance wall, tree of Bonaventura, fragment of Christ resurrected; left
wall, the Last Supper and Ascension; between the 2nd and 3rd niche, large
figure of a beardless bishop; between the 3rd and 4th. Madonna, saints and
adorers; 4th niche, a large very ruined figure of St. Christopher dating
from about the middle of the 14th century; nearer the choir, Virgin with
St. Antony, end of 14th century; Ist pillar to the right St. Luke, St. Michael
124 UMBRIA.
weighing the souls, and St. Catherine, about 1340 directly inspired by
Sienese art; 4th pillar to the right. Madonna between two saints and an
adorer, 2nd half of the 14th century; 4th pillar to the left, Annunciation
showing a connection in style with the works of Giovanni di Andrea to
whom it is attributed by Perali, op. cit. ; Cagnola, op. cit., ascribes this fresco
to Bartolo di Fredi; chancel arch, saint, end of the 14th century; Sta. Trinita.
in the stairs, Madonna, end of the 14th century; ex-Oratorio delle Carmine,
various figures recalling Ugolino di Prete Ilario's works; Cathedral,
3rd niche to the left, Crucifixion of Cola's school. The shop of a pork-
butcher near the Belle Arte Hotel was adorned with a Coronation of the
Virgin between two saints, an Umbro-Sienese work of circa 1350; S. Angelo,
in two niches in a lumber room to the left of the choir, Madonna and saints,
mostly repainted, and a fine figure of St. Helena. A detached fresco fragment,
a head of a holy bishop, recently bought by the Fogg Art Museum, Cambridge
U.S.A., is, I believe, going to be published as an Orvietan production.
Perugia, Sta. Agata, scenes from the life of St. Severus, Umbro-Sienese
of the 2nd half of the 14th century; large frescoes detached from Sta.Giuliana,
Nativity, an important work announcing Nelli's art, and some other frescoes;
S. Leonardo, some fragments of which one, the figure of a donor, shows the
date MCCCLXX . . . .; S. Fiorenzo, 2ud altar to the left, detached fresco of the
Saviour, circa 1380, v. p. 15; Palazzo Pubblico, Sala deH'Armario (part of the
library), two figures of saints; Confraternita Vecchia, near S. Agostino, vari-
ous frescoes of different periods, Crucifixion and the Incredulity of Thomas
not by the same artist but both belonging to Lorenzetti's tradition, a figure
of St. Catherine by a late follower of Meo da Siena and some other figures
of saints of later date; S. Benedetto, bearded saint by a local painter;
fragment of an important Crucifixion of the school of the Assisan Giottino;
Sta. Giuliana, remains of some frescoes on the wall opposite the entrance
(v. Mariotti, op. cit., and Rosini, op. cit., I, p. 202, for the paintings in this
building). Near Perugia, Prepo, Parish church, Madonna of the Sienese school.
Ponte Valleceppi, Parish church, detached frescoes of the 14th century.
Petrolina, idem. Piedi Paterno (near Spoleto), Romitorio, traces of votive
frescoes. Pioraco, Crocifisso church, tabernacle with unimportant paintings.
Porano (near Orvieto), S. Biagio, Annunciation, Orvietan school. Rieti,
S. Agostino, facade, two figures of saints, repainted, dated 1348(7) ; S. Dome-
nico, frescoes recently discovered, Crucifixion on the entrance wall and
several scenes from the story ol St. Mary Magdalene on the right wall,
dating from about 1350— 1360; the latter show a faint influence of Meo.
In a niche on the left wall we find a Madonna with two angels and a
female adorer, of the early years of the 14th century but still slightly
Byzantine in appearance; further on, the same wall is adorned with a
fine Umbro-Sienese fresco of about 1340 representing the Crucifixion with the
Virgin, SS. John, Dominic and Peter the Martyr. Nearby a fragment of the
Resurrection is seen while remains of fresco painting are still visible in a
chapel to the left of the choir and in the choir itself where a representation
of the Last Judgment must origirally have been depicted. San Gemini,
S.Carlo, altar wall, Christ on the Cross, end of the 14th century; Sta. Maria de
UMBRIA. 125
Incertis, two frescoes of the Madonna. Spello, S.Claudio, remains of frescoes
representing the Madonna and saints, the Saviour, and the Crucifixion,
school of Cola di Petruccioli, dated 1393; S.Andrea, half-length figure of the
Madonna in a niche on the right wall; a beautiful large crucifix of the Sienese
school; fragment of a fresco of the Prayer in the Garden of Olives in the
choir; via della PoveraVita, Casa Bollati, dramatic representation of the
Crucifixion, a mediocre painting, circa 1400; Pinacoteca, polyptych, four
saints with the Annunciation above and three scenes from the Life of Christ
in the predella, the style shows an intermingling of the Florentine and
Sienese schools. Spoleto, S. Domenico, several fragments of painting are
found here and there on the walls of this church : left transept, a large
crucifix, circa 1380; of the frescoes under the bell-tower the Crucifixion
and the large figures in the vault are the best preserved; in the monast-
ery (scuola technica). many very mediocre figures of saints one of which
shows the date 1397; votive frescoes of the 14th century of no artistic im-
portance are found in the churches of S.Gregorio and SS. Giovanni e Paolo;
S.Simone, crypt, five figures of saints of the end of the 14th century, betraying
an Orvietan inspiration; S. Niccolo above the door, Madonna between
two holy bishops, 1402, Sienese tradition; inside the ruined church, traces
of mural paintings ; Cathedral, chapel near the left transept, two Madonnas
with saints and other frescoes of the 14th century; S. Lorenzo, altar wall,
Madonna inspired by the Lorenzetti's art; Pinacoteca, detached frescoes,
figures of saints which come from "le Palazze" or Sta. Maria inter Angelos
and a Madonna; via Salaria Vecchia, Maesta, 1375. In the environs 0/ Spoleto,
(v. Eggi, Monteleone, Piedi Paterno) the parish church of Caso is adorned
with an unimportant fresco of the Last Judgment ; it also possesses a Christ
on the Cross dating from the 14th century but the artist, doubtless inspired
by the crucifix of 1187 in the Cathedral of Spoleto, has depicted the Lord
with open eyes. (Sanzi mentions a manuscript with pen drawings of pain-
tings which were executed in the Cathedral in 1378 and 1404 ; the latter were
signed by a certain Bartolo di Spoleto). Stroncone, Confraternita del Gon-
falone, lunette outside, Madonna della Misericordia ; S. Francesco, 2nd altar
to the left, Madonna and St. Francis, a good work of the end of the 14th cen-
tury. Term', S. Salvatore, Manasei chapel, Madonna, two saints and an im-
portant Crucifixion; in the vault, the four Evangelists; on the arch, the
Saviour and four half-length figures of saints, reminiscent of Meo da Siena's
school; S. Francesco, entrance, the Blessed Simone da Camporeale; Para-
disi chapel, on one side the Last Judgment and on the other the Resurrection
of the Dead, the Descent into Hell and Purgatory ; the figures of St. Margaret
and the donor are depicted on the wall to the left of the altar. It is a fairly
important series of frescoes by an individual but not very able artist whose
painting reveals a knowledge of Orcagna's art, the decoration shows the
date MCCCL ; S. Cristoforo, some frescoes of the end of the 14th century
showing a Sienese influence; S. Tommaso, Madonna, 14th century, repain-
ted. Todi, Palazzo Pubblico, large hall on the ground floor, damaged fresco
of the Crucifixion, a beautiful work of Sienese inspiration; S. Fortunato,
cloister, Madonna signed: " Nicolaus Vanutii pittoris de Tuderto" a
i26 UMBRIA.
dated 1373; church, chapel to the right, scenes from the life of St. Francis
copied from Giotto's cycle atAssisi ; chapel opposite, scenes from the life of
St. John by the same artist. At present some frescoes are being discovered;
in the Chapter Room parts of an important Crucifixion are already visible ;
Cathedral, winter choir, some figures of saints; Pinacoteca, some detached
frescoes representing saints; panels of a polyptych, Florentine; Sta. Maria
in Camuccia, among the numerous frescoes there are several of the 14th cent-
ury : a Madonna enthroned between two saints, a Madonna with an adorer,
dating from 1387, the Baptist, Madonna dell a Misericordia, the Annunciation,
and the Death, Assumption and Coronation of the Virgin; the three last
paintings are by the same artist, he belonged to the Umbro-Sienese tradi-
tion; Palazzo del Capitano del Popolo, some frescoes are just being disco-
vered. Trevi, S. Francesco, Madonna and St. Peter Martyr, end of the 14th cen-
tury; choir, of eight scenes from the life of the Virgin only four are now
visible; chapel adjacent to choir, fragments of figures of saints, Umbro-
Sienese work. Umbertide, Sta. Maria della Reggia, detached fresco, Madonna
between SS. Bartholomew and John the Baptist, circa 1360, reminiscent of
Lorenzetti's school ; S. Giuliano degli Pignatti, important frescoes illus-
trating the life of the titular saint, circa 1350, excellent quality of painting
showing resemblance to Simone Martini's manner. Voile di Nera, S. Fran-
cesco (or Sta. Maria), a series of frescoes, in part still covered by white wash,
by Pietro di Cola da Camerino with whom we shall deal in the chapter on
the painters of The Marches; parish church, Madonna against a red back-
ground, showing the date 1317.
CHAPTER II.
PAINTING IN THE MARCHES (*).
Before the activity of Allegretto Nuzi, Francescuccio Ghissi
and their pupils, a school of painting can hardly be said to have
existed in The Marches; nevertheless we find inFabriano traces
of a considerable amount of artistic production prior to that of
the above mentioned painters. However, neither the name of an
artist nor a date can be attached to these works (-).
There are very few paintings outside Fabriano that can be
attributed to the first half of the 14th century. In the "Santissima
Casa", inside the basilica of Loreto, a very damaged fresco of
little artistic value dates probably from this period, although on
account of its extreme archaism, it sooner reminds us of works
of the 13th century.
It represents the Virgin sitting on a throne over the back of
which appear two half-length figures of angels, a composition
that we have frequently seen in Tuscan works of the Duecento ;
the Madonna tenderly clasps to her breast the Child Jesus Who
stands on her knee; to one side is depicted St. Leonard leaning
on his staff and holding his emblem, handcuffs ; the figure that no
(') Amico Ricci, Memorie storiche delle arte e degli artisti della Marca
d'Ancona, Macerata, 1834. Aurini, L'Arte nelle Marche, Esposizione marchi-
giana, March 1905. G. Natali, L'Arte marchigiana, Macerata, 1905. F. M. Per-
kins, Note sull' Esposizione d'arte marchigiana a Macerata, Rassegna d'Arte,
1906, p. 49. C. Ricci, La pittura antica alia mostra di Macerata, Emporium,
1906, p. 200. A. Colasanti, Note sull' antica pittura fabrianese. L'Arte, 1906,
p. 263. The Same, L'antica scuola pittorica fabrianese e Allegretto Nuzi,
Rivista Marchigiana, 1906, p. 69. The Same, Per la storia dell' arte nelle
Marche, L'Arte, 1907, p. 409. The Same, Gentile da Fabriano, Bergamo, 1909,
p. 22. L. Venturi, A traverso le Marche, L'Arte, 1915, p. 1.
(2) The names of some artists have been mentioned by A. Ricci, op. cit.,
and Coined, Antichita Picene, XNV, p. 183.
1 28 PAINTING IN THE MARCHES.
doubt originally formed a pendant has been completely effaced.
A miniature adorer kneels at the Virgin's feet.
There is a certain number of detached frescoes in the Gallery
of Fabriano which, if not dating from a period prior to Nuzi's
activity, certainly show no trace of this master's influence. The
oldest of these paintings seems to be that in which the enthroned
Virgin, nursing the Child and escorted by two angels, is depicted
against a background of architecture. The figures of SS. Cathe-
rine and Emilian are seen on one side and traces of that of St.
Lucy on the other (Room III, no. 18, fig. 74). In all probability a
figure of a holy bishop that is preserved in the same Museum
(Room III, no. 17) belonged to the foregoing fresco and accom-
panied the last-mentioned figure. The painting originates from
the Abbey of St. Emilian. The figures are very long and at the
same time rigid; the types as well as the technique reveal that
the artist worked under a strong Florentine influence and the
faces of the female figures, although far from beautiful, show
some connection with Taddeo Gaddi's art.
The Gallery possesses some other frescoes which I think can
be ascribed to the same artist; one shows two groups of figures
kneeling at the feet of a Madonna della Misericordia, of whom
only the lower part is now visible (no. 24); another represents
St. Anna enthroned carrying on her knee the little Virgin Mary
in whose lap is depicted the Infant Jesus (no. 21) ; while a third
depicts two devotees kneeling at the feet of a very damaged
standing figure of the Virgin.
Some fragments of a fresco on which we can distinguish a
saint kneeling before the enthroned Redeemer (no. 13) are from
another hand. A painting of more importance is the group of
members of some religious confraternity kneeling in adoration
which we find depicted on a detached fresco originating from the
church of S. Agostino (no. 8, fig. 75). It is obviously the work
of a painter who interpreted the strength and simplicity of the
Giottesque style in a provincial but not uninteresting manner.
The other remnants of mural painting united in this Gallery
are of less importance and I shall mention only the medallions
encircling the figures of King David and three prophets (no. 10)
which, however, seem to be of slightly later date.
In the church of S. Agostino in Fabriano, we find at the foot
PAINTING IN II IK MARCHES.
129
of the bell-tower a fairly extensive series of frescoes executed
more or less in the Giottesque manner. The principal scenes are :
a king and queen with their suite adoring a saint, a figure or
St. Mary, the stoning of St. Stephen, the Incredulity of Thomas,
Fig. 74. Detached fresco, School of The Marches, Ist half of the 14th century.
Pinacoteca, Fabriano.
Photo Minist. del. Pubbl. Istr.
two figures from the meal at Emmaus(?), Mary Magdalene at the
Saviours feet (Noli me tangere?), a Madonna, an old saint, some
other fragments and in the vault faint traces of four half-length
figures. Here again we notice the very tall figures that we found
in the fresco from the Abbey of St. Emilian ; but in this instance
the technique and the colours are a little less hard.
There is a considerable number of other 14th century paint-
ings in The Marches of which a list will be found at the end of
i3o PAINTING IN THE MARCHES.
this chapter, but apart from those in which Allegretto Nuzi's
direct influence is manifest, there are none showing common
characteristics which would enable us to classify them in
separate groups.
We have seen, in discussing the Florentine school, that an
excellent pupil of Giotto's worked at Jesi(1), and it will be
remembered that in the previous volume I mentioned the activity
of the painters of the school of Rimini and later of those of Venice
and Bologna, in The Marches (2).
The presence of artists from other provinces points to the
inferiority of the local production at this time; and the fact that
the decoration of the chapel of S. Niccolo at Tolentino, without
doubt the most important pictorial monument of The Marches,
was executed by a member of the Riminese school only con-
firms this hypothesis. It is true that this cycle of frescoes has
frequently been ascribed to a local painter whose style closely
resembled Allegretto Nuzi's, but this theory can only have been
suggested on account of the site of the decoration and I think,
in treating the painters of Rimini, that I have thoroughly demon-
strated that this series of frescoes is a production of their
school (?>).
Allegretto Nuzi was the real founder of the school of The
Marches, or perhaps it would be better to say ofthatofFabriano,
for this town was the centre of the artistic activity of the entire
province.
We know very little concerning the life of Allegretto. Accor-
ding to historians of art of a previous generation, he was men-
tioned in 1346 in a register of the corporation of the painters ol
Florence (J); however, in spite of recent research, this document
has not been brought to light, so that we cannot affirm with cer-
tainty that the painter received his artistic education in Florence,
but, as we shall see later on, his manner of painting leaves little
i1) A. Venturi, L'Arte, 191 1, p. 25.
(2) For the activity of non-local artists active in The Marches v. G. Canla-
lamessa, Artisti veneti nelle Marche, Nuova Antelogia, 1892, p. 406. A. Cola-
santi, op. cit., L'Arte, 1907. G. Natali, op. cit.
(a) v. Vol. IV, p. 328.
(4) Moreni, Illustrazione storico-critica di una rarissima medaglia rappre-
sentante Bindo Altoviti, Florence, 1824, p. 225. A. Ricci, op. cit., \. p. 86. Gayev
Carteggio, II. p. 37.
PAINTING IX THE MAKCI IKS.
13'
doubt on this question. There exists a tradition, recorded by the
bygone writers De Vecchi and Dal Lori, that Allegretto Nuzi
went to Venice ; we are also informed that he died in 1385 11). The
first of these statements is entirely unsupported by facts ; as for
the date of his death we know now that it occurred before the
end of September 1374 and that he made his will in 1373 (2).
Fig. 75. Detached fresco, School of The Marches, middle of the 14th century.
Pinacoteca, Fabriano,
Photo Miniit. del. Pubbl. Islr.
After what has already been said, I hardly think that it is ne-
cessary to point out the inaccuracy ofSuida's hy pothesis that
I ') In a manuscript in the Library of Fabriano which was written by two
persons called De Vecchi and Dal Lori.
(2) A. Anselmi, Testamento del pittore Allegretto Nuzi da Fabriano, Arch.
Stor. delP Arte, 1893, p. 129. The Same, L'anno della morte e la chiesa ove fu
sepolto Allegretto Nucci da Fabriano, L'Arte, 1906, p. 381. A. Zonghi, Alle-
gretto Nuzi morto a Fabriano nel 1373. Le Marche, 1908, p. 1, 2.
132 PAINTING IX THE MARCHES.
there existed two artists of the name of Allegretto Nuzi(:), one
a Florentine who executed a triptych now in the Vatican Gallery,
and the other, of Marchigian origin, who painted a diptych or the
back and front of one panel, now sawn in two, preserved in the
Berlin Museum. Suida's theor}T had practically no success and
since it has been proved that the triptych in the Vatican origi-
nates from Fabriano (2), it has no longer any grounds for support.
Concerning Allegretto, we have few other dates than those on
some of his pictures. DalLori pretends that under the extant fres-
coes in the church of Sta. Lucia, now the sacristy of S. Domenico,
he read the date 1345 — 1349, but it is difficult to rely on this piece
of information when in other instances we have proof of this
author's inaccuracy. The date 1353 is inscribed at the foot of the
panel representing St. Antony Abbot and adorers in the Gallery
ofFabriano, but this picture, which shows no signature, is not
unanimously ascribed to Allegretto. Then we find his signature
on the triptych in the Vatican Gallery (1365), on a polyptych at
Apiro (1366), on a painting of the Madonna at San Severino
1 1366), on a triptych at Macerata 1 1369) and on a panel of the
Madonna originally in the Fornari collection, Fabriano, now at
Urbino (1372), while Lanzi and Amico Ricci still mention some
frescoes in the cloister of the church of S. Antonio Abate which
bore the date 1366 (3).
The appearance of Allegretto's youthful works is consequently
more or less enigmatical, since the inscription has disappeared
from the frescoes of 1345 — 49 and the painting of St. Antony of
1353 is not signed. Mr. Berenson, it is true, has attributed a series
of paintings to an early stage in Allegretto's career and among
them a triptych dating from 1354 in the Hamilton collection,
New York, which closely resembles Allegretto's triptych of
1369 at Macerata which can be considered a replica of that of
(•) N. Suida, Florentinische Maler um die Mitte des XIV Jahrh., Stras-
bourg, 1905, p. 43. v. Vol. Ill, p. 508.
(2) A. Munoz, La provenienza del trittico di Allegretto N. del Museo Vati-
cano, L'Arte, 1907, p. 143.
(3J A. Ricci, op. cit., I, p. 88. L. Lanzi, The History of Painting in Italy, I,
London, 1847, p. 333, informs us that these paintings illustrated the life of
St. Antony and that the inscription ran: "Allegret tus Nu/ ii de Fabriano hoc
opus fecit i}6 . . . .".
PAINTING IN THE MARCHES.
133
Fig. 76. Allegretto Nuzi (?), the Virgin and adorers, 1342. Bigallo, Florence.
Photo Alinari.
1354. In spite of the resemblance, however, I am of opinion that
this work, as well as the other paintings that Mr. Berenson clas-
sifies as youthful productions of Allegretto's, is from the hand of
another artist, one who even more closely approximates to Ber-
134
PAINTING IN THE MARCHES.
nardo Daddi than Allegretto ever did. I have already expounded
this opinion in dealing with Daddi's pupils!1) so that I need not
dwell on it again.
If the figure of St. Antony with devotees, dating from 1353 in
the Gallery of Fabriano be really from the hand of Allegretto, 1
think we should also ascribe to this artist a painting which still
exists in Florence and which might very well be his earliest
work. It is a more or less allegorical fresco which adorns one ol
the rooms in theBigallo and depicts the Virgin wearing a mantle
decorated with medallions showing inscriptions and represent-
ations of charitable works (fig. 76). The Madonna is seen stand-
ing on the town of Florence with a group of adorers kneeling
at either side while two half-length figures of angels in the span-
drels swing censers. An inscription below the fresco bears the
date 1342, which would correspond to the other date that has
been recorded with regard to Allegretto's sojourn in Florence.
However, various writers give the date as 1352 so that it has
been thought that the painter who restored it must have made a
mistake in copying the original inscription (-). This painting is
not lacking in elements borrowed from Daddi's art but the facial
types and the curious contours show a very close connection to
the style and technique of the panel of 1353 at Fabriano.
Allegretto's oldest paintings in Fabriano are then the frescoes
in the church of Sta, Lucia or sacristy of S. Domenico(:;). Be-
tween the windows we find an important representation of the
Crucifixion. Among the spectators we notice the converted cen-
turion, the unusual figure of a man carrying a hammer and nails
and the devil creeping about on all fours. According to the in-
( ') B. Berenson, Prime opere di Alegretto Nuzi, Bolletino d'Arte del Minist.
della Pubbl. Istr., Jany, 1922. v. Vol. Ill, p. 395.
(2) G. Poggi, II Bigallo. Florence, 1905, p. 19 et seq. Cinelli, Richa and
Landini are the writers who record the date as 1352. It may well be that the
first of them — Cinelli — has read it incorrectly and that the others have
copied this date from his work.
(3) A local tradition, in which many still believe (v. L. Serra, Itinerario
artistico delle Marche, Roma-Milano etc. (1922) p. 57) attributes these fres-
coes to a certain Angelo di Meo Cartajolo who flourished about 1400
and who executed also the lost altar-piece for the church of Sta. Lucia.
Fabriano. Ricri, op. cit., I, p. 34.
PAINTING IX THE MARCHES.
135
Fig. 77. Allegretto Nuzi, detail of a Crucifixion. S. Domenico. Fabriano.
cription, a crumbling tower seen to the left symbolizes the Syna-
gogue. A very impressive figure on this side is that of Mary
Magdalene who, her strength giving way, has sunk on the ground
and cries out in despair ; the image is full of a tragic realism that
we find but rarely in Daddi's works (fig. 77). At the foot of this
136 PAINTING IN THE MARCHES.
fresco we see the Saviour and the Samaritan woman at the well
and a young saint pointing out the road to a pilgrim (?). The right
wall is adorned with representations of the Thebaic desert,
which is considerably repainted, the Death of the Virgin and
above it her Coronation (fig. 78). A lunette in the left wall is
decorated with an image from the Apocalypse: a woman, holding
a chalice and a bludgeon, riding on a monster with seven heads
and two tails; from the inscription above we gather that the
representation bears some reference to the city of Babylon. In
the other lunette we find a figure of the Madonna carrying the
Child Who stretches out His arms towards a tree, doubtless
illustrating the miracle of the palmtree that bent down so that
the Child could gather the fruit (fig. 79). On the wall opposite the
window, only a few unimportant fragments remain. The vault is
embellished in the centre with the Easter Lamb and on one half
with medallions containing the figures of the four Doctors of the
Church which are so thoroughly repainted that they retain
nothing of their original appearance ; only a few fragments of
mural painting are visible on the other half of the vault.
It is again obvious that the artist who is responsible for this
decoration is an adherent of Daddi's manner; only here the
figures are softer and more plastic than those in the Florentine
fresco or the panel of 1353 at Fabriano, between which two
works there is a particularly marked resemblance. At the same
time we observe that in this case Allegretto was slightly influen-
ced by the artist whose frescoes are preserved in the Gallery of
Fabriano, for we find here, especially in the figure of the Madonna
carrying the Child, a faint suggestion of the elongated propor-
tions and hard folds.
The attribution to Allegretto Nuzi of the painting of St. Antony
in the Gallery of Fabriano (no. 30, fig. 80) is considered doubt-
ful (/); although the panel certainly shows a marked difference
from the frescoes that we have just described, I think all the same
f1) A. Ricci, op. cit,, I, pp. 88 and 109, mentions that at his time it was pre-
served in the church of S.Antonio; he makes a slight mistake about the
number of kneeling figures. F. M. Perkins, op. cit., p. 5r, doubts the correct-
ness of the attribution to Allegretto. U. Gnnli, L'arte umbra, p. 27, classifies
it as a Fabrianese work, as does also A. Colasanti, Gentile da Fabriano,
1 1909) p. 25, although in L"Arte. 1906. p. 274. he still ascribed it to Allegretto.
PAINTING IN THKMAKCI IKS.
137
that the attribution to Nuzi is correct. The technique however
is somewhat dissimilar, but the picture possesses certain pecu-
liarities in common with Allegretto's art. The panel is very
Fig. 78. Allegretto Nuzi, the Death and Coronation of the Virgin.
S. Domenico, Fabriano.
probably from the same hand as the fresco in the Bigallo
and these two works reveal the master as an artist active in
Florence as well as in Fabriano and inspired by Daddi's art, and
in all probability Allegretto is the only painter who is qualified to
fill this role.
Daddi's domination is manifest in a certain number of works
which just for this reason can be classified as productions of the
138
PAINTING IN THE MARCHES.
first half of his career; in his decline it was another influence
that preponderated.
As productions of this Daddiesque period we might mention
two pieces of a predella each showing live half-length figures of
Apostles, one in the Gallery of Strasbourg (no. 202a, fig. 81)
where it is ascribed to the Florentine school, and the other in the
Fig. 79. Allegretto Nuzi, the Miracle of the palm-tree. S. Domenico, Fabriano.
Gallery of Sigmaringen (x). Allegretto's st)Tle here might almost
be called an imitation of Daddi's art, and if the central figure ot
St. Bartholomew in the Strasbourg panel be considered separa-
tely, it could easily pass for a production of the great Florentine.
Moreover from Allegretto's hand we possess a little triptych
executed in a manner peculiar to Daddi and his direct followers.
This triptych, which is preserved in the Museum of Detroit, was
{') U. Gnoli, Una predella sconoseiuta di Allegretto Nuzi. L'Arte, 1908.
p 229.
PAINTING IN II IK MAKCI IKS.
■39
Fig. 80. Allegretto'Nuzi, St. Antony, 1353 Pinacoteca. Fabriano.
I'boto 1st. Art. Graf.
140
PAINTING IN THE MARCHES.
3«srf*
rrrx
blj
v
O
if]
o'
be
(L)
00
bij
i
attributed to Allegretto for the
first time by Mr. Berenson.
It shows in the centre the
enthroned Virgin holding the
Child in the midst of four saints
and in the wings the Nativity
and the Message to the Shep-
herds to the left and the Cruc-
ifixion to the right. Above, in
each of the side panels a figure
of the Annunciation is repres-
ented while the pedestal is
adorned with five busts in
medallions. The Madonna's
dress is richly ornamented with
gold, a detail never found in
Daddi's works.
The two panels in the Berlin
Museum (nos. 1076 and 1078)
which I have previously men-
tioned, are executed in the
same manner (figs. 82 and 83).
On one the Virgin with the
Child is depicted between St.
Bartholomew and a female
martyr, while on the other we
see Christ on the Cross with a
pelican in its nest above and
the Virgin, Mary Magdalene
and St. John below. The signa-
ture: " Alegrictus de Fabriano
me pinxit", is inscribed on the
lower step of the Virgin's
throne. Here again we notice
a considerable profusion of
decorative details.
A work showing some con-
nection in style to the frescoes
of 1 345 —49 in Sta. Lucia, Fa-
Fig. 82. Allegretto Nuzi, Madonna and saints. Kaiser Friedrich
Museum, Berlin.
Photo Hanfstaengl.
Fig. 83. Allegretto Nuzi, the Crucifixion. Kaiser Friedrich
Museum, Berlin. Photo Hanfstaengl.
PAINTING IN THE MARCI IES.
'43
Fig. 84. Allegretto Nuzi, Madonna. Cathedral, Fabriano.
Photo Minist. del. Pubbl. Istr.
144
PAINTING IN THE MARCHES.
Fig. 85. Allegretto Nuzi, St. Lawrence curing a blind man.
Cathedral, Fabriano.
Photo Minist. del. Pubbl. Istr.
briano is a decoration, discovered some years ago, in a chapel of a
now very irregular form, to the right of the choir of the Cathedral
of Fabriano. The chapel is dedicated to St. Lawrence and for the
greater part it is his legend that this mural painting illustrates,
but on entering the chapel we see on the left wall a represent-
PAINTING IN THE MARCHES.
M5
Fig. 86. Allegretto Nuzi, St. Lawrence before Decius. Cathedral, Fabriano.
Photo Minist. del. Pubbl. Istr.
ation of the Virgin (fig. 84) l1) enthroned between St. Venantius
(l) As the chapel is very small and of a very unusual shape the photo-
grapher did not always have sufficient space and some of the photographs-
that I reproduce have been taken at an angle.
v io>
146
PAINTING IN THE MARCHES.
Fig 87. Allegretto Nuzi, the Martyrdom of St. Lawrence.
Cathedral, Fabriano. ph&to -Minist- del- Pubbl- Istr-
and another saint, while above a little stairway on the right, are
some fragments of a Crucifixion.
The history of the holy deacon in which the painter has faith-
fully followed the text of the Golden Legend, begins on the left
wall above with a representation of the saint curing a widow of
her headaches, and by a sign of the cross restoring sight to an.
PAINTING IN TI IE MARCHES.
147
old blind man (fig. 85). Lower clown the saint is depicted before
Decius (fig. 86). The paintings on the window wall show the
flagellation of the saint and the saint being tortured by hot
irons thrust into his body (fig. 87) while lower down we see
St. Lawrence leading the poor and sick before Valerian and the
baptism of the blind Lucilius in prison.
One of the scenes high up on the centre of this wall is almost
Fig. 88. Allegretto Nuzi, the Baptism of Romanus(?). Cathedral, Fabriano.
Photo Minist. del. Pubbl. Istr.
entirely effaced. On the third wall we find, one above the other,
another baptism which might be that of Hippolytus but is more
probably that of the soldier Romanus (fig. 88), the saint flagel-
lated with a loaded scourge (fig. 89) and his death on the gridiron
(fig. 90). Of the four saints in medallions which originally decor-
ated the vault, only one remains.
Apart from theDaddiesque forms, we notice in these frescoes
a directness and conciseness of action and a somewhat crude
realism in the expressions and gestures which are more charac-
j 48
PAINTING IN THE MARCHES.
^^^^gaa^pmi
Fig. 89. Allegretto Nuzi, the Flagellation of St. Lawrence. Cathedral,
Fabriano. Photo Minist. del. Pubbl.'lstr.
teristic of Giotto's art. This ornamentation is an example of that
popular narrative art as it was represented by the founder of the
Florentine school, to whom this manner of pictorial representa-
tion was bequeathed by his Roman predecessors. The explana-
tion of these frescoes is inscribed in Italian and not in Latin and
this is another detail which emphasizes the popular character
of the decoration.
Daddiesque peculiarities will be observed in the types as well
as in the technique of a polyptych which has been transferred
PAINTING INTIIFMAKCHLS.
149
Fig. 90. Allegretto Nuzi, the Martyrdom of St. Lawrence. Cathedral, Fabriano.
Photo Minii-t. del. Fubbl. Istr.
from the sacristy of the Cathedral to the Gallery of Fabriano
(no. 2). It shows the half-length figures of the Virgin with the
Child, SS. Mary Magdalene, John the Apostle, Bartholomew and
Venantius. The central pinnacle is adorned with an image of
Christ on the Cross and those of the lateral panels with busts of
St. Antony Abbot and the Virgin to the one side and SS. John
and Catherine to the other (fig. 91). This picture belongs to a
150 PAINTING IN THE MARCHES.
more advanced stage of evolution and I think portends Alle-
gretto's second manner.
We have five dated works by Allegretto covering the period
between 1365 and 1372; they reveal to us that, generally speaking,
Daddi's influence waned and that, instead, Allegretto was consi-
derably inspired by Orcagna, his brothers and his pupils, who
at that time began to dominate the Florentine school. This proves
to us that Allegretto kept up a relationship with Florence, and
that his activity was not entirely limited to his native town.
There is only one work that he executed during this period
which shows him still as a faithful follower of Daddi's manner ; it
is the altar-piece from the Cathedral, now in the Gallery ofMace-
rata, which is signed and dated as follows: " Alegrittus de Fa-
briano me pinxit MCCCLXVI111" (fig. 92) (x). It is on account ol
the marked resemblance to this picture that Mr. Berenson has
attributed the panel of 1354 in the Hamilton collection to a more
youthful period in Allegretto's career. In my opinion thetript3'ch
at Macerata is a close copy, almost a duplicate, of the picture in
New York which, as I have already said, I believe to be the work
of a painter much more closely connected with Daddi than Alle-
gretto ever was (-). It may have been the same person who ordered
both these pictures, for under that of 1354 we read "Onesta tavo/a
hafatto fay eFrate Giovanni di . ..." and at the foot of the throne
in the Macerata panel, "Is/a tabcllani fecit fieri /rates Joannes
Clericns preceptor Tolentini Anno Dm MCCCLXVIIIT. It
would be useless to attempt to conjecture for what reason the
same person ordered a Marchigian artist to make a copy of a
picture that had been made for him fifteen years previously, pro-
bably in Florence; but this fact explains why Allegretto, whose
style of painting had undergone a considerable change, reverted
to his early Daddiesque manner for the execution of this picture.
With the exception of the triptych at Macerata, the rest of the
works of this period show a fairly different style of execution
from that of the master's youthful productions. But as they only
cover a period of seven years and the last one was executed only
two years before Allegretto's death, it is highly probable that
(') This picture is reproduced in Seroitx cf Agincourt, Peinture, pi.
CXXVIII, and described in the text, VI, p. 388.
(-) v. Vol. Ill, p. 395.
Fig. 91. Allegretto Nuzi, Polyptych. Pinacoteca, Fabriano.
Photo Alinari.
152 PAINTING IN THE MARCHES.
this second manner, in which Allegretto was inspired by Or-
cagna's art in particular, started at a slightly earlier period. But
as we possess no dated works from between 1353 and 1365 it
is impossible to determine exactly the commencement of this
second manner.
The picture dating from 1365 is the triptych in the Vatican
Gallery that I have referred to already in connection with the
question of the existence of two painters of the name of Alle-
gretto (pi. II). The panel was originally in the possession of the
de' Santi family at Fabriano and later in the "Ospizio dei Carnal-
dolesi" in Rome, before being acquired by the Vatican.
We notice immediately that the faces are rounder and of a
more pleasing form than those of Daddi and his adherents; the
proportions of the figures are larger and the drawing less hard
and rigid. The effects of relief in the bodies, however, have dimin-
ished and this certainly cannot be accounted for by the influence
of Orcagna, who was a more plastic painter than Daddi. On
the other hand we observe in the faces of some of the product-
ions of this second manner a fairly marked chiaroscuro such a&
we find in the figures of the Last Judgment in Sta. Maria No-
vella, by Nardo di Cione and his brother Jacopo. The painter of
Fabriano shows perhaps the closest connection with Jacopo di
Cione, which makes it very unlikely that his last manner started
much before 1365 — the date of the first extant example executed
in this style — since the earliest mention of Jacopo is made in 1368 ;
but on the other hand Jacopo's influence is not manifest in the
triptych of 1365 in the Vatican, in which Allegretto was inspired
chiefly by Andrea Orcagna, the elder brother, who was active
as early as 1344.
Consequently it might be possible to divide this second phase
of the artist's career into two parts, the earlier of which was
dominated by Andrea Orcagna. However in the polyptych of
1366 at Apiro and more particularly in the figures of saints in the
Gallery of Fabriano, the types bear a strong resemblance to
those in the lateral panels of the Coronation of the Virgin in the
National Gallery (no. 579), (a work which was ordered from, and
paid to Niccolo di Pietro Gerini in 1370 — 71 but which, without
doubt, is a production of Jacopo di Cione's) (*) and to the polyptych
(») v. Vol. Ill, p. 493.
£•
^
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t
<J5
"^
S
vo
<=
^
.<o
s
**^
^
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PAINTING IN THE MARCHES.
153
Fig. 92. Allegretto Nuzi, Triptych, 1369. Gallery, Macerata.
Photo Alinari.
panels representing groups of saints in rows, one of which I
reproduced as a painting byJacopo(x) and which I believe are
going to be published as works of Allegretto Nuzi. I think a
half-length figure of the Madonna in the Johnson collection,
Philadelphia, which I believe previously belonged to the col-
(') v. Vol. Ill, p. 500.
!54
PAINTING IN THE MARCHES.
Fig. 93. Allegretto Nuzi, Madonna. Johnson Collection, Philadelphia.
lection of the late Herbert Home in Florence, is a production of
this stage in the artist's development (fig. 93).
Dating probably from the commencement of the second phase
PAINTING IN TI IE MARCI IKS.
oo
Fig 94. Allegretto Nuzi, Madonna, centre of a polyptych.
Pinacoteca, Fabriano. Photo Aiinari.
is a very damaged altar-piece from the Cathedral of Fabriano,
now in the Gallery (no. 4). It represents again five half-length
figures, in the centre the Virgin (fig. 94) and to the sides St. John
the Evangelist and a holy bishop, St. John the Baptist and
156 PAINTING IN THE MARCHES.
St. Venantius. The decoration of the pinnacle of the central
panel has disappeared; in the apices of the wings we see two
angels, SS. Catherine and Antony.
The master-piece of Allegretto's second manner is the polyp-
tych in the Town Hall of Apiro (figs. 95, 96 and 97) (*). The donors
name, "J "rater Ofredutius Gualterutii" and the date, 1366, are
inscribed under the Virgin's feet on the central panel, while
on the plinth of the throne we read the artist's signature:
"Alegrit — de Fab ano mepinx ". The side panels show
the full-length figures of SS. Catherine with the wheel, Francis
of Assisi, Martin and a female martyr, above which we see in the
pinnacles busts of the four Franciscan saints Agnes (?), Antony
of Padua, Louis of Toulouse and Clare; Christ on the Cross is
depicted over the central panel.
A Madonna from the church of S. Domenico, now in the Gal-
lery of San Severino, shows a resemblance to the polyptych of
Apiro and dates from the same year. Until Signor L. Venturi's
discovery of traces of Allegretto's signature and of the date,
"A eg ett .... riano me pinxit Ano D LXVI", this
panel was ascribed to Francescuccio Ghissi(2).
A half-length figure of the Madonna in the Fornari collection
is very similar to the two foregoing representations of the Virgin
and particularly to the first mentioned (3). Another panel in which
the Madonna is enthroned and which resembles less closely the
above works, was discovered by Signor Colasanti in the church
of S. Niccolo(4) from whence it was transferred to the Gallery
(no. 14). This picture, which is of great decorative value, is con-
siderably damaged.
Also dating from the second stage of Allegretto's activety are
probably the two panels in the Gallery of Fabriano (nos. 15
and 17), representing St. Antony with St. John the Evangelist,
and St. John the Baptist with St. Venantius (fig. 98); the last
mentioned saint wears a magnificent robe of a material woven
( ') S. Servanzi Collio, Sopra una tavola di Alegretto Nucci da Fabriano e
sudi altro dipinto a muro d' innominato autore esistenti in Apiro, San Seve-
rino, 1845.
(2) L. Venturi, op. cit.
(3) v. A. Colasanti, Gentile da Fabriano, p. 23.
(4) A. Colasanti, op. cit. ; idem, L"Arte, 1906, p. 276.
PAINTING IN THE MARCHES.
>57
Fig. 95. Allegretto Nuzi, Altar-piece, 1366. Townhall, Apiro.
Photo Minist. del. Pubbl. Istr.
158
PAINTING IN THE MARCHES.
Fig. 96. Detail of fig. 95. Photo Mini>t. del Pubbl. Istr.
in gold, the motif of which is unlike anything that the artist
depicts in his early works but recalls somewhat the technique of
mosaics; this sort of decoration is frequently seen in the works
of the Orcagna, particularly in those of Jacopo.
Another work which reveals still more clearly Allegretto's
connection with Jacopo di Cione is a panel in the same Gallery
(no. 16) showing the figures of SS. Antony of Padua, Augustine
PAINTING IN THE MARCHES.
]59
Fig. 97. Detail of fig. 95.
Photo Minist. c'el. I'ubM. lstr.
i6o
PAINTING IN THE MARCHES.
and Stephen, against the background of an arcature (fig. 99);
St. Stephen's mantle is richly decorated in the same manner.
We observe the same morphological types in a half-length
figure of a young saint in the Johnson collection, Philadelphia (x)
(fig. 100) and in the enthroned figure of a holy bishop with a nun
kneeling in adoration at his feet in another private collection in
America (fig. ioi)(-); here again we notice the characteristic
decorative design.
Fig. 98. Allegretto Nuzi, four saints. Pinacoteca, Fabriano.
Photo Alinari.
From the same period I think, dates the very impressive figure
of the dead Saviour in the Fornari collection (fig. 102).
A panel executed by Allegretto Nuzi two years before his
death, which was formerly in the Fornari collection but is now
preserved in the Gallery of Urbino bears the inscription, "hoc
I1) B. Berevison, Catalogue of a Collection of Paintings and some art ob-
iects ; Italian Painting, Philadelphia, 1913, no. 117.
(2) Doubtless the same picture that Mr Langton Douglas in Crowe and
Cavalcaselle, op. cit., Ill, p. 181 note 1, mentions as being for sale in Rome.
PAINTING IN THE MARCHES.
161
opus pi i ix if Alegrittus Nutii de Fabriano Ano MCCCLXXII"
(fig. 103). The Madonna is shown sitting on a very simple
throne; the Child, Who is erect, stands on the Virgin's right
hand which rests on her knee. The figures and throne, which
have been cut from the original picture, have been embedded in
another panel with a modern gold background.
Lastly a signed work by Allegretto adorns a tabernacle in the
Fig. 99. Allegretto Nuzi, three saints. Pinaeoteca, Fabriano.
Photo Alinari.
via San Filippo in Fabriano ; it represents the Madonna and
Child in the midst of saints and angels but the fresco is so much
restored that it is impossible to judge of its original appearance.
The signature, " Allegritti Nutii de Fabrino et " however, is
quite legible!1).
(') During the printing of this chapter, there appeared R. Sass/, Documenti
di pittori fabrianesi, Rassegna Marehigiana per le Arti figurative etc , Sep-
tember 1924, p. 473, from which the following data concerning Allegretto
v 11
I 62
PAINTING IX THE MARCHES.
Fig. ioo. Allegretto Nuzi, a young saint. Johnson Collection, Philadelphia
PAINTING IN THE MARCHES.
163
Fig. ]oi. Allegretto Nuzi, a holy bishop. Private Collection.
164 PAINTING IN THE MARCHES.
Two pictures of considerable importance show sufficient con-
nection in style with Allegretto's manner to admit the possibility
that they are from his hand without, however, risking a definite
attribution. It has frequently been expounded that the master's
hand can be recognized in one of them : a Madonna sitting on
the ground, caressing the Child Who grasps one of the bobbins
from a spinning machine near Him; the half-length figures of
St. Catherine and another hoi)* martyr appear over the curtain
which forms the background (fig. 104). In this panel, which is
preserved in the Poldi Pezzoli Gallery, Milan (no. 594), there is a
certain number of other features reminiscent of Allegretto's
works, among them the profusion of decorative detail, but on the
other hand neither the types nor the forms are characteristic of
this painter's art.
The other picture is a so-called "Madonna of Humility" and is
have still come to light. He was mentioned for the first time in Fabriano in a
meeting of the confraternity of Sta. Maria delMercato ^1348. When he made
his will in 1373 he was probably not yet an old man because he foresaw the
possibility of the birth of several childern.In 1350 Allegretto was chief prior,
and in 1363 prior of the Sta. Maria del Mercato. He was evidently a religious
man as, in the absence of direct heirs he willed his belongings to religious
institutions. A lawsuit arose on account of these dispositions. He was hur-
ried in the Sta. Lucia church. I do not think that the fact, that the church of
Sta. Lucia in documents of about 1370 is called "S. Lucie novelle" implies
that the church was at that time recently rebuilt and that hence the frescoes
there could not be of the years 1345— 1349, the date read by Scevolini. Many
churches have had for centuries the adjective "new" added to their proper
name.
B. Berenson,- hesitatingly attributes to Allegretto a diptych represen-
ting the Madonna and dead Saviour in the Johnson collection, Philadel-
phia, Catalogue, no. 118 I think it has the appearance of a production of his
work shop The Same. Central Italian Painters, ascribes to Allegretto a
Coronation of the Virgin and a Madonna in the Gallery of Altenburg inos. 16
and 52) which I cannot recall ; as well as a triptych in the Dijon Gallery
(no. 28) which, I imagine must be the same as the one that I recently publish-
ed as an early work of Pietro Lorenzetti's (Rassegna d'Arte Senese, 1923,
p. 59 and mentioned in Vol. II of this work, p. 2391). I have reproduced in Vol.
Ill, fig. 229, a Coronation of the Virgin with groups of saints in the Cook
collection, Richmond, as a production of an eclectic follower of Daddi
and Orcagna which approaches Mr. Berenson's attribution of it to Alle-
gretto Nuzi.
PAINTING IN THE MARCHES.
165
Fig. 102. Allegretto Nuzi, the Saviour. Fornari Collection, Fabriano.
Photo Minist. del. Pubbl. Istr.
1 66
PAINTING IN THE MARCHES.
Fig. 103. Allegretto Nuzi, Madonna. Pinacoteca, Urbino.
Photo Minist. della Pubbl. Istr.
PAINTING IN THK MARCHES.
167
1
Fig. 104. Manner of Allegretto Nuzi, Madonna, Child and two saints.
Poldi Pezzoli Gallery, Milan.
Photo Alinari.
1 68 PAINTING IN THE MARCHES.
found in the Holden collection which now forms part of the
Museum of Cleveland, U.S.A. (fig. 105) P). This panel is divided
into two parts, the upper of which shows the Madonna, whose
feet rest on the moon, sitting on the ground nursing the Child
and near by two little figures of saints and an angel while the
heads of the Twelve Apostles are depicted in embossed stars.
The lower division is adorned with the recumbent figure of Eve.
The iconographical type, in as far as the attitude of the Madonna
and the presence of the moon are concerned, is peculiar rather
to Francescuccio Ghissi, the other Fabrianese painter of the
Trecento, than to Allegretto and a panel in the church of S.
Agostino at Ascoli Piceno shows a very close resemblance; in
several productions of this master we notice the series of stars
in the same place. However, the faces, the forms and before all
the plasticity, which is not absent in this picture, constitute
some of the outstanding features that contradict an attribution
to Ghissi, while the manner of painting is not dissimilar to that
of Allegretto, whose authentic works, however, do not include
a representation of this subject.
In summing up the artistic personality of Allegretto, it may
be said that he was a painter who was inspired by the Florentine
masters, first of all by Bernardo Daddi, then by Andrea Orcagna
and lastly by Jacopo di Cione. With the exception of the fres-
coes illustrating the life of St. Lawrence which reveal to us that
Allegretto possessed a sense of dramatic narration of a Giottes-
que nature, we must judge him from his other works as a some-
what passionless artist and even a little monotonous with regard
to expression. His drawings and forms are not very fine but his
sense of ornamentation was so highly developed that his works
have never the appearance of provincial productions. A Sienese
influence, especially that of Lorenzetti, has been frequently point-
ed out in Allegretto's works, but I think this reached him indi-
rectly through the Florentine masters - - Daddi, Orcagna and
1 ') Mary Logan Berenson, Dipinti italiani in Cleveland, Rassegna d'Arte,
1907, p. 1, attributes this picture to the Sienese school. C. Ant, Bolletino
d'Arte del Minist. della Pubbl. Istr., 1921, p. 271, is of opinion that it is a
Ligurian work, imitating more or less the manner of Bartolommeo da Ca-
moglie.
PAINTING IN THE MARCHES.
169
facopo di Gone --in whose productions the Sienese influence
is very evident. r_r _ ^^-^» . ^, ^ ^~^,> 1
We know
next to nothing
about Frances-
cuccio di Cecco
Ghissi('), Alle-
gretto's faithful
follower and at
times imitator,
who after him
was the most
important fig-
ure in the
Marchigian
school of paint-
ing of the 14th
century. His
name appears
on paintings of
x359> !374- and
1395. A m i c o
Ricci informs
us that he died
in 1385 which
is contradicted
by the existence
of the signed
work dating
from ten years
later in the
Fornari collect-
ion; but it has
been thought
•&
that this paint-
Fig. 105. Madonna of Humility, Marchigian School.,
14th century. Holden Collection, Museum of
Cleveland, U. S. A.
i1) Besides the works already quoted in connection with the school of The
Marches, v. Thieme- Becker, Kunstler Lexikon, XIII, p. 571.
i7o
PAINTING IN THE MARCHES.
ing is the work of an adherent who used his master's name, since
it is very inferior to Ghissi's other productions. In 1389 he is
mentioned in a record as leasing a house in Perugia for two
years (x), which leads us to believe that at that time he was not
exceedingly old although his first dated work was executed thirty
years before.
It seems possible to me that we should identify Francescuccio
di Cecco Ghissi, with Franceschino di Cecco, mentioned in 1396
and '97 and in 1399 active for the Chiavelli, Lords of Fabriano (-).
A picture on the last altar to the right in the church ofS.
Domenico, Fabriano, represents the Madonna of Humility (fig.
106). The Virgin, sitting lowly on a cushion, suckles the Child,
a crescent of a moon at her feet. The signature in the right
hand corner below reads: "Nostra Dna de Umilitate Alio Dm'
MCCCL Villi Franciscutius Cicchi fecit hoc opus" .
A considerable difference with Allegretto's works will at once
be noticed in the entire absence of any attempt to produce relief
or plasticity except in the faces and in the body of the Child. The
figure of the Virgin is only a silhouette, a flat decorated surface
without any form. A tendency to create such figures was noti-
ceable in Allegretto's paintings but here it is carried to extremes.
The Madonna of 1374, which is preserved in the church ol S.
Andrea at Montegiorgio, is, as far as the composition of the
principal figures is concerned, similar to the foregoing work;
here, however, an angel kneels before the Virgin and the busts ot
the angel and Madonna of the Annunciation are depicted in me-
dallions in the spandrels (fig. 107). The signature runs: uHoc
opus fecit et depinsit Fvaucescutius Ghissi de Fabriano sub anno
doinini MCCCLXXIIir\-').
Lastly, the appearance of the Madonna dating from 1395, in
the Fornari collection, Fabriano, forces us to surmise that at this
moment the artist was no longer capable of producing a beautiful
work.
The subject is again the same, but here we see two angels
kneeling before the Madonna (fig. 108). The signature is partly
l) Count Gnoli, Superintendent of Fine Arts for Umbria kindly commu-
nicated this document to me.
(-) R. Sassi, op. cit. p. 487, mentions them as two different persons.
(:!) The date is 1374 and not 1373 as some writers have read it.
PAINTING IN TI IE MAR CI IKS.
Fig. 106. Ghissi, Madonna of Humility. S. Domenico, Fabriano.
Photo Minist. della Pubbl. Istr.
effaced although we can still read: ilA. D. MCCCLXXXXV
Francesc ... . s me fecit" . The great shortcoming" of this painting"
is the extreme coarseness of its execution ; the types, however,
are the same as those in the above mentioned works and I set-
no reason to doubt the authenticity of this panel.
172
PAINTING IN THE MARCHES.
Several other works all showing the same subject - - the Ma-
donna of Humility — can be ascribed to Ghissi. In the church
dedicated to St. Dominic at Fermo we find another panel
&/£&/**■.
• ~~ "%nS£*i0.'
— .../'■»*«*
.^£**9toiiL
Fig. 107. Ghissi, Madonna of Humility, 1374. S. Andrea, Montegiorgio.
Photo Minist. della Pubbl. Istr.
which has probably been cut because the Madonna is seen
only in half figure (fig. 109). The proportions of the Virgin's face,
which are larger than in Ghissi's other works, sooner recall
Allegretto's manner.
A very fine work is the Madonna of Humility in the church
FAINTING IN THE MARCHES.
]73
Fig. 108. Ghissi, Madonna of Humility, 1395. Fornari Collection, Fabriano.
Photo Minist. della Pubhl. Istr.
174
PAINTING IN THE MARCHES.
Fig. 109. Ghissi. Madonna of Humility. S. Domenico, Fermo.
Photo Minist. delhi Pubbl. Istr.
of S. Agostino at Ascoli Piceno ; again we see two angels kneeling
in adoration and the half-length figures of the Annunciation in
the spandrels (fig. no). The drawing is excellent, the features
regular and beautiful and the expressions animated. Further we
gather from the well-expressed relief of the angelic figures, that
the absence of plasticity in the image of the Virgin is intentional.
Not less beautiful is the little Madonna, in this case without
PAINTING IN THE MARCHES.
/o
Fig. no. Ghissi, Madonna of Humility S Agostino, Ascoli Piceno.
Photo Minist. della Pubbl. Istr.
angels, in the Vatican Gallery (no. 192, fig. in). The technique
and qualities are similar. We might also ascribe to Ghissi a panel
of the mystical marriage of St. Catherine in the same Gallery
(no. 193I, showing the Virgin seated on clouds, but the actual
repainted condition of the picture prevents any confirmation of
this attribution, although I think we can divine that the original
forms showed at least a resemblance to Ghissi's.
A. Ricci records in a manuscript some lost works by Ghissi ;
they included some paintings in a chapel and in the Chapter
1 76 PAINTING IN THE MARCHES.
House of S. Francesco and Sta. Maria del Mercato at San Seve-
rino, pieces of a triptych in S. Andrea, Fabriano and a "Madonna
della Luna", signed and dating from 1374, in the same church.
That Ghissi continued until the end of his life to be inspired
by Daddi's art, perhaps indirectly through Allegretto, differen-
tiates him from this latter artist who in all probability was his
master and who, besides, was active fifteen years before the first
mention of Ghissi.
Ghissi shows us an even greater profusion of decorative detail
than Allegretto ; generally speaking he is more inspired and his
best works reveal a more highly developed sense for beauty than
Allegretto possessed. His works show, too, a strong strain of
mysticism. His earliest Madonnas of Humility are older (1359)
than those that we find in Venice by Giovanni da Bologna, in
Padua by Caterino or even the example by Andrea da Bologna
at Pausola in The Marches, so that it seems likely that the Vene-
tian and Paduan artists borrowed this motif from the painters
of The Marches and not the contrary.
Allegretto Nuzi had still a few other faithful followers. A fresco
in a room behind the sacristy of the Cathedral of Fabriano was
doubtless executed under the master's direction although it is
certainly not from his own hand. It represents the Nativity, or
rather the Child's first bath (fig. 1 12) taking place against a rocky
landscape ; the Virgin reclines under an open roof while in the
background the angel announces the glad tidings to the shep-
herds.
Another painter, more independent of Allegretto, has left
some frescoes here. We see a fragment of a very beautiful Cru-
cifixion showing the swooning Virgin, the converted centurion,
Mary Magdalene at the foot of the Cross and St. John in prayer.
The Sienese sweetness is more marked in this fresco than in
Allegretto's works. From another hand we find scenes of the
martyrdom of St. John the Apostle in boiling oil and the be-
heading of St. John the Baptist in prison. Yet another and
somewhat later painter frescoed a figure of St. Francis, and a
saint in the presence of two persons praying in a building.
A little room at the top of the stairs behind the chapel of
St. Lawrence, is adorned with four figures of saints executed in
PAIXTIXC, IX II IK MAR CI IKS.
'77
Fig. in. Ghissi, Madonna of Humility. Vatican Gallery.
Photo Anderson.
V
12
178 PAINTING IN THE MARCHES.
a very mediocre manner but manifesting all the same a certain
connection with Allegretto's art.
The artist who painted the series of frescoes in a chapel to the
left of the choir in S. Domenico must have been closely asso-
ciated with Allegretto I1). He depicted on one side, three scenes
from the life of St. Ursula, among which we recognized the
baptism of the English prince and the saint travelling with 1 1 ,000
companions; higher up we see an angel driving away the devil
and the stoning of St. Stephen. Opposite, near the window, are
represented an old saint and an angel, St. Nicholas passing his
gifts in at the window, St. Michael assailing Vice, personified by
a man seated on a throne, and above a scene that looks like the
Massacre of the Innocents but might very well be that of St. Ur-
sula's companions in Cologne. On the other wall we find the
Death of the Virgin, three medallions containing the dead Sa-
viour, SS. Ursula and Agnes and at a lower level an enormous
figure of an archangel holding" a rod which might be St. Michael
killing the dragon or if, instead, he holds the lever of a balance
it might represent the saint weighing human souls. In the type
and construction of his figures this artist is more Giottesque than
Allegretto.
Of another fresco at Fabriano, executed under Allegretto's
influence, there remain a half-length figure of Christ on the Cross
and two angels which we see to the left of the entrance in the
church of S. Niccolo. It is the work, however, of a mediocre
provincial artist.
As for the panel paintings which can be classified as belonging
to Allegretto's school, I should like in the first place to mention
one in the Vatican Gallery (no. 45); the upper of the two parts
into which it is divided shows the half-length figure of the dead
Saviour between two angels, and the lower, the new born Child
Christ adored by the Virgin, St. Joseph and two angels (fig. 113).
This picture, which is of a very fine technique, has no doubt been
executed in the immediate environment of Allegretto.
(') A. Venturi, L'Arte, 1908, p. 139, ascribes these paintings to Allegretto
himself, but they are certainly not his own productions as has already been
pointed out by F. M. Perkins, Rassegna d'Arte, 1906, p. 51 ' and R. Langtotr
Douglas in Croive and Cavalcaselle, III, p. 181 K
I'AIXTIXC, IX TI1KMARCIIKS.
179
Fig. 112. School of Allegretto Nuzi, the Nativity. Cathedral. Fabriano.
Photo Minist. della Pubbl. Istr
The same Gallery possesses a picture of the dead Christ in
half-figure, which is catalogued as a work of Allegretto's (no. ] 89),
but on comparing it with the painting of the same subject in the
Fornari collection at Fabriano its inferiority is very evident and
does not allow us to qualify it as anything but a rather feeble
school work.
i8o
PAINTING IN THE MARCHES.
Fig. 113. School of Allegretto Nuzi, the dead Saviour and the Adoration of
the Child. Vatican Gallery.
Photo Anderson.
A Madonna in the same Gallery (fig. 114) manifests a much
closer connection with Allegretto's art.
A diptych in the Lichtenstein collection, Vienna, representing
PAINTING IN THE MARCI IKS.
181
Fig 114 School of Allegretto Nuzi, Madonna. Vatican Gallery.
Photo Anderson.
1 82 PAINTING IN THE MARCHES.
the Adoration of the Shepherds and the Flight into Egypt (fig.
115) might be ascribed to the painter who executed the Nativity
behind the sacristy in the Cathedral of Fabriano. We notice here
the same hard and somewhat angular drawing and at the same
time a fairly marked influence of Allegretto.
A painting that imitates Nuzi's panel of a holy bishop in a pri-
vate collection in America, is preserved in the Gallery of Ancona;
it represents St. Priminandus, also a bishop, with two miniature
figures of devotees at his feet (fig. 116). It is a fine work but
executed in a somewhat more evolved manner than Allegretto's.
To less direct followers of the master, we can attribute two
panels in the Vatican Gallery; one (no. 63) represents the half-
length figures of SS. Augustine (?), Julian*?), Paul and Michael
in medallions, and the other (no. 190) the enthroned Virgin es-
corted by two angels, between SS. Catherine and John the Bap-
tist. In the Gallery of Fabriano we find a panel which dates
probably from the last years of the 14th century but still shows
a strong influence of Allegretto's art. In the centre the Virgin
is depicted nursing the Child; at either side we see two scenes
from the legend of a saint and in the predella a crowded repre-
sentation of the Crucifixion, the Presentation in the Temple
and Pentecost; the figures of the central panel seem to have
undergone a certain amount of restoration (1).
A very important and almost unknown cycle of frescoes that
adorns the crypt of the church of Sta. Maria della Rocca or delle
Grazie at Oflida, shows some affinity to Allegretto's art(-).
The painter to whom we owe this decoration, however, was
only a provincial artist and one very much behind the artistic
movement of the large centres; he was active probably towards
the end of the 14th century. In the crypt we see a fresco dating
from 1423 or '33, but this inscription is found near a work from
(*) In the Johnson collection, Philadelphia, there is a triptych (no. 119)
that Mr. Berenson in his catalogue of this collection, ascribes to Nuzi's
school ; I have classified it as a production of the school of Giovanni da
Milano (Vol. IV, p. 239, note 2).
(2) L. Venturi, op. cit., p. 14. L. Serra, op. cit, p. 103, believes that they
were executed by two disciples of Andrea da Bologna. E. Calzini, Rassegna
bibliogr. dell' Arte ital.. 1908, p. 135, ascribes them to Giacomo da Campli
whose dates are not even compatible with the period of execution of this
decoration.
PAINTING IN TI IE MARCHES.
183
Fig. 115. School of Allegretto Nuzi, the Nativity and the Flight into Egypt.
Lichtenstein Collection, Vienna.
1 84
PAINTING IN THE MARCHES.
Fig 116. School of Allegretto Nuzi, St. Priminandus. Gallery, Ancona.
Photo Minist. della Pubbl. Istr.
PAINTING IN THE MARCHES.
Fig. 117. Eclectic follower of Allegretto Nuzi, St. Christopher. Sta. Maria
delle Grazie, Ofhda. Photo Minist. della Pubbl. Isir.
another hand, a production of a much later period than those
belonging to Allegretto's tradition.
It would be wrong to call the painter of Otlida a real follower
of Allegretto because there are too many other elements inter-
1 86
PAINTING IN THE MARCHES.
Fig. 118. Eclectic follower of Allegretto Nuzi, Madonna and angels,
Sta. Maria delle Grazie, Offida.
Photo Minist. della Pubbl. Istr.
mingled in his art. Moreover a stud}' of the paintings at Ascoli
Piceno, the principal town of the region, reveals the existence of a
small local group of artists. We have reason to believe that the
painter who was active in Offida, originated from Ascoli, which is
only ten to twelve miles distant, by the presence there of a work
from his hand ; it is a fresco on the second pillar to the right in the
PAINTING IN THE MARCI IKS.
j87
Fig. 119. Eclectic follower of Allegretto Nuzi, the mystical Marriage of
St. Catherine. Sta. Maria delle Grazie, Offida.
Photo Minist. della Pubbl. Istr.
church of S. Giacomo and represents the Virgin nursing the Child.
The frescoes in the church of Sta. Maria della Rocca are very
numerous and adorn for the greater part the three apsides of the
crypt. On entering by the door which leads into the central apse
we find, to our right a figure of St. Christopher (fig. 117) and two
Madonnas between angels, in one of which the Child is represent-
ed standing while in the other He holds a little bird (fig. 118). To
the left we see the Baptist, a saint with a book, Christ and St.
1 88 PAINTING LM THE MARCHES.
John as children, the mystical marriage of St. Catherine (fig.
119) and a figure of the Madonna; some of these frescoes seem
to have been left to helpers.
The paintings in the right apse illustrate the story of St. Cath-
erine. Above, where the scenes are separated from one another
by the groins of the vaults, are shown the sanctity of St. Cath-
erine's childhood, which scenes do not correspond to the text of
the Golden Legend, the vision — here depicted as a dream - of
the Child Jesus placing the ring on her finger, St. Catherine's re-
fusal to sacrifice to the heathen gods, her dispute with the pagan
philosophers, the emperor showing his anger with the philosoph-
ers and their martyrdom by fire. Below are represented the
saint in prison, the conversion of the emperor's wife, the officer
Porphyrus and two of his men; the miraculous intervention of
the angel who destroys the wheel, the beheading of the convert-
ed empress, that of the saint and lastly St. Catherine buried by
angels on Mount Sinai. In the ornamental border which forms
the frame above, the two figures of the Annunciation are depict-
ed (fig. 120).
In that part of the crypt which is situated immediately behind
the right apse, there are several other frescoes.
Besides the one showing the date 1423 or 1433 we find here
on the right wall a holy deacon, St. Onuphrius, a Madonna suck-
ling the Child and St. Nicholas of Tolentino ; fragments of the
four Evangelists are preserved in the vaults and the figures of
the Madonna, an angel, SS. Augustine, Scolastica(?) and Ursula
in the arches. All these paintings bear a strong resemblance to
the work of the leading master but they are of a slightly poorer
quality and may have been executed by his pupils.
In the vaulting and on the walls of the left apse the leading art-
ist has narrated the legend of St. Lucy. We see her vision of St.
Agatha, giving to the poor, the saint before Paschasius, Pascha-
sius thrusting a sword down her throat (fig. 121) (which is not
depicted according to the text), the miracle of the vain attempt
to move St. Lucy (fig. 122), her martyrdom during which boiling
liquids are poured over her and some other scenes. The centre
is occupied by a Coronation of the Virgin, below which we see
Christ on the Cross with the Virgin and St. John making gestures
of despair. The window embrasures also are adorned with fig-
FAINTING IN THE MARCHES.
189
Fig. 120. Eclectic follower of Allegretto Nuzi, Madonna of the Annunciation.
Sta. Maria delle Grazie, Offida.
Photo Minist. delki Pubbl. Istr.
190
PAINTING IN THE MARCHES.
ures ; the ceiling shows a representation of the Lord between the
sun and the moon, and the arch a Madonna della Misericordia,
the mystical Lamb and a figure of St. John the Evangelist. The
Fig, 121. Eclectic follower of Allegretto Nuzi, St. Lucy before Paschasius.
Sta. Maria delle Grazie, Offida.
Photo Minist. della Pubbl. Istr.
name of the person who ordered the decoration was once in-
scribed to the right and we can still read : "Hoc optts fecit fieri
Autu . . . .s."
Above in the church itself only a few fragmentary frescoes
from the same hand remain visible. Over the pulpit we find a
painting of the Crucifixion with the Virgin, SS. John, Lawrence
PAINTING IN THE MARCHES.
191
and a holy bishop ; among some fragments on the right wall near
the apse we can distinguish a Madonna and Child and in a niche
nearby the figure of a holy woman ; another Madonna, below the
Fig. 122. Eclectic follower of Allegretto Nuzi, a miracle of St. Lucy. Sta. Maria
delle Grazie, Offida.
Photo Minist. delhi Pubbl. Istr.
organ on the left wall, might also be attributed to the same artist.
Notwithstanding the provincial appearance of his work, the
connection between this artist and Allegretto Nuzi is, as I have
already said, very obvious. There is, however, another influence
which gives a particular character to his work, as well as to most
of the painting of the Trecento in Ascoli Piceno. This influence
clearly comes from Rimini ; the morphological types and the sharp
192 PAINTING IN THE MARCHES.
features in particular point to this school as the artist's source of
inspiration. The painter in question must have been active at
Offida during the latter years of the 14th centur}7, a period too
advanced to admit an influence even of the second generation of
Riminese artists, but Ascoli provides us with a link between these
earlier masters and the provincial painter whose productions we
are discussing. Of the works which form the link, the most char-
acteristic is a polyptych in the Gallery of Ascoli, representing, in
the centre the half-length figure of the Madonna and, to the sides
the Annunciation in which the Virgin has risen from her throne,
the Nativity which takes place in an open shed, the Resurrection
in which two angels are depicted, the Ascension with the Lord
enthroned and the Death of the Virgin in which, above, the Lord
is represented admidst angels while, below, the Apostles are seen
around the Virgin's couch. There were originally seven pinna-
cles over the principal panels, but only four have been preser-
ved ; they show the half-length figures SS. Paul, John the Evan-
gelist, the Baptist and St. Peter.
This picture has been ascribed to Andrea da Bologna and to
his school and at first I myself accepted the latter attribution!1),
for a resemblance to Andrea's works in which Emilian and Mar-
chigian elements intermingle, does obviously exist. But the pain-
ting seems after all to be of a somewhat earlier date and the fa-
cial types, the proportions of the bod)7, the curious piercing e}res
and clear colours, are more reminiscent of Baronzio's followers.
Hence judging it together with the other works we find at Ascoli
and Offida, I think we should consider it the production of a local
artist who transmitted the Riminese elements to the painters 01
a later generation.
A more important work is the partly ruined and, I believe, en-
tirely unknown series of frescoes in the crypt of SS. Vincenzo
ed Anastasio at Ascoli Piceno. The extensive cycle of paintings
illustrates the storj7 of St. Sylvester as we know it from the mu-
ral decoration of 1246 in SS. Quattro Coronati, Rome (2|.
Beginning on the right we first find, among the scenes still
11) v. Vol. IV, p. 4321. The Gallery authorities as well as A. Venturi,
Storia dell' Arte italiana, VII, p. 184. attribute it to Andrea da Bologna;
L. Venturi, L'Arte, 1915, p. 14, gives it to his school.
(2) v. Vol. I, p. 424.
PAINTING IN TI IE MARCHES.
193
recognizable one that does not seem to refer to St. Sylvester's
legend : an angel descends towards a person enthroned, near
whom we see a lion and a
dead bod)'. Then follow the
scenes of the well-known
story. The Emperor Con-
stantine, suffering from pla-
gue lies in bed surrounded
by doctors and women ;
when it is known that a
bath in children's blood is
necessary to cure the sick
emperor, the mothers in des-
pair are depicted rending
their clothes in exactly the
same manner as in the Ro-
man fresco of the 13th cen-
tury. The next scene shows
SS. Peter and Paul appear-
ing to Constantine, on which
follows the knights who
went in search of St. Sylves-
ter, kneeling before him. On
a lower row the emperor
handing the tiara to the saint
and St. Sylvester saying,
mass (? ) are represented. On
the other side we find a frag-
ment depicting the holy pope
kneeling amidst many fig-'
ures, (perhaps the miracle of
the dragon?), the pontiff re-
viving the bull which had
been killed bv a heathen ma-
gician
Fig. 123. Eclectic follower of Allegretto
Nuzi, the Coronation of the Virgin. Sta.
Maria delle Grazie, Offida.
Photo Minist. della Pubbl. Istr.
and several other
fragments among which we can recognize the four Evangelists,
the Madonna and some figures of saints.
This important series of frescoes is by an artist superior to,
and of a somewhat earlier date than the painter whom we found
v 13
194 PAINTING IN THE MARCHES.
active at Offida. He too, obviously derives from Baronzio's school
but besides that, his art already reveals traces of Allegretto's
influence and in this he differs from the master of the polyptych
in the Gallery, in whose works we do not find these elements
which are so fundamental in the style of the Offidan artist.
In the St. Sylvester series however the Riminese manner pre-
ponderates, so that the altar-piece in the Gallery, the frescoes in
SS. Vincenzo ed Anastasio and those at Offida form, so to say, a
transition between the Riminese school and that of Nuzi. They
are however sufficiently different from these two important
artistic movements for us to speak of a local group at Ascoli
Piceno.
The few other 14th century paintings that we find in this town
are of little importance. Some figures are preserved in the church
of S. Vittore; two Madonnas and a holy martyr adorn the en-
trance wall; various representations of the Madonna and other
figures are seen on the pillars of the nave while on the right wall
we find a fragment of the Magdalene anointing Christ's feet, two
bearded saints and two frescoes of an angel bringing the sacra-
ments to a bearded saint (St. Victor?). This is the subject also
of a detached fresco in the Gallery, where another detached fresco
of fairly good quality, showing the Baptist and St. Onuphrius,
might be from the same hand as some of the figures in the nave
of S. Vittore.
There are still some other frescoes in the church and crypt of
Sta. Maria della Rocca at Offida that might be mentioned. Those
in the crypt are of no importance but the paintings in the church
must have once formed part of a considerable cycle depicted on
several rows. The right wall still shows an Entombment and
traces of martyrdom scenes, while opposite we find a Descent
into Hell and other representations. All these paintings have
sooner the appearance of provincial Sienese works, but they are
not entirely free of Riminese elements.
There do not seem to have been many other centres of pictor-
ial activity in The Marches.
A fresco detached from the church of Sta. Trinita at Matelica,
now in the Piersanti Museum of this town (room 4, no. 4, fig. 124),
furnishes us with proof of the persistence of Allegretto's influ-
ence. It shows the Virgin sitting on a Gothic throne between.
PAINTING IN THE MARCHES.
195
Fig. 124. Tradition of Allegretto Nuzi, Madonna and saints. Piersanti
Museum, Matelica.
Photo Minist. della Pubbl. Istr.
SS. Catherine and Lucy, and although it is a work of the be-
ginning of the 15th century, the elements borrowed from Alle-
gretto are, particularly in the Madonna's face, very evident ( l).
(') The date -- end of the 15th century -- proposed in the Catalogue by
the Archpriest Bigaretti, Florence, 1917, p. 23, is obviously much too late.
196 PAINTING IN THE MARCHES.
Another place in The Marches where we find some evidence
of artistic activity, without, however, any trace of the existence
of a group of artists or of a school, is Camerino.
A painter who was a native of this town is known to us; he
worked in the church of S. Francesco or Sta. Maria in the parish
of Val di Nera which is situated in the valley that bears this
name, consequently in that part of Umbria contiguous to The
Marches. Several different painters worked in this church and
their productions show dates varying from 1380 till 1401. Cola
di Pietro from Camerino adorned a wall with a representation of
a procession and signed it: "Anno Dni MCCCCI dimesejugnii
Cola magistri Petri de Cammerino depinsit" . From his hand
also is a fresco of the Last Judgment. Behind the chancel arch a
fragment of another signature reads: u Antonius de ".
The works of Cola di Pietro show him as a provincial little artist
of no importance, who combined Sienese elements with a
Gothic design.
In a lunette in the church of S. Francesco at Camerino an
important fresco of the Entombment has been discovered ; the
influence of the Riminese school here intermingles with that of
the Lorenzetti. A crucifix of the 14th century in the Gallery
sooner belongs to the Tuscan tradition. At Sefro, near Camerino,
we find a Crucifixion of no consequence dating from the same
period.
It is of considerable interest to note the presence in the Gal-
lery of Ancona of a panel representing the Circumcision of
Christ (fig. 125) for it adumbrates the international Gothic style
in this region where, a few years later, it found its most illus-
trious interpreter in Gentile da Fabriano. The picture is a pro-
duction of the last years of the 14th century.
There are no other 14th century paintings in The Marches
worthy of detailed description P).
(') I give below a short list of the works of this school that I have
not mentioned: Albacina (near Fabriano), triptych with the Madonna
as central figure, a poor work. Ancona, Cathedral, St. Lawrence chapel,
enthroned Madonna, circa 1400; in the nave, large panel of St. James, late
14th century, showing a Sienese inspiration. Ascoli Piceno, frescoes in
different churches are mentioned by E. Calzini, Vecchie pitture murale del
XIV e XV secolo in Ascoli Piceno, Rassegna bibl. dell' Arte ital., IX, pp. 21
PAINTING IN TI IE MARCHES.
197
Fig. 125. School of The Marches, the Circumcision, end of the
14th centur}'. Gallery, Ancona.
Photo Minist. delln Pubbl. Istr.
198 PAINTING IN THE MARCHES.
and 63. Fabriano, S. Domenico. tower, Christ attached to a column between
St. Maiy Magdalene and the Madonna giving breast to the Child, circa 1400, a
beautiful fresco showing local elements; S. Francesco di Paolo, (recently
demolished) in a small annex outside, some unimportant frescoes of the 14th
century (R. Sassi, Una chiesa antica che scompare, Fabriano, 1922); Gallery,
crucifix, reminiscent of Lorenzetti's school; Hospital "del Buon Jesu", be-
heading of St.John the Baptist; S.Antonio, St. Antony between two kneeling
saints (mentioned by Crowe and Cavalcaselle, III, p. 17c/, but no longer found
there). Fermo, S. Domenico, Madonna, Nativity, Adoration of the Magi,
Resurrection, and a Madonna between Apostles and saints, by a mediocre
adherent of the Giottesque tradition; S. Agostino, chapel to the left of the
sacristy, Madonna della Misericordia between four saints. Milan, Poldi-
Pezzoli Gallery, nos. 584 — 585, diptych, Annunciation, Virgin with four
saints and the Crucifixion presented in a crowded composition, vulgar work.
Montecossaro, Sta. Maria di Chienti, Saviour between angels, Madonna
della Misericordia and the Baptist, Nativity, Adoration of the Magi, Pre-
sentation in the Temple and some other rather poor frescoes (L. Venturi,
A traverso le Marche. p. 14). Pesaro, Museum, fragments of mural painting,
the Marriage ofthe Virgin etc., circa 1400. Philadelphia, Johnson coll., no. 121
of BerensonJs catalogue, St. Francis receiving the stigmata; no. 122, minia-
ture adorning the letter E (according to Berenson a work of The Marches).
Ravenna, Gallery, half-length figures of St. Antony Abbot and St. Augustine,
attributed to the school of The Marches. Recanati. Municipal Gallery, unim-
portant fresco fragments showing elements ofthe international Gothic style,
circa 1400. San Severino, Sta. Maria del Glorioso, Nativity and St. Francis
presenting the rules of his order to the Pope, the latter scene copied from
Lorenzetti iL. Venturi, op. cit., p. 12). Urbino, Gallery, Madonna signed
"Antonius Magister"; Cathedral, gonfalon and Madonna from the same hand
I L. Venturi, op. cit); S. Paolo, Madonna nursing the Child, and two angels,
faint reminiscences ofthe art of Nuzi and Ghissi, with the same lack of relief
(L. Venturi, op. cit.).
CHAPTER III.
PAINTING IN PISAP), LUCCA, SARDINIA, LIGURIA
AND IN SMALL TUSCAN CLNTRES.
Among the local groups in Tuscany, that of Pisa is by far the
most important and moreover is the only one that can be called
a school. Documents of the 14th century furnish us with the
names of fifty-seven painters working in Pisa at that period 1-).
The art of painting was represented in this town by the
greatest figures Italy then possessed. It is well-known that
Cimabue worked at the mosaic in the vault of the apse in the
Cathedral and the big Maesta of his school in the Louvre, origin-
ates from Pisa, but for Giotto's visit to Pisa we have only Vasari's
affirmation; however the large panel in the Louvre showing
Giotto's signature, although it is probably only a work from his
studio (3), comes from the church of S. Francesco, Pisa. Vasari
insists on the activity in this town of Buffalmacco and his compan-
1 l) A. Da Morrona, Pisa illustrata nell' arte del disegno, II, 2nd ed., Livorno,
1 812, p. 427. L Tonfani Centofanti, Notizie di artisti tratti dai documenti
Pisani, Pisa, 1893. /. B. Supino, Catalogo del Museo Civico di Pisa, Pisa, 1894.
G. Trenta, L'Inferno etc. del Campo Santo di Pisa, Pisa, 1894. E. Jacobsen,
Das neue Museo Civico zu Pisa, Repert. f. Kunstw., 1895. C. Lupi, L'Arte
senese a Pisa, L'Arte antica senese, I, Siena, 1904, p. 355 /. B. Supino, Arte
pisana, Firenze, 1904, p. 264. L. Simoneschi, Catalogo del Museo Civico di
Pisa, Pisa, 1905. /. B. Supino, Pisa, Bergamo, 1905. O. Siirn, Maestri primi-
tivi, Antiche dipinti nel Museo Civico di Pisa, Rassegna d'Arte, 1914, p. 225,
R. van Marie, Simone Martini et les peintres de son ecole, Strasbourg, 1920.
p. 164. E Lavagnino, Pi ttori pisani del XIV secolo,LArte, 1923, pp. 33 and 72.
(2) Crowe and Cavalcaselle, op. cit., II, p. 164 (L. Douglas, note 8) and III,
p. 160. Tanfani Centofanti, op. cit. Supino, Arte pisana, p. 251. Lupi, op. cit.
(3) v. Vol.111, p. 183.
200 PAINTING IN PISA, LUCCA, SARDINIA,
ion, Bruno di Giovanni (:), and although we have no authentic
work from which to judge Buffalmacco's artistic capacities, he
seems to have been one of the great Florentine masters of the
14th century. Vasari further informs us that these two painters
worked together in S. Paolo di Ripa d' Arno where they executed
representations from the Old Testament. Nothing remains of
these frescoes; but on one of the pillars in the church we see an
important Giottesque painting of a beardless saint. According
to Vasari the same artists painted an altar-piece for Sta. Ursula
which still exists, but it is a local production of the second half of
the i4.thcentury and from a different hand. In 1341 the Florentine
master, Taddeo Gaddi, worked in Pisa.
Vasari tells us that Duccio also visited Pisa but proof of this
statement has yet to be discovered ; nevertheless it must be ad-
mitted that in the church of S. Francesco there is a half-length
figure of the Virgin with the Child, pulling His Mother's veil with
one hand and holding a little bird in the other, which is certainly
a Ducciesque work, as moreover is indicated by the gold chasing
of the nimbi, but it is so thoroughly repainted that its actual
condition prevents us from forming a more precise opinion. A
Madonna in the church of S. Torpe which also shows a Duccies-
que inspiration, is in a better state of preservation (fig. 126). A
half-length figure of the Madonna with the Child in an affectionate
attitude, in the Seminary collection points to a similar derivation.
It was chiefly from Siena that Pisa procured artists, not only
sculptors but goldsmiths and window makers as well(~'). We
have already seen that several of the Sienese painters who were
active in Florence worked also in Pisa, such for example as
Simone Martini, whose altar-piece, executed for the church of
Sta. Caterina, still exists, Lippo Memmi who painted a Madonna
for the Campo Santo, Pisa, now in the Berlin Museum, Luca di
Tomme, Taddeo di Bartolo and Martino di Bartolommeo whose
works are still found in Pisa.
This abundance of outside painters is sufficient to prove that
(*) P. Bacci, Bonamico Buffalmacco pittore e la critica tedesca, Pisa, 1917.
Kurzwelly, Buffalmacco — Traini Frage, Repert. f. Kunstw., 1912, p. 337.
With regard to Siren's identification of Buffalmacco and the Master of
St. Cicely, v. Vol. Ill, p. 276.
(2) Lupi, op. cit.
LIGURIA AND IN SMALL TUSCAN CENTRES. 201
Fig. 126. Madonna, Ducciesque tradition. S. Torpe, Pisa.
Photo Frosi.
Pisa's great artistic fertility of the 13th century no longer
existed, and although we find many painters active from the
beginning of the 14th century onward, it must be said that the
genuine Pisan works of this period are of a very mediocre quality.
An interesting example of the survival of the art of previous
generations will be found in the Gallery of Pisa, in a crucifix
202 PAINTING IN PISA, LUCCA, SARDINIA.
showing the Lord with open eyes — a Romanesque detail — but
dating none the less from 1310 (fig. 127).
In Pisa there is no evidence of the existence of a school ot
either Ducciesque or Giottesque art, although in all likelihood
the most important group of painters that existed during the
second half of the 14th century derived from Florentine art,
disseminated in Pisa probably by Buffalmacco and Bruno di
Giovanni.
These two artists probably were the real founders of the Pisan
school of painting of the 14th century or more precisely that
tradition which can be differentiated from the other local currents.
As in other centres where he was active, Simone Martini exer-
cised a long and marked influence on the school of Pisa and the
only important member of the Pisan group of painters was domi-
nated by him. This painter was Francesco Traini p), concerning
whom it is recorded that he was active in 1322, consequently
almost contemporary with Simone Martini's sojourn in Pisa
(1320). This document contradicts Vasari's statement (-'), which
has been repeated by Rosini and many others, that Traini was
a pupil of Orcagna's, for the latter's activity dates from a much
later period. In July and August of 1323 he receives payment for
paintings in the Town Hall and for other works executed for the
city. In 1337 the brother ofCristofano di Pietrasanta becomes
his pupil; in 1341 he paints a standard for the Landi company
and three years later, on the 14th of April, he begins the extant
panel of S. Dominic which he finishes in 1345 (3). ^ was ordered
by Giovanni Coco for the soul of Albizzo delle Stadere de Casa-
pieri('). At the end of the inscription we see the signature
"Franciscus Traini pin". The. picture is now divided between
the Museum and the Seminary, the former having the central
figure, the latter the side panels with scenes from the life of
St. Dominic. The altar-piece comes from the chapel dedicated
(r) Bonaini, Memorie inedite intorno alia vita e di dipinti di Francesco
Traini, Pisa, 1846. Kurzwelly, op. cit. L. Simoneschi, Notizie e questione
intorno a Francesco Traini, Pisa, 1898.
( '-' 1 Vasari- Milanesi, I, p. 61 1 .
(3) Vasari-Milanesi, I, p. 612 and note. Crowe and Cavalcaselle, ed. Langton
Douglas, II. p. 227. Simoneschi, op. cit.
(4) Vasari misinforms us in saying that the picture was executed for a
member of the Coscia family.
LIGUKIA AND IN SMALL TUSCAN CENTRES.
203
Fig. 127. Crucifix, Pisan School, 1310. Gallery, Pisa.
Photo Brogi.
to this saint in the church of Sta. Caterina where we also find
the picture of St. Thomas in glory.
That a certain "Maestro Francesco", who is mentioned in
1347 as active in the workshop of Andrea Orcagna, should be
identified with Traini(') seems to me highly improbable, since
(') /. B. Supino, II Trionfo della morte e il Guidizio universale nel Campo
Santo di Pisa, Arch Stor. dell'Arte, 1899^.32. The Same, Arte pisana, p. 269.
204
PAINTING IN PISA, LUCCA, SARDINIA,
Fig. 128. Detail of plate III.
Photo Brogi.
there is no reason to admit that the Pisan artist was ever in such
close contact with the Florentine school.
The allegorical picture of St. Thomas Aquinas in glory (plate
III and figs. 128, 129, 130 and 131) is very much superior to
Traini's other work ; however, no one has ever doubted the
correctness of the attribution to this master. High up against
a starry background, the Saviour is seated within a mandorla
;** + ******+'******
**************;*
********* *****,#l
********.*,*>"5
*******
*;****
*****'
**•**
GLORY OF St. THOMAS D' AQUINO
By Francesco Traini, Church of Sta. Caterina, Pisa.
I' koto Alinari.
LIGURIA AND IN SMALL TUSCAN CENTKKS.
20 :
surrounded by six cherubs; from his mouth rays of light descend
on the four Evangelists, St. Paul and Moses - - who are depicted
in the upper part of the picture -- and on St. Thomas, himself.
Rays of light are also projected towards the saint in glory from
the books held by the above-mentioned six figures and from
those in the hands of Aristotle and Plato who stand at either
side of the central aureole. Light radiates in all directions from
Fig. 129. Detail of plate III.
Photo Brogi.
the book that St. Thomas holds upright, while from those lying
on his knee beams descend on to the two groups of monks who
are depicted in the lower corners of the picture and separated
from one another by the recumbent figure of Averroes. The
border of the cloak of one of the figures in the groups shows
the name of Pope Urban VI but Milanesi, in accordance with
Bonaini, is of opinion that it is a later addition.
The panel is obviously inspired by Simone Martini whose fine
drawing and delicate colours Traini has certainly studied ; he
also closelv follows the Sienese master in his profound expres-
206
PAINTING IN PISA, LUCCA, SARDINIA,
Fig. 130. Detail of plate III.
Photo Bro<i.
sion of religious feeling. The artist probably also copied from
Simone Martini the Gothic movement evident in the drapery.
The figure of St. Thomas seems to be inspired by the portrait
of this saint that Simone depicted in his large altar-piece. The
slightly heavier and larger proportions might be accounted for
by an influence of the Pisan sculptors.
LIGURIA AND IN SMALL TUSCAN CENTRES.
20 ■
The other painting is not such a beautiful work and does not
show Simone's influence to the same extent. The figures are
not so pleasing, being considerably less graceful and less spiri-
tual than in the other panel. The central part of this picture
shows St. Dominic holding a lily and an open book and in the
pinnacle the half-length figure of the Saviour bestowing a bles-
sing ; this panel of the altar-piece is preserved in the Museum of
Fig. 131. Detail of plate III.
Photo Brogi.
Pisa (fig. 132). To either side there were four scenes arranged in
two rows, representing the Nativity of St. Dominic, the Pope's
vision of the saint supporting the falling church, SS. Peter and
Paul appearing to St. Dominic and giving him the order to preach,
the test by fire (fig. 133, 134 an 135): the pamphlet, written by
the saint for the heretics, miraculously escaping from the flames
when they attempt to burn it, the nephew7 of Cardinal dei Ceccani
who was killed by a fall from his horse, resuscitated through the
invocation of St. Dominic; the saint by the same means restoring
to life the drowned servant of a noble Hungarian ladv who was
208
PAINTING IN PISA, LUCCA, SARDINIA,
on a pilgrimage, Brother
Guala's dream in which
lie sees the Saviour and
the Virgin pulling St.
Dominic up to heaven with
ladders, and the translat-
ion of the saint's body. A
half-length figure of a
prophet adorns each ot
the pinnacles.
In this work we notice,
especially in the small
scenes, shorter and stur-
dier forms and a marked
vivacity of action, details
which are more charac-
teristic of the Florentine
school than of the Sienese,
but the wrinkled, grimac-
ing faces are reminiscent
of the works of a certain
stage in Pietro Lorenzetti's
career. Nevertheless
Simone's influence is very
evident also in this paint-
ing and I am more and
more convinced that Mr.
Langton Douglas and nry-
self were right to classify
Traini as a member of the
group of adherents of the
Sienese manner. Prof.
Supino is not opposed to
this opinion (1).
The difference which
P) I. B. Sitpino, II Campo
Santo di Pisa, Florence, 1896.
p. 66.
Fig. 132. Francesco Traini, St. Dominic,
Gallery, Pisa. Photo Alinari.
LIGURIA AND IN SMALL TUSCAN CENTRES. 209
Fig. 133. Franoesco Traini, scenes from the legend of St. Dominic.
Seminary, Pisa. i>hoto Alhiari.
2IO
PAINTING IN PISA, LUCCA, SARDINIA,
Fig. 134. Detail of fig. 133.
Photo Alinari.
exists between these two works by the same artist, and, in parti-
cular, the fairly pronounced elements of the Lorenzetti's art
make it possible but not certain, that the frescoes representing
the Triumph of Death and the Last Judgment in the Campo
Santo of Pisa are also from the hand ofTraini. Until a short,
time ago I agreed with Prof. A. Venturi's opinion that a portion.
LIGURIA AND IN SMALL TUSCAN CENTRES, 2ri
F'g- T35- Detail of fig. 133.
Photo Alinari.
of this decoration was by an adherent of Pietro Lorenzetti's
manner ('I; this writer formerly ascribed them to pupils of
Spinello Aretini (-); but at present I think we can admit that
(M A, Venturi, Storia dell' Arte italiana, \T, p. 722.
[-1 A. I 'nititri, I/Arte, 1904, p. 205.
2 r2 PAINTING IN PISA, LUCCA, SARDINIA,
Traini, in one of whose works these elements are present, was at
one period really dominated to this extent by Pietro Lorenzetti.
On several occasions Prof. Supino has expounded the reason
why he believes these frescoes in the Campo Santo to have been
executed by Traini P). There exists, however, much contro vers)'
with regard to this subject. Vasari believed that they were by
Orcagna, Lorenzetti and Buffalmacco (2) ; Cavalcaselle ascribed
them all to Lorenzetti (3) ; Milanesi to Bernardo Daddi (4) and
Thode to a special artist whom he calls the "Master ol the
Triumph of Death" (5).
Prof. A. Venturi has reasoned probably that as other paintings
on these walls are documented as having been executed between
137 1 and 1392, those in question were made at the same time,
which would exclude the attribution to Traini; but Prof. Supino
has discovered a record of ] 379 which informs us that at that
time the fresco representing Hell was being restored ; conse-
quently this painting existed before 1379 (,;) and I think is even
considerably older.
In my opinion the frescoes of the Triumph of Death, the Last
Judgment, Hell and those showing events from the lives of
anchorites are all by the same artist (7), who, as I said, was quite
f1) /. B. Supino, II trionfo della morte. The Same, II Campo Santo di Pisa
p. 57. The Same, Arte pisana, p. 268. For a general description of the fres
coes in the Campo Santo, v. C. Lasinio, Pittura a fresco del Campo Santo
intagliate, Florence, 1812. Rosini, Descrizione del Campo Santo, Pisa, 1816
Grassi, Descrizione storica e artistica di Pisa; Parte artistica, I, Pisa, 1837
Morpttrgo, Le epigrafi volgari in rima del Trionfo della Morte, del Giudizio
Universale e Inferno e degli Anacoreti nel Campo Santo di Pisa, L'Arte
1899, p. 51. A. Letalle, Les fresques du Campo Santo de Pise, Paris (no date)
repeats Supino's arguments.
(2) Vasari Milanesi, I, p. 596; Vasari attributed the Triumph of Death etc
to Orcagna, the scenes illustrative of the lives of anchorites to Lorenzetti
(op. cit., p. 473) and those representing incidents from the Life of Christ to
Buffalmacco, (op. cit.. p. 514).
(3) Crowe and Cavalcaselle, III, p. 104.
(4) Milanesi, Commentary on Vasari, I, p. 468.
(5) H. Thode, Der Meister vom Triumph des Todes in Pisa, Studien zur
Gesch. der Ital. Kunst des XIV Jahrh., Repert f. Kunstw., XI, 1888.
p) /. B. Supino, Rivista dArte, 1905, p. 16. The Same, Per gli affreschi del
Campo Santo di Pisa, Rivista dArte, 1906, p. 182.
P) Prof. Supino is of opinion that different hands can be discerned.
LIGURIA AND IN SMALL TUSCAN CENTRES. 2 r3
Fig. 136. Francesco Trainii?). detail of the Triumph of Death.
Campo Santo, Pisa.
Photo Ali nan.
probably Traini himself, but the three first mentioned are very
much repainted while the representations concerning the hermits
are much less so. The scenes from the Life of the Saviour seem
2 1 4 PAINTING IN PISA, LUCCA, SARDINIA,
to be by a different artist, who all the same shows a certain
connection with Traini's tradition.
The Triumph of Death is a representation in which all the
poetical fantasy of the middle ages concerning Death is depicted
with startling reality; this serves, firstly, as an expression of the
artist's temperament and secondly must have helped the Christ-
ians to understand the terrible lesson that forms the subject of
the fresco, particularly when it decorates the very place where
the dead were buried. Italian verses at the foot of the painting
only add to the didactic value of the work.
The first scene shows, to the right, the personification ot
Death followed by angels and devils, each group trying to carry
away as many souls as possible and even fighting against one
another to gain possession of them. Below, a heap of dead, of
all different social conditions, lie on the ground; Deathlherself,
a scraggy old woman with wildly flowing hair prepares to
attack a group of young people in a beautiful garden who
speak together and amuse themselves to the sound of music
(fig. 136) while she turns her back on a group of miserable creat-
ures, crippled, maimed, blind and covered with tatters, who
stretch out their arms appealingly toward her (fig. 137). To the
left of this fresco we see some hermits, who live in harmon)' with
the beasts of the forest, round a little church on a mountain,
studying sacred writings and considering the approach of death
without repulsion; one of them is depicted at the foot of the
mountain, explaining the uncertainty of life to a group of noble
huntsmen, who suddenly are confronted with the open coffins of
three kings whose remains are in an advanced stage of decom-
position (fig. 138). The contrast between worldly life and the
ultimate fate that awaits all mortals, is very startling and is
depicted in the most suggestive manner.
The Last Judgment forms the subject of the following fresco
(fig. 139). The Saviour, making an austere gesture towards the
damned below, and the Virgin are seated above, each within an
elliptical aureole ; the Twelve Apostles sit in a row at either side
while over their heads six angels carry the symbols of the Pas-
sion. Lower down in the centre four angels, two blowing trum-
pets, divide the large groups of the saved and the damned; the
holy girdle of the Madonna descends towards the former. Still
LIGURIA AND IN SMALL TUSCAN CENTRES. 2i;
Fig. 137. Francesco Traini(?), detail of the Triumph of Death.
Campo Santo, Pisa.
Photo Alinari.
lower we see in the centre three angels receiving the dead as
they rise from their tombs, while others drive back the wicked
who seem to make attempts to escape.
2l6
PAINTING IN PISA. LUCCA, SARDINIA,
Fig. 138. Francesco Traini (?), detail of the Triumph of Death.
Campo Santo, Pisa.
Photo Alinari.
Hell (fig. 140I, in accordance with the traditional iconography
is represented as the interior of a cavern. The enormous satanic
figure in the centre seizes the damned, who in groups around
LIGURIA AND IN SMALL TUSCAN CENTRES. 217
Fig. 139. Francesco Traini (?), the Last Judgment. Campo Santo, Pisa.
Photo Brogi.
him are being tortured in a variety or ways, one more horrible
than the other.
The legends of the holy hermits are so little known, that it
2l8
PAINTING IN PISA, LUCCA, SARDINIA,
would be quite useless in a work such as this to enumerate the
thirty different episodes represented on the walls of the Campo
Santo in Pisa (figs. 141, 142 and 143). However, a fact, which has
escaped the notice of all those who have studied these frescoes
and which is of a certain interest, is that the most celebrated ver-
sion of these legends was compiled by Domenico Cavalca!1) who
was born in 1270 at Vico Pisano, not far distant from Pisa. Further,
Fig. 140. Francesco Traini (?), Hell. Campo Santo, Pisa.
Photo Brogi.
it should not be forgotten that Cavalca was a Dominican monk
and that Traini worked for this order; Cavalca died in 1342. I do
not affirm that all the illustrations correspond to Cavalca's text,
but it is all the same highly probable that a connection exists be-
tween the special hagiographic studies of this erudite Dominican
who was born near Pisa and contemporary with the artist, and
the choice of this extraordinary subject for the decoration of the
cemeterv.
(') Domenico Cavalca, Le Vite de' Santi Padri (Classici italiani, Serie III,
Vols. LIV and LV), Milan (no date).
LIGURIA AND IN SMALL TUSCAN CENTRES.
219
Fig. 141. Francesco Traini(?), scene from the legends of holy hermits.
Campo Santo, Pisa.
Photo Alinari.
The frescoes of the Crucifixion, the Resurrection, the Incre-
dulity of Thomas, and the Ascension are very much damaged,
partly by the later addition of tombs and partly by the restoration
of a more modern style. As I have already said the artist who
220
PAINTING IN PISA, LUCCA, SARDINIA,
Fig. 142. Francesco Traini (?), scene from the legends of holy hermits.
Campo Santo, Pisa.
Photo Alinari
executed this part of the mural decoration is not the same as the
previous one; all the same, he shows himself strongly inspired
by Traini's art.
The Crucifixion is presented in one of these elaborate compo-
sitions of Sienese taste, with the three crosses, around which
LIGURIA AND IN SMALL TUSCAN CENTRES.
22 1
angels hover, a large number of soldiers and other figures with
the fainting Virgin in their midst (fig. 144). Much of the fresco has
disappeared and what remains seems destined to the same fate.
The unpleasing grimacing expressions of an exaggerated realism
are reminiscent of certain Bolognese artists of the 14th century,
such for example as Simone de' Crocifissi, and clearly mark the
4' ._
Fig. 143. Francesco Traini,(?), scene from the legends of hol)T hermits.
Campo Santo, Pisa. Photo Alinari.
difference between this style of painting and that of the decora-
tion we have just described.
The Resurrection shows the Saviour rising from His tomb,
the lid of which two angels remove while the soldiers - very
repainted figures - - lie sleeping on the ground. Then follows an
Apparition of Christ to the Apostles, two of whom verify His
wounds (fig. 145), and lastly the Ascension in which we see the
Saviour in a mandorla surrounded by angels taken up to heaven,
C1) A. J 'cnturi, Storia dell' Arte ital., V, p. 815, is of opinion that this frescc
was executed by Andrea da Firenze.
222
PAINTING IN PISA, LUCCA, SARDINIA,
Fig. 144. School of Francesco Traini, detail of the Crucifixion.
Campo Santo, Pisa. Photo Brogu
while the disciples gesticulating in excitement look up at Him
<fig. 146) 0).
(!) Rosini,op. cit., pi. XI, reproduces this painting as a work by Buffalmacco.
LIGURIA AND IX SMALL TUSCAN CENTRES.
223
Fig. 145. School of Francesco Traini, the Doubting Thomas.
Campo Santo, Pisa. Photo Bi
While this volume was being printed, I was fortunate enough
to discover a work of Traini's in an important panel of SS. Cosmo
and Damian in the collection of Prince Fabrizio Massimo, Rome.
Before long I shall publish this picture which brings the number
of this artist's recognized works to three. In style it is more
reminiscent of the painting of St. Thomas than that of St. Dominic
224
PAINTING IN PISA, LUCCA, SARDINIA,
Fig. 146. School of Francesco Traini. the Ascension. Campo Santo, Pisa.
Photo Brogi.
in the frescoes in the Campo Santo. A half-length figure of St.
Peter, which a short time ago was offered for sale in London
can be looked upon as a school work. An inscription on the back,
signed by Lassinio, attributed it to Orcagna, comparing it in
style with the Triumph of Death in the Campo Santo.
LIGURIA AND IX SMALL TUSCAN CENTRES.
225
TU*
Fig. 147. Pisan follower of Simone Martini, St. Peter. Gallery, Pisa.
Photo Minist. c!e!la I'ubbl. Istr.
226 PAINTING IN PISA, LUCCA, SARDINIA,
We have now come to the end of the activity of Traini and
his adherents f1), but Simone Martini's tradition had other
representatives in Pisa. From the hand of one of them we possess
a picture composed of four panels which is preserved in the
Museum of Pisa (Room III, nos. 31— 35) and although of much
later date it is obviously inspired by the half-length figures of
Simone's large retable which is divided between this Gallery and
the collection in the Seminary. It represents SS. Peter (fig. 147),
Paul, Rosalia and John the Baptist. The drawing is a little hard,
but in type, style and feeling these figures retain many reminis-
cences of Simone Martini's art (-).
Another work in which Simone's influence is manifest is a
fresco in the Campo Santo representing the Virgin seated on a
Gothic throne within a mandorla and carried by many angels to
heaven where she is received by the Saviour (fig. 148). This
painting, that Vasari attributed first to Stefano Fiorentino and
afterwards to Simone Martini (3), is considered by Prof. A.
Venturi as Lippo Memmi's master-piece (4), while Prof. Supino
ascribes it sooner to Simone (•"'). I agree with Cavalcaselle who
judged this fresco as a production of Simone's school; the pro-
portions and forms show too much difference and the quality is
too inferior for us to attribute it to the hand of either Simone
or Lippo.
The standing figures of SS. Agatha and Clare which adorn
the walls of S. Michele in Borgo might be classified as a work of
Lippo's school (6); while another proof of Simone's influence on
the Pisan school will be found in the design of one of the windows
H A polyptych at Ottana in Sardinia with which we deal afterwards, has
been associated with the name of Traini [Brunelli, L'Arte, 1903, p. 384), but
in spite of a certain resemblance, I do not think that there is sufficient reason
for this attribution.
{-) A. Gosclie, Simone Martini, Leipzig, 1899, p. 27, note 1, judges these
panels as a possible work of Simone's. Lavagnino, op. cit., p. 37, notices in
them Lorenzetti's influence which I fail to discover.
(3) Comp. Vasari-Milanesi, I, pp. 447 and 552.
I4) A. Venturi, Stor. dell' Arte ital., V, p. 666. Thode, op. cit., p. 19. The
Same, Franz v. Assisi u. die Anfange der Kunst der Renaissence in Italienr
2nd ed., Berlin, 1904, p. 512, attributes it to Traini.
(5) Supino, II Campo Santo, p. 10 r, does not repeat this attribution in his
Arte Pisana. p. 289.
(6) Crowe and Cavalcaselle, ed. L. Douglas, III. p. 80 note 1.
LIGURIA AND IN SMALL TUSCAN CENTRES.
227
in S. Francesco, where, apart from the considerably restored
figures of the Saviour and the Virgin, we see that of St. John the
Baptist, and it is this image that has preserved sufficient of its
original style to enable us to verify the direct influence of the
great Sienese, but not to attribute it to the master himself ( ' ).
A painter who at one moment in his career, probably in his
Fig. 148. Pisan follower of Simone Martini, the Assumption.
Campo SantO, Pisa. Photo Alinari.
youth, was strongly influenced by Simone Martini was Giovanni
di Niccolo. From his hand we possess several pictures which
show a considerable diversity of style and although it is one of
the poorer works that is authenticated by his signature, I think
that they can all be ascribed to the same artist (-)•
(') D. W. von der Schulenburg, Una vetrata di Simone Martini, Rassegna
d'Arte senese, 1914, p. 54.
('-) In this I am of the same opinion as Mr. Siren but disagree with Sig.
Lavagnino who believes that the finer works are from the hand of a different
artist, and show more connection with Simone's style than the others.
228 PAINTING IN PISA, LUCCA, SARDINIA,
We have only two dates concerning Giovanni di Niccolo and
one of them has been transmitted to us only by an old tradition.
One document informs us that "Johannes Nicole pic tor" was
elected a member of the Council of the People for the months of
July and August, 1358 (l); while Da Morrona tells us that accord-
ing to Father Zucchelli's notes, there existed in the church of
S. Pietro inVinculis a panel of the Baptist showing the following
inscription: "Giovanni di Niccola da Pisa MCCCLX" (-). Da
Morrona also refers to a polyptych in the Zelada Museum in
Rome, which bore the signature: "Jo/ianes de Pisis pinxif but
he does not think that it is the same as the foregoing and calls
him a contemporary of Giotto's (3). Lanzi on the other hand
ascribes this picture to Giovanni di Niccolo and judging from
the engraving that d'Agincourt reproduces, it seems to me a
possible attribution ('). The polyptych that Da Morrona saw in
the refectory of the convent of Sta. Marta is the one that is now
preserved in the Museum, although the signature that the old
writer reproduces does not correspond exactly to what we see
at present on the picture. This work was transferred to the
Museum (Room III, no. 16) from the chapel of the Campo Santo.
It represents the five half-length figures of the Virgin with the
Child, a holy nun, SS. John the Baptist, Mary Magdalene and
Bartholomew in the principal panels and those of the Saviour
and four saints in the apices (figs. 149 and 150). At the foot of the
picture we read : "Jo/ianes Niceolc me pinxit A. D. MCCC "
It is not the best production of this artist, to whom a consider-
able number of works can be attributed. In the same Museum
we find from his hand a half-length figure of the Virgin with the
Child and those of SS. Peter, Bartholomew and John the Baptist
(Room III, nos 3,4, 2 and 5) which doubtless originally formed
part of an altar-piece similar to the foregoing.
(') Bonaini, op. cit., p. 94
(-) Da Morrona, op. cit., p. 433.
(3) Idem, p. 435.
(4) d'Agincourt, Pittura, pi. CXXVIII. The polyptych shows in the centre
the enthroned Virgin with two saints at either side, the Crucifixion and the
figures of the Annunciation in the pinnacles, three small images of saints in
the lateral pilasters of the frame and five scenes from the legend of a martyr
in the predella. Crowe and Cavalcase/le, III, p. 164, mention this picture as
belonging to the Rinuccini collection, Florence.
L1GURIA AND IN SMALL TUSCAN CENTRES.
229
Fig. 149. Giovanni di Niccolo, Polyptych. Gallery, Pisa.
Photo Bi 1
Another picture of the Madonna in the midst of four angels
St. Francis and St. Clare (or St. Scolastica?) (Room III, no. 1)
shows much connection in style with the signed work. An
230
PAINTING IN PISA, LUCCA, SARDINIA,
Annunciation in the
Seminary Gallery is
executed in a some-
what different manner;
the figures are depict-
ed on two separate
panels, the spandrels
of which are adorned
with busts of prophets
(fig. 151). This panel
is finer than those we
have as yet discussed
and is obviously a
transitional work be-
tween the signed pict-
ure and two others
of excellent technique
which in all probability
are productions of his
earlier years when he
worked under a very
strong influence ot
S i m o n e Martini.
Another work which I
think belongs to the
intermediate stage is a
Madonna of Humility,
seated lowly and nurs-
ing the Child, which
formerly j was the pro-
perty of SignorFallani,
Florence.
Of the two finer
works that I have just
mentioned, one is pre-
served in the Gallery
of Pisa and the other
in the Schiff collection
in the same town.
Fig. 150. Detail of fig. 149.
Photo Brogi.
LIGURIA AM) IN SMALL TUSCAN CENTRES.
231
The former shows more resemblance to the works of the great
Sienese master. It represents the half-length figure of the Virgin
(Room III, no. 33, fig. 152); the forms are graceful and the ex-
pression very pleasing. Comparing this panel with the authentic
work, the difference is very evident; nevertheless it is fairly clear
that the feebler painting is but a production of the artist's deca-
Fig. 151. Giovanni di Niccolo, the Annunciation. Gallery, Pisa.
Photo Alinari.
dence and the fundamental difference is very slight. The face of
the Child in particular is depicted in the same curious manner;
this resemblance is even more striking in the panel in the Schiff
collection (fig. 153) in which the appearance of the Madonna and
still more that of the Child form, so to say, the link between the
two other works.
A painting which might be from the same hand, but is of such
an inferior technique that it is perhaps only a studio production,
is found in the Gallerv of Palermo. Again we see the Madonna
232 PAINTING IN PISA, LUCCA, SARDINIA,
Fig. 152. Giovanni di Niccolo, Madonna. Gallery, Pisa.
Photo Brogi.
LIGURIA AND IN SMALL TUSCAN CENTRES.
233
Fig. 153. Giovanni di Niccolo, Madonna. Schift" Collection, Pisa.
Photo Reali.
of Humility with the Child, in this instance, sucking hungrily at
His Mother's breast (tig. 154I. The same museum possesses a
half-length figure of the Virgin with the Child caressing her
face which is, without any doubt, a school work.
We have nothing to prove that this painter went to Sicily but
the fact that an artistic relationship existed between Pisa and
Sicily is not without importance
I think that Giovanni di Niccolo's greatest activity should be
placed probably a considerable time prior to the dates we pos-
234
PAINTING IN PISA, LUCCA, SARDINIA,
sess concerning him, viz. 1358 and 1360 ; he must have started
his career very likely shortly after Simone Martini had been
working in Pisa. The two paintings that I believe to be his
earliest extant works
show him as a direct
adherent of Simone Mar-
tini, but he was not a
great enough artist to
maintain the same high
standard after the influ-
ence of the Sienese
master waned. This ac-
counts for the inferiority
of his later works. The
fine technique and taste
for rich decoration, that
we frequently see in his
pictures, are two charact-
eristics of the Sienese
school that Simone Mar-
tini bequeathed to him.
A polyptych in the Gal-
lery of Pisa (Room III,
no. 36) is rightly classified
as a school production.
It represents the Virgin
suckling the Child in the
centre and at either side
two figures of saints; in
the terminals we see the
Saviour with the Cross
and the Evangelists.
Another work belong-
ing to the tradition created by Giovanni di Niccolo is a beautiful
Madonna in the midst of fourteen saints with the figures of the
Annunciation in the spandrels (fig. 155) which is the property
of Signor Angeli at Lucignano and together with his other
pictures, is going to be presented to the local gallery. The influ-
ence of Giovanni di Niccolo is very evident in this work which,
Fig. 154. Giovanni di Niccolo (?), Madonna.
Museum, Palermo.
Photo Minist. della Pubbl. Istr.
LIGURIA AND IN SMALL TUSCAN CENTRES. 235
Fig. 155. Eclectic follower of Giovanni di Niccolo, Madonna and saints.
Angeli Collection, Lucignano. Photo Keaii.
however, is of later date and not without resemblance to the
art of certain Florentine painters (1).
Besides this first group of painters whose art derived from that
of Simone Martini, there was another that flourished somewhere
(') I believe thatthe panel is sometimes attributed ti> Andrea di Bartolo.
236 PAINTING IN PISA. LUCCA. SARDINIA,
between 1370 and 1400 and produced works of a somewhat differ-
ent style, in which a Florentine influence in particular is evident,
and towards the end of the period that of Taddeo di Bartolo.
Before this second group came into existence, Pisa possessed
a few artists who were independent of Simone's tradition and
from whom the painters of the real Pisan school of the 14th cen-
tury seem to descend.
The earliest of these artists was Turino Vanni whom we shall
call "the First", to distinguish him from another master of the
same name who was active half a century later.
Turino the First was, according to Da Morrona, the son of a
certain Vanni who painted in Pisa about the year 1300 and who
had another son called Nello, also a painter. Da Morrona saw
two of Turino's signed works, one in the sacristy of St. Anna
which bore the inscription : " Turinus Vanni Pi sanus me pinsit
an MCCCXLIIT ' and the other, which the above author describes
as being "conceived according to the German manner", in the
ex-convent of S. Silvestro ; small fragments of this picture were
acquired by Don Zucchetti many of whose treasures were be-
queathed to the Museo Civico of Pisa; the signature on this
picture read: "Turinus Vanni pis. P) de Pi sis me pinsit
MCCCXL" {-). In the Museum (Room V,no. 1) we find a terminal
of a larger picture, showing the Crucifixion, which doubtless
formed part of it, because in the catalogue of this Gallery made
by Bartolommeo Poloni in 1837, consequently only a short time
after the Zucchetti collection was transferred to the Museum,
this picture is described as a work by Turino Vanni and the date
is given as 1340 (3). The chief characteristics in this painting are
Sienese, but the robust forms and the vigorous drawing might
be called Giottesque.
Another artist who was active in Pisa at a slightly earlier date
than the group who flourished at the end of the 14th century was
Neruccio Federigi (4). We find mention of him first in 1356
when he was chosen, along with other painters, to go to Milan
(]) More probably it read "pic", the abbreviated form oV'pictor'.
(-) Da Morrona, op. cit., II, p. 430.
(3) Lavagnino, op. cit., p. 72.
(4) R. Giolli, Alcune tavole del Pisano, Rivista d'Arte, 1912, p. 25.
LIGURIA AND IN SMALL TUSCAN CENTRES.
237
to work for Galeazzo Visconti. In 1370 and 1371 he painted, to-
gether with Francesco da Volterra, Cecco di Pietro and others,
in the Campo Santo; and it may be that a document of 1389
bears reference to this artist (')•
Some writers have thought that Neruccio was of Sienese ori-
gin (-), but we have no proof of this and his manner of painting,
which has to be judged from the one extant work, again shows,
at least in the contours, a Florentine influence. This picture re-
presents the Virgin and Child and is preserved in the Pieve of
Pugnano, near Regoli, in the environs of Pisa. Different versions
of the date and signature are recorded by authors of olden
times (:!); Da Morrona's is doubtless the correct one : " Neruccius
Federigii de Pisis me piusit A. D. MCCCLXX"(l), for this in-
scription which since has completely disappeared corresponds
exactly to the records still in our possession, concerning it.
The following painters of the Pisan school form a much more
homogenous group. Although shortly after 1390 TaddeodiBar-
tolo's influence becomes manifest, it must not be thought that
this artist entirely dominated the Pisan school at this period, as
Cavalcaselle infers. Taddeo who was born in 1362 or 1363, work-
ed in Pisa in 1389, but several Pisan painters of this group had
been active, as we shall see, about twenty years earlier, so that this
style of painting was already well established before Taddeo's
influence could have been felt. Nevertheless certain Sienese ele-
ments, which increase the sweetness of expression and spiritua-
lity of conception, but at the same time diminish the strength of
form and plasticity which had been acquired from the Floren-
tines, appear at the beginning of this stage in the development of
the Pisan school, the productions of which, just at this period,
were somewhat provincial.
The painter who might be the earliest of this group, on ac-
count of the marked primitiveness of his works, was probably
Bernardo Nello di Giovanni Falconi (5). Vasari mentions this
1 ' ) Tanfani Centofantt, op. cit., p. 387.
(-) Tanfani Centofanti, loc. cit. Lnpi, op. cit., p. 27.
(3) Giolli, op. cit.
14) Da Momma, op. cit., II, p. 431.
15) A. Bellini Pietri in Thieme-Becker, Kiinstler Lexikon, III, p. 445.
238 PAINTING IN PISA, LUCCA. SARDINIA,
artist as a pupil of Andrea Orcagna's, adding that he executed
many paintings in the Cathedral of Pisa I1) while Rosini affirms
that the only certain work from his hand is the series of frescoes
representing the history of Job, in the Campo Santo (-) but he in
no way substantiates this statement; moreover these frescoes
were executed by Francesco da Volterra. Da Morrona provides
us with the date of 1390 for this artist's activity, but this hardly
corresponds to his hypothesis that he was the son of Nello,
whom we have already mentioned as the son of Vanni who was
active about T300. It is not entirely impossible that Bernardo
painted still in 1390 but the artistic career of the grandson
of a painter who worked as early as 1300 must have started
about the middle of the 14th century, and this conforms very well
to the appearance of the works that can be attributed to him.
The attribution to Bernardo Nello di Giovanni Falconi of four
panels showing eight half-length figures of saints and above
each a head of an angel in a medallion is not certain, but is based
on an annotation of Don Zucchetti's. These panels, which are
preserved in the Museum of Pisa (Room V7, no. 17) doubtless
once formed part of a polyptych; they are in a very ruinous
state. In dealing with artists of any importance Zucchetti's attri-
butions are, as Signor Lavagnino remarks, very serious, gene-
rally based on documentary evidence or on signatures; in this
special case the painter's signature might have been inscribed
on the polyptych from which these four fragments originate.
I agree with Signor Lavagnini in his attribution to Bernardo
of several pictures in the Museum of Pisa, some of which Mr.
Siren has ascribed to Turino Vanni.
The characteristics of the foregoing works are noticeable in a
long panel representing the Death of the Virgin (Room V, no 16)
in a composition reminiscent of Giotto's painting in the Berlin
Museum (fig. 156). Doubtless from the same hand are two panels,
each showing two figures of saints (Room V, nos. 10-11, fig. 157).
two pieces of a polyptych representing four saints and the Annun-
ciation (Room V, no. 12), an Annunciation (Room V, nos. 5 and 7),
an image of St. Augustine (Room V, no. 13), a half-length figure
(') Vasari-Milanesi, I, p. 609 and note 2.
(2) Rosini, op. cit., II. pp. 7 and 23.
OEPARTMtm Oh AHT AND ARCnMt
LIGURIA AND IN SMALL TUSCAN CENTRES.
239
of St. Peter (Room V, no.
14) and a painting of St.
Nicholas of Bari (Room
V, no. 30).
These works reveal
Bernardo Nello as a
direct adherent of the
Florentine school and
Vasari's assertion that he
was a pupil of Orcagna's
does notseem impossible,
although a certain harsh-
ness and a sharp precis-
eness of the forms point to
the inspiration of a Flor-
entine artist of a slightly
earlier period; some of
his figures remind us of
Daddi's. The style and
profusion of decorative
detail in some of the robes
are certainly features that
characterize Orcagna's
productions. Bernardo
Nello's figures are gener-
ally speaking not very
beautiful, and the faces'
are expressionless and
even sometimes ugly. His
is indeed the work of a
little provincial painter
who interpreted in his
own manner the art of
the great Florentine
masters.
There existed also a
Nero di Nello, a Pisan
painter, who, Da Mor-
rona imagined, was the
o
'bio
V
Z
o
-a
fcfi
240 PAINTING IN PISA, LUCCA, SARDINIA,
father of the foregoing artist('). A picture showing the Madonna
and two saints in the church of Trepalle originating from the
basilica of S. Giovanni di Val d'Isola bore the signature: "Nerus
Nelli De Pis'is me pinxit Anno MCCCIC but it has since
disappeared.
It is very unlikely that the second Turino Vanni was the son of
the first artist of this name because the word Vanni is an abrevia-
tion which signifies "son of Giovanni" and can only be given to
a person whose father's christian name is Giovanni; the second
Turino was more probably the grand-son of Turino the First
and consequently a cousin of Bernardo Nello.
This Turino Vanni was born at Rigoli near Pisa in 1349, for a
document of 1427 informs us that he is ill and in bed and in his
78th year; however he lived until 1438 and was therefore 89
years old when he died (-). In 1390, 1392 and 1395 he undertook
some minor decorative work (3). Da Morrona speaks of Turino's
Madonna of 1397 in S. Casciano, now in the church of S. Paolo
a Ripa d' Arno : further he tells us that the painter was active in
the Cathedral of Pisa and that, according to a record of 1393, he
executed a picture for the church of Sta. Cristina (4).
Mr. Siren, in his article on primitive paintings in the Gallery
of Pisa, ascribes to this artist a list of not less than eighteen
works to which he has added still a panel of St. Margeret in the
Vatican Gallery (5). He apparently was not aware of the fact that
there were two artists of this name. Signor Lavagnino has
reduced their number to five only, in which I think he has gone
a little too much to the other extreme.
Nevertheless I agree with the latter critic in not holding the
second Turino Vanni responsible for a picture representing St.
Ursula followed by her companions, kneeling before a little per-
sonification of the town of Pisa which she takes under her pro-
tection. This panel, which comes from the church of S. Paolo a
(') Da Morrona, op. cit., II, p. 434, quotes as a reference for this painter
the well-known work "Uomini illustri pisani".
r) Tanfani Centofanti, op. cit , p. 482.
(:i) Crowe and Cavalcaselle, ed. L. Douglas, III, p. 160.
(4) Da Morrona, op. cit., II, p. 432.
(5) O. Siren, L'Arte, 192 1, p. 24.
LIGL'RIA AND IN SMALL TUSCAN CENTRES.
24r
Ripa and is now in the Pisan Museum (Room III, no. 39), is at-
tributed by Vasari and many others after him, to Bruno di Gio-
vanni, Buffalmacco's comrade and collaborator (figs. 158 and
159X1)-
Fig. 157. Bernardo Nello di Giovanni Falconi, four saints. Gallcr}', Pisa.
Photo Brogi.
Although very probably incorrect, this attribution is nearer
the truth than that to Turino Vanni, since the picture in ques-
tion dates from a period prior to this artist's activity. On the
other hand, as a certain resemblance is obvious between the
(') / "asari-Milanesi, I. p. 512. Rosini, 1 >p. cit., pi. XII.
16
it
z
en
o
u
D
c/2
o
u
0)
c/)
>
o
tfl
<u
o
a;
-a
CO
I/O
PAINTING IN PISA, LUCCA, SARDINIA. ETC. 243
Fig. 159. Detail of fig. 158.
Photo Brogi.
style, technique and morphological types of this painting and
those of the second Turino's works, it is possible that the author
of the St. Ursula panel was this artist's master, who might have
been his father.
The works ofTurino the Second vary considerably in appear-
ance ; the best are finely executed paintings showing faint traces
244 PAINTING IN PISA, LUCCA, SARDINIA,
of Simone Martini's influence, while some of the others reveal
Turino as a mediocre provincial artist. As one of the two dated
works is from 1397, that is to say shortly after the middle of his
artistic career which must have started about 1370, it is difficult
to affirm which of his two manners of painting was the first,
more especially as the other authentic work which dates from
1415 is executed in a style very different from that of any of his
other productions.
Nevertheless it is more than probable that his earlier works
are those in which Simone's inspiration is manifest, particularly
as in the others we can distinguish the influence of the art of
Taddeo di Bartolo who, as we saw, did not come to Pisa until
1389. Working on this hypothesis, I think Turino's earliest work
must be a Madonna seated on an imposing Gothic throne, sur-
rounded by fourteen angels and saints from the Benedictine Mo-
naster)' of S. Martino near Palermo, now in the Gallery of this
town; it shows the fragmentary inscription: " inns J 7annisde
Pisis pinxit A. D " (fig. 160).
Although the type and execution of the less important figures
are thoroughly provincial, the appearance and sweet religious
expression of the graceful Virgin reveal the painter's knowledge
of Simone's art. From the presence of this little picture in Palermo
we cannot conclude that the painter went to Sicily, but it is inte-
resting to note that the Pisan school provided paintings for many
places situated on the Mediterranean Sea; for besides Sicily we
find examples of Pisan work in Sardinia and Liguria.
A picture representing the Baptism of Christ in which two
angels hold the clothes and God the Father is seen above, is pre-
served in the Museum of Pisa (fig. 161). Here, too, the figures
are pleasing and retain still a faint connection with Simone's
school.
A marked resemblance in style is obvious between the fore
going work and the panel in the church of S. Paolo a Ripa which
shows the signature: " Turin as Vannis dc Rignli dcpinxit A. D.
MCCCLXXXXVII Madii" (fig. 162).
The Madonna is depicted enthroned between SS Torpe and
Ranieri with two young female saints kneeling below. The figures
are more rigid and even less animated than an}' of those that we
have seen as yet in Turino's works. Although they are more
LIGURIA AND IN SMALL TUSCAN CENTRES. 245
Fig. 160. Turino Vanni the Second, Madonna and saints. Gallery, Palermo.
Photo Minist. della Pubbl. Istr.
archaic in appearance, they show, particularly those of the Virgin
and Child, Taddeo di Bartolo's influence.
The much more beautiful picture of St. Margaret in the Vatican
Gallery (no. 4, fig. 163) dates, I think, from about this period. In
the centre we see the figure of the saint with the dragon at her
Fig 161. Turino Vanni the Second, the Baptism. Gallery, Pisa.
Photo Brogi.
PAINTING IX I MSA, LUCCA, SARDINIA. ETC. 247
Fig. 162. Turino Vanni the Second, Madonna and saints, 1397.
S. Paolo a Ripa, Pisa. rhoto Brogi.
248 PAINTING IN PISA, LUCCA, SARDINIA.
feet, a little donor to one side and the angel and Virgin of
the Annunciation in the spandrels. Four scenes at either side
illustrate the legend of St. Margaret, while the apex is adorned
with the dead Christ in His tomb and the Virgin and St. John
each holding one of His hands.
The manner in which the artist depicts the small lateral scenes
reminds us of that of the Gerini, and it is important to remember
that Niccolo di Pietro Gerini worked in Pisa in 1393. Turino conse-
quently, like many little provincial painters, at once borrowed
elements from this master of greater fame who belonged to a
much more renowned school.
Two Madonnas in the midst of angels from the hand of Turino
show a fairly strong resemblance in style; one is preserved in the
Pieve at Rigoli, the birth-place of the artist!1), the other belongs
to the collection in the Louvre. The former, which is consider-
ably repainted, shows slightly more elongated figures than the
other; the signature reads: " Titrinus dc Pisis pinxiP . The pic-
ture in the Louvre (no. 1563) which in composition as well as
in the appearance of the figures recalls Taddeo diBartolo's art is
signed: "Turinis Vannis dc Pisis me pincsif1 (fig. 164).
More obviously inspired by Sienese art than either ol these
two pictures, is the Assumption of the Virgin in the S. Tommaso
convent, Pisa, which is one of Turino's most pleasing works
(fig. 165).
There is a triptych showing this master's signature and the
date 1415 in the church of S. Bartolommeo degli Armeni in
Genoa, but it is obviously a production of Turino's decadence.
From the hand of the same painter and equally decadent is a
picture in the Gallery of Pisa, representing the Madonna suckling
the Child (fig. 166).
Turino Vanni was certainly the most important artist in Pisa
at the end of the 14th century. His manner of painting is clearly
an intermingling of the Florentine and Sienese traditions but the
result is not devoid of original elements, the large, rather expres-
sionless faces, without any relief, being a very characteristic
feature of Turino's art. There exists a certain connection in style
between his painting and that of Bernardo Nello, which leads us
(*) Giolli, op. cit.
LIGURIA AND IN SMALL TUSCAN CENTRES.
249
'MgmS&SEZ&E,
Fig. 163. Turino Vanni the Second, St. Margaret. Vatican Gallery.
Photo Anderson.
250 PAINTING IN PISA. LUCCA, SARDINIA, ETC.
to suppose that the latter was the elder of the two artists. Of
Lorenzetti's influence which some critics have professed to
discover in Turino's works, I find no trace.
An artist who was more directly influenced by Bernardo Nello,
has been called the "Maestro dell' Universitas Aurificum'' after
the first words of an inscription still visible on one of his pictures
which is preserved in the Gallery of Pisa (Room V, no. 32). It
represents the Madonna, and the following are the words of
the inscription wrhich can still be read: "Universitas aurificum
pisanorum tempore Pier ". This painting is to a certain
extent, reminiscent of Turino Yanni's manner, particularly I
think, on account of the presence of some details peculiar to
Taddeo di Bartolo's art.
The work in which this artist's connection with BernardoNello
Falconi is most evident, is a crucifix in the church of S. Martino,
Pisa, which, as far as I know, has never before been attributed
to this painter. Only the half-length figures in the central and
lateral terminals are, I think, original; the decoration of the
shaft of the cross seems modern. The Madonna is depicted in the
centre with the Redeemer above, St. Peter below and St. James
and the Baptist at the sides (fig. 167 ). This artist's most important
work is a large polyptych in the Gallery of Pisa (Room V, no. 18)
showing the enthroned Virgin on the central panel, two big
figures of saints at either side, six smaller ones in the frame,
those of the Saviour and the Annunciation above and below in
the predella, the dead Saviour between the Virgin and St. John,
four scenes from the martyrdom of St. Bartholomew, and two
figures of saints.
In the chapel of the Monaster}' of S. Donnino we find another
Madonna by this artist, in which the inscription shows the date
1402. Signor Lavagnino attributes to him still four polyptych
panels in the Gallery of Pisa (Room V, nos. 26, 27, 29 and 30),
the fifth of which series, representing St. Nicholas I have pre-
viously mentioned as a work by Bernardo Nello I think that the
same artist possibly executed the standing figure of St. Eulalia
of Barcelona with a bust of the Saviour above and two scenes
illustrative of her legend in the predella, in the Gallery of Pisa.
The "Maestro dell' Universitas Aurificum" consequently was
sooner an adherent of the Florentine school, descending through
Fig 164. 1 urino Vanni the Second, Madonna and angels. Louvre. Paris.
Photo Alinari.
252
PAINTING IN PISA, LUCCA, SARDINIA,
Fig. 165. Turino Vanni the Second, the Assumption. Convent of
S. Tommaso, Pisa.
Photo Brogi.
LIGURIA AND IN SMALL TUS( AX CENTRES. 253
Fig. 166. Turino Vanni the Second, Madonna. Gallery, Pisa.
Photo B
254
PAINTING IN PISA, LUCCA, SARDINIA,
Nello, indirectly from Orcagna. Nevertheless a Sienese influ-
ence made itself felt, which accounts for the more elongated
figures. Taddeo di Bartolo's inspiration,
however, is stron-- >wjJa Sk^rr- 'v manifest only in
the Madonna of .,fl ||L 1402.
A direct descend- Sk &}- ent of the "Maestro
dellUniversitas ^ ,% Aurificum" was a
certain Getto di p§ Jacopo, from whose
hand we possess only one work, a little
picture in the Gallery of Pisa (Room III, no
25) representing six full-length figures of
saints with the An-
of the Saviour in
apex. The signature
de Pisis me pinxit
(fig. 168) (]). The ap-
es is before all Floren-
niscences of Daddi's
fairly long and the
in the works of the
Concerning Cecco
that his name ap-
dating from 1370 in
Gallery of Pisa; and
the year after he
da Volterra with the
had undertaken to
Fig. 167. Maestro
dell' Universitas
Aurificum, Cruci-
fix. S. Martino,
Pisa.
Photo Brogi.
nunciation and a bust
a medallion in the
reads: "Gcttus Jacobi
MCCCLXXXXI"
pearence of the figur-
tine with faint remi-
art. The forms are
technique finer than
two foregoing artists.
di Pietro (2), we know
pears on a picture
the store-room of the
in that same year and
assisted Francesco
frescoes which he
execute in the Campo
Santo; the modest payment that Cecco received leads us to
believe that he was then still a youthful artist. He has left
! l) Jacobsen, Repert. f. Kunstwiss., 1895, p. 99.
"-'i A. Bellini Pietri, in Thieme-Becker. Kiinstler Lexikon, VI, p. 257.
LIGURIA AND IN SMALL TUSCAN CENTRES. 255
Fig. 168 Getto di Jacopo. Annunciation and six saints. ( ialli-ry, Pisa.
I'ii 1 H. j llr.^i.
256 PAINTING IN PISA, LUCCA, SARDINIA,
his signature on panels, now in the Pisan Gallery, dating from
1374 and 1377. In 1379 he restores the fresco of Hell in the
Campo Santo; the year after he is spoken of as "anziano",
his parish being that of "San Simoncino di Porta a Mare", for
which church he executed the picture of 1374. In 1385 the
town authorities pa}' him for a standard; the signature : "Ceceus
Petri de Pisis me pinxit A. D. 1386" was seen on a panel of
the Nativity of the Virgin which was preserved in the church of
S. Pietro in Yincoli, but which has since disappeared; while also
in 1386 he signed the large altar-piece, now in the Gallery of
Pisa. A Madonna in the store-room of the Gallery shows the date
138 . . The artist died before 1402! I).
The polyptvch of 1386 in the Gallery of Pisa is the most impor-
tant work that we possess by this artist (fig. 169). The central
panel depicts the Crucifixion with the Virgin and St. John, two
little angels and the pelican in its nest; four saints in two rows
are seen at either side, the pinnacles being adorned with the
figures of the four Evangelists in medallions; two little figures of
saints and coats of arms embellish the pilasters of the frame while
five small scenes are represented in the predella, two from the
Life of Christ - - the Entombment and Mary Magdalene anoint-
ing His feet -- and three from the legends of saints. The signa-
ture runs : ' ' C cents Petri de Pisis mepisit A. D. MCCCLXXX VI".
One cannot den)' the presence in this work of a very strong
influence of Luca di Tomme's art. The same Gallery, it will be
remembered, possesses a Crucifixion dating from 1366, signed by
Luca(-), and it is not impossible that Cecco di Pietro received his
artistic education from the Sienese painter, particularly as traces
of this influence are evident also in his other works.
Cecco's Madonna of 1370 that Ca valcaselle saw in the collection
of Remedio Fezzi in Pisa, has since become the property of the
Museum and is kept in the store-room. It shows the signature:
". . . . cms Petri de Pisis me piuxii A. D. MCCCLXXX".
The picture of 1374, now in the same Gallery, represents the
enthroned figure of St. Simon and six members of a confraternity
adoring him. The subject of the panel of 1377 is the Pieta between
(\) These data are found in Bellini Pietri, op. cit.. and Crowe and Cava/-
caselle, ed. L. Douglas, III, p. 163
('-) v. Vol. II, p. 466.
LIGURIA AND IN SMALL TUSCAN CENTRES.
257
SS. Catherine and Lucy; while we find still another Madonna
signed: "Cecchus Petri dePisis me pinxit A. D.MCCCLXXX....".
Several other paintings in the Gallery of Pisa have been ascribed
.to Cecco di Pietro or to his school^)- He is also held responsible
Fig 169. Cecco di Pietro, Polyptych, 1386. Gallery. Pisa.
Photo Brosri.
11) Lavagnino, op. cit., attributes still the following works in the Gallery
-of Pisa to Cecco di Pietro : the Saviour resurrected (III, 91, the Pietaand four
•saints (III, 13, and a scene from the legend of St. Agnes (III, 10); and to his
school: two panels of three saints (III, 11 and 15), St. Peter (III, 12), St-
Apollonio (III, 16), the Holy Trinity (III, 14), the Crucifixion (III, 17). Bellini
Pietri, op. cit , speaks of some fragments of an altar-piece in this Museum;
perhaps he refers to the panels mentioned by Lavagnino. M. Salmi, Bollet.
del. Associaz. per Tarte di Pisa, III, considers two panels in the church of S.
Jacopo, Livorno, executed in the manner of Cecco di Pietro. R. Giolli, Rivista
d'Arte, 1912, p. 26, ascribes them to the Sienese school. . /. Venturi, La
Galleria Sterbini in Roma, Roma, 1906, p 42, attributes to Cecco di Pietro a
Crucifixion which I do not think by this artist, though it might be a Pisan
production.
v 17
258 PAINTING IN PISA, LUCCA, SARDINIA,
for a Deposition in the Jarves collection, Yale University, and, so
it seems, for a Madonna between two saints which once existed
in the church of Nicosia, near Pisa (2).
Cecco di Pietro consequently was a fairly productive artist
and one who enjoyed considerable local renown since his follow-
ers are fairly numerous. Luca di Tomme's influence can be
discerned in all Cecco's productions in which the forms are even
more provincial than his inspirer's, who was not one of the great
figures of the Sienese school, but in which plasticity, a Florentine
element never lacking in Pisan works, is more marked.
A certain connection in style will be found to exist between
Cecco di Pietro's art and that of Jacopo di Michele Gera (3). The
latter is mentioned for the first time in 1389 when he painted
some banners and did some other minor works for the Cathe-
dral (4); in 1390 he executed thirty figures in the cupola of the
Cathedral for which he was paid one livre per figure. Together
withTurinoVanni he decorated the tabernacle over the baptism-
al font in the Cathedral (5); he also executed a crucifix for the
Campo Santo (G).
There exist three paintings signed by Jacopo di Michele Gera.
Two of them are preserved in the Gallery of Pisa; one (Room III,
no. 19) shows the Virgin enthroned holding the Child, Who wears
a dress of rich material, standing on her knee, between two
female saints (fig. 170). The signature runs: " Jachobus d(i)c(t)us
Gera me pinxit" . We have already seen the curious attitude of
the Child in a work by Cecco di Pietro. The other picture (Room
III, no. 21) is somewhat similar in composition, only in this instance
the accompanying figures are male saints. The artist has here
signed: " Jacopo di Migele dipitorc ditto Gera D. Pisa mi
dcpinse" '. This picture originates from the monastery of S..
Matteo(7).
( ') Bellini Pietri, op. cit.
(2) Bonaini, op. cit., pp. 98 and 103.
(3) Jacobsen, Repert. f. Kunstwiss., 1895, p. 98.
(4J Tanfani-Centofanti, op. cit., p. 321.
(5) Bonaini, op. cit., p. 96.
(°) Tanfani-Centofanti, loc. cit.
(7) Da Morrona, op. cit., II- p. 434; this writer, however, makes a mistake:
in transcribing the signature.
LIGlTkIA AND IN SMALL TUSCAN CENTKLS. 259
Fig. 170. Jacopo di Michele Gera. Madonna and saints. Gallery, Pisa.
Photo Bro^i.
This painter also affords us proof of the artistic relationship
which existed at that time between Pisa and Sicily, for in the
church of the archi-confraternitadellaSma.Annunziata, Palermo,
260 PAINTING IN PISA, LUCCA, SARDINIA,
we find a picture from Gera's hand representing St. Anna with
the Virgin who holds the Child Christ between SS. James Major
and John the Evangelist^). It is one of the feeblest of this master's
productions but is verified by the signature : Jacobus de Migele
dipintore di ".
Lastly I attribute to Gera a painting of the mystical wedding
of St. Catherine to whom St. Lucy forms the pendant, in the
Palazzo dei Priori at Volterra (fig. 171). It is a work very profuse
in decorative detail and one which shows this little provincial
master to have been more strongly influenced by the Lorenzetti
than any of the other Pisan painters.
Pietro di Puccio is really an Orvietan painter and he worked
much more in this town than in Pisa where we find him only in
1389, when he was charged with the execution of the frescoes from
the Old Testament. In Orvieto he is mentioned for the first time
in 1364 as assistant to Ugolino di Prete Ilario in the decoration of
the Smo. Corporate chapel. He was still busy at this work in
i368(L>), which year he painted three little panels for the Cathe-
dral!3). The following year he was again paid for frescoes which
he had executed in the Cathedral while similar payments are
recorded until i388(4). This same year he adorned some caskets
destined to contain the Holy Sacrament (5).
In 1376 he worked at the mosaics of the facade(6); in 1392 he
painted in the cloister of the Cathedral(7), and in 1394 he made a
sketch for a silver cross (8).
Pietro di Puccio consequently worked much at Orvieto; never-
theless the only painting that we possess by him is in theCampo
Santo, Pisa, and as it shows more resemblance to productions of
the Pisan, than of the Orvietan school, I think it better to classify
him with the Pisan painters.
(x) G. Di Marzo, La pittura in Palermo nel Rinascimento, Palermo, 1899,
p. 43. Cavalcaselle, op. cit., p. 162, is mistaken in saying that one of the saints
represents St. Gertrude.
(-') L. Fumi, II Duomo di Orvieto e i suoi restauri, Rome, 1891, p. 427.
(3) Fumi, op. cit., p. 427.
(4) Fumi, op. cit, pp. 135-139.
(5) Fumi, op. cit., p. 321.
(a) Fumi, op. cit., p. 107.
<7) Fumi, op. cit., p. 391.
(8) Fumi, op. cit., pp. 391 and 468.
LIGURIA AND IN SMALL TUSCAN CENTRES. 261
Fig. 171. Jacopo di Michele Gera, the mystical marriage of St. Catherine.
Palazzo dei Priori. Volterra.
Photo Brogi.
262 PAINTING IN PISA, LUCCA. SARDINIA. ETC.
Pietro di Puccio arrived in Pisa in October 1389, summoned
thither byParasoneGrasso,the"Operaio"of the Campo Santop).
His frescoes, which, according to Vasari, are from the hand of
Buffalmacco, illustrate incidents from the Book of Genesis. The
first painting is of a very curious composition; it represents God
the Father holding the universe, an enormous sphere, behind
which the Eternal is almost hidden. The important features of
Creation are depicted, viz: the Hierarchies, the spheres of the
Heaven, the zodiac, the elements etc., and in the angles we see
the figures of SS. Augustine and Thomas Aquinas. Below, a
long piece of poetry is inscribed (-). Then we find illustrated
the story of Adam and Eve the first seven episodes of which,
from the creation of Adam to his tilling of the ground after the
expulsion from Paradise, are comprised on one painting (fig. 172).
The history of Cain and Abel is also represented in one fresco
which includes several different events (fig. 173). The third and
last fresco illustrates the history of Noah. Here the composition
is not so confused as in the two previous paintings, for the three
scenes, the construction of the ark, the ark resting on Mount
Ararat and Xoah and his family offering thanksgiving to God —
are shown separately one from another. All the frescoes have
beautiful ornamental borders in which lozenges contain half-
length figures of prophets.
These paintings reveal Pietro di Puccio as a fairly mediocre
artist. I do not think that he shows much connection with the
Sienese school; his figures, it is true, remind us ofLuca diTomme
who, as we saw, worked in Pisa, but who, in 1374, was also in
Orvieto (3). His robust forms and precise action are sooner char-
acteristic of the Florentine manner. His types are all rather ugly
but his nude figures, although somewhat ludicrous, manifest, for
this period, a fairly minute study of anatomy.
Another artist who did not belong to Pisa but is found active
in this town, is Francesco Neri da Volterra(4).
Cavalcaselle imagined that a Florentine painter of the name of
{li The documentary data are found in Sitpino, II Campo Santo, p. 179.
( 2) Vasa ri- Mi/a nest, I, p. 5 1 3.
H v. Vol. II, p. 466.
14) Crowe and Cavalcaselle, II, p. 165. Tanfani-Centofanti, op. cit., pp. 97,
107, 189 and 387 Supino, II Campo Santo, p. 163.
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264 PAINTING IN PISA, LUCCA, SARDINIA. ETC.
Francesco di Maestro Giotto who is mentioned in 1341 — Baldi-
nucci proposed that he might be the son of Giotto — and
Francesco da Volterra are the same artistic personality for which
I see no reason ; we do not even possess arguments in favour of
the hypothesis that the latter received a purely Florentine artistic
education, more especially as he was active still in 1 343 in Volterra
where he was paid for a work of a decorative nature!1). In 1346
Francesco da Volterra was already in Pisa, because an altar-piece
that he made for the Cathedral dated from this year; in 1358 he
became a member of the Council!2).
The documents concerning the frescoes in the Campo Santo
that are attributed to Francesco da Volterra are not very clear
since, although it is recorded that the decoration was not com-
menced until August 137 1, we find Francesco receiving payment
already in April of the same year. It is possible that the artist
was employed only on the restoration of existing frescoes (3). At
all events, we gather from the documents that Francesco with
the help of Neruccio di Federigo (or Federigi) and of a compatriot
called Berto d'Argomento daVolterra(4), worked for nine months
at the decoration of the Campo Santo, during which time we
know that he finished the frescoes illustrating the history of
Job. Jacopo di Francesco, called sometimes "da Volterra" and
sometimes "da Roma", who might be his son, also collaborated
with him. He remained, however, but a short time in Pisa (5).
As I have said elsewhere (6), I think in all probability that the
frescoes representing the history of Job are from the hand of
Taddeo Gaddi who worked in Pisa in 1342; his style is particu-
larly evident in the left part of the second fresco where theSaviour
is surrounded by angels while the devil stands close by. These
figures are thoroughly Gaddiesque and have been very little
(*) M. Battistini, Una notizia intorno al pittore del' 300, Francesco di Neri
da Volterra, L'Arte, 1920, p. 162.
(2) Bonaini, op. cit., p. 94.
(3) L. Douglas in Crowe and Cavalcaselle, III, p. 166, comes to this con-
clusion.
(4) Supino, op. cit., p. 166, gives further information of little importance
concerning this painter's activities.
(5) Supino, loc. cit.
(6) Vol.nLp.3441.
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266 PAINTING IN PISA, LUCCA, SARDINIA,
changed by Francesco da Volterra's restoration; the rest of the
painting, on the other hand, is so different from Gaddi's art, that
if the compositions and rough sketches are by Gaddi, the frescoes
in their actual appearance are obviously not from his hand.
I am of opinion that this part of the decoration has been so
entirely repainted by Francesco da Volterra that it can be looked
upon as one of his own productions. There were in all six frescoes
arranged in two rows; the first represents the prosperity of Job ;
he is depicted in a beautiful palace giving alms to the poor, while
to the right men on horseback guard his flocks.
The second painting, in which the group to the left retains, as
I said before, its original Gaddiesque appearance, shows, to the
right, the Sabeans attacking Job's servants and leading away his
herds (fig. 174). Of the following fresco which depicted the Chal-
deans stealing three thousand camels from Job, only the latter
in prayer with a few figures near him remains visible. Then we
see Job naked and covered with sores while some of his friends
exhort him to despair; to one side God is represented appearing
to Job's friends and reproaching them with their wicked action
and they offer up a burnt sacrifice in atonement for their sin
(fig. 175). Of the last fresco showing how Job was richly rewarded
by God for the manner in which he bore all his afflictions, prac-
tically nothing remains.
The connection between these frescoes, which he attributes to
Francesco da Volterra, and Taddeo Gaddi's art has not escaped
Cavalcaselle who praises the Giottesque principles in their com-
position and compares them, among other works, with Gaddi's
frescoes in the refectory of Sta. Croce, Florence. Nevertheless
they are more modern in appearance and this makes the attribu-
tion to Francesco da Volterra all the more likely although he was
not the only painter who restored this decoration. Vasari attri-
butes these frescoes to Giotto (M.
Messrs. Langton Douglas (2) and Siren p) who deny that a
resemblance exists between these frescoes and Francesco da
( *) Vasari Milanesi, I, p. 380.
(2) L. Douglas, loc. cit.
(3) O. Siren, Giotto and some of his Followers, I, Cambridge, U.S.A. and
London, 1917. p. 144.
LIGURIA AND IN SMALL TUSCAN CLNTKLS.
267
Vol terra's art,
have committed a
mistake in believ-
ing that a picture
showing his sign-
ature was to be
found in the Pieve
of Pugnano, near
Regoli, in the
environs of Pisa,
with which paint-
ing naturally they
compared the fres-
coes. But this
work which I have
already mentioned
in this chapter is
by Francesco da
Volterra's colla-
borator, Neruccio
di Federigo, and
consequently the
comparison fur-
nishes us with
a negative result.
The only other
painting known to
be by Francesco
da Volterra is pre-
served in the Gal-
lery of Modena. It
represents the Ma-
donna holding on
her knee the Child
Who feeds a little
bird; two small
angels hover at
either side and
three miniature
268
PAINTING IN PISA, LUCCA, SARDINIA, ETC.
donors kneel at the Virgin's feet; each of the spandrels is adorn-
ed with a figure of a prophet (fig. 176). The panel shows the
signature : " Franciscus Neri de Vulterris Dei gratia me
pinxif ', but the words "de Vulterres" have often been read as
"da Vo/tri" (l). From this picture we discover that Francesco
was influenced by Taddeo Gaddi's forms, but he was inspired
F>g 175- Francesco Neri da Volterra, scene from the afflictions of Job.
Campo Santo, Pisa.
Photo Biogri.
by Andrea Orcagna as well, not only in the profusion of decor-
ative detail but also in the general appearance of the work
which bears a certain resemblance to Orcagna's Madonna in
Budapest(2). Comparing this work with the Madonnas by Angelo
Puccinelli or Nanni di Jacopo de Lucca we recognize in the
(') A. Cavazzoni Pederzini, Intorno ad una tavola di Francesco Neri da
Voltri, Modena, 1863.
(2) v. Vol. Ill, fig. 2^2.
Fig. 176. Francesco Neri da Volterra, Madonna. Gallery, Modena.
Photo Orlandi.
270 PAINTING IN PISA, LUCCA, SARDINIA, ETC.
central figure a beautiful specimen of a group of paintings of this
subject which we find in this corner of Tuscany. On the other
hand, the two prophets in the spandrels show an unquestionable
likeness to certain figures in the frescoes oftheCampo Santo and
this but helps to confirm what I have already said, that these
frescoes in their actual condition can be ascribed to Francesco
da Volterra.
Besides those Pisan works that can be ascribed to particular
artists or to a well-defined group, there are a large number of
pictures by anonymous masters that occasionally reveal the
presence in Pisan painting of a great diversity of elements from
other artistic traditions in Italy.
The number of 14th century works in the Gallery of Pisa is so
considerable that I must limit myself to a description of the most
important.
A little group has been united by Signor Lavagnino as the
productions of one artist, who shows some connection in style to
Turino Vanni the Second. His works include four scenes from
the legend of St. Galganus (Room V, nos. 19, 20, 23 and 24), the
funeral of St. Francis of Assisi and of St. Thomas Aquinas (Room
V, nos. 21 and 22) the Flagellation and the Crucifixion (Room V,
no. 19) (1). But I do not agree with this author when he ascribes
to a Pisan artist of the middle of the 15th century the two pre-
della panels in the Uffizi representing two scenes from the life ol
St. Romuald (fig. 177) — once in the Toscanelli collection, Pisa —
which on different occasions have been attributed to Traini, to
his school, to the Pisan school and to the Florentine school. The
master who is responsible for them certainly worked under a
Florentine influence, but several peculiarities in the forms and in
the folds of the drapery remind us so strongly of Traini that I
think we should attribute them to a distant follower of this artist.
Less fine technically but executed in the same style, is a little
panel of similar form in the Louvre (no. T313) ; it represents the
funeral of a holy monk (St. Bernard?) and the attribution to the
Pisan school which is given in the gallery is, I think, correct (2).
(*) Lavagnino, op. cit., p. 8>
(2) B. Khvoshinsky and M. Salmi, i pittori toscani, II, Rome, 1914, p. 30,
attribute this little panel to Nardo di Cione.
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272 PAINTING IN PISA, LUCCA, SARDINIA.
In the Museum of Pisa there are several pictures in which a
Bolognese influence is manifest; at least, the artists to obtain
dramatic effects employ an exaggerated realism of attitude and
expression with the same heedlessness of the aesthetic that char-
acterize certain productions ot the Bolognese school. We have,
however, noticed a similar tendency in some of the figures in the
decoration of the Campo Santo, but these are of too early a date
to have been executed under a Bolognese influence while the
pictures in question can be assigned to a later period.
This peculiarity is most marked in a panel of two compart-
ments in the Gallery of Pisa, showing in the upper a represent-
ation of the Crucifixion, very similar in composition to those
produced at Bologna, with one cross only but a considerable
number of people below, and in the lower division the two fig-
ures of the Annunciation (fig. 178) (/)•
Of two pictures, one the pendant to the other, in the same Gal-
lery, one represents a holy hermit (St. Remigio ?) - - a subject in
particular favour with the Pisan artists - - adored by the mem-
bers of a flagellant order, while the other shows an elaborate
composition of the Crucifixion with the three crosses, the faint-
ing Virgin, Mary Magdalene at the foot of the central cross, and
a large number of soldiers, some of whom gamble for the clothes
of Christ (fig. 179). This last picture shows a particularly close
connection with the works of the Bolognese school, but I do not
agree with Mr. Siren that it is from the hand of Jacopo degli
Avanzi (2).
A panel of the same form and with a frame very similar to
those of the two foregoing works, shows yet another represent-
ation of the Crucifixion (fig. 180). Here again we notice the Bo-
lognese elements in the composition as well as in the types and
execution. I think that this picture is probably by the same artist
as the preceding one; only here the obvious influence ofTaddeo
di Bartolo, which was absent in the other productions, forces us
to date this painting from towards the end of the 14th century.
(*) Stipino, Rivista d'Arte, 1905, p. 13, believes this picture to be a work by
Barnaba da Modena ; formerly (Campo Santo, p. 68), he hesitatingly ascribed
it to Pietro Lorenzetti.
(2) Siren, Maestri primitivi, p. 234.
LIGURIA AND IN SMALL TUSCAN CENTRES. 273
Fig. 178. Crucifixion and Annunciation, Pisan School, 2,ul half of the 14th
century, Gallery, Pisa.
Photo Brogi.
18
274
PAINTING IN PISA, LUCCA, SARDINIA,
From the same hand might be still a Crucifixion of similar com-
position in the Czartoryski Museum, Cracow (x). More Bolognese
in appearance is another painting of this subject which formerly
belonged to the Sterbini collection, Rome (2).
Fig. 179. Crucifixion, Pisan School, 2nd half of the 14th century. Gallery, Pisa.
Photo Brogi.
Among the Pisan works outside the Gallery, we should mention
the mosaics in the transept of the Cathedral ; on one side we see
the Virgin in white within a mandorla which is supported by
f1) Mrs. Logan Berenson published it as a work by Taddeo di Bartolo in
the Rassegna d'Arte, 19 15, p. 3.
{-) A. Venturi, La Galleria Sterbini, p. 42, attributes it, as I said before,,,
to Cecco di Pietro.
LIGURIA AND IN SMALL TUSCAN CENTRES.
275
Fig. 180 Crucifixion, Pisan School, 2nd half of the 14th century. Gallery, Pisa.
Photo Brogi.
angels while two others fly below, and on the other side the
Annunciation in which the Virgin sits on a richly decorated
throne with the angel kneeling before her, while the Saviour
appears above. These mosaics, which Vasari and Baldinucci
276 PAINTING IN PISA. LUCCA, SARDINIA,
ascribe to Gaddo Gaddi, have been more justly likened by Papini
to the productions of one of the artists who worked in the Campo
Santo (l), and although there is an undeniable connection between
the two, I am not of opinion that they are productions of one and
the same artist.
A rather important detached fresco of the beginning of the 14th
century, which is preserved in the chapel of the Campo Santo,
represents St. Francis appearing to the Pope in a dream, the
confirmation of the rules of his order and the sermon to the birds.
Although of much smaller dimensions, these paintings are fairly
true copies of the corresponding scenes in Giotto's cycle at
Assisi.
Signor Giollii2) gives a list of some 14th century works in the
environs of Pisa, but besides these already mentioned they are
not of very great importance with the exception of a crucifix in
the parish church of Riglione. The appearance of the principal
figure and the arrangement of the other figures are different from
what we find in truly Florentine crucifixes. Two sorrowing
angels adorn the upper terminal and half-length figures of saints
the lateral extremities ; below we see the Virgin and a female
saint, while Mary Magdalene weeps at the Saviour's feet.
Cavalcaselle(3) records the existence of a polyptych belonging
to the Pisan school at Agnano, near Pisa, in which he found that
the influence of Turino Vanni the Second was noticeable. Da
Morrona mentions a Madonna and saints in the church of Nicosia,
nearCalvi,which, according to this author, was afterwards divided
between the Fezzi and the de la Tour du Pin collections, both in
Pisa (4). A polyptych in the Rinuccini collection, Florence, showing
the Virgin and four saints with the Crucifixion, Annunciation
and other figures in the terminals and frame, bore the inscription
"Johannes De Pisis pinxit" ; Cavalcaselle expresses the opinion
that this artist might be indentified with Giovanni del Gese who
in 1372 was described as "anziano". The work seemed to him to
(!) Catalogo delle cose d'arte e antichita d'ltalia, II. R. Papini, Pisa, Rome,
1912, pp. 151 and 153, compares these mosaics with the fresco of the Last
Judgment in particular.
(2) Giolli, op. cit.
(3) Crowe and Cavalcaselle, ed. L. Douglas, III, p. 161.
(4) Idem, p. 163.
LIGURIA AND IN SMALL TUSCAN CENTRES.
277
Fig. 181. The Holy Women at the Empty Sepulchre, Pisan miniature,
middle of the 14th century. Gallery, Pisa. Photo Brogi.
have been executed by a poor imitator of Taddeo di Bartolo(1);
but as Giovanni del Gese who is mentioned in 1357, 1365 and
1367, died before 1377, he could not possibly have been influenced
by Taddeo. He was the son of Buonaccorso del Gese, a painter
who is recorded in 1315 and who died before 1365 (2).
(M Idem.
(2J Tanfani-Centofanti, op. cit., pp. 100 and 183.
278 PAINTING IN PISA, LUCCA, SARDINIA,
Rosini reproduces still a mystical representation of the Trinity
which formerly belonged to the Casa di Misericordia in Pisa {l),
while the Gallery of Pisa contains, as I have already said, still
many paintings of the 14th century of which it would be useless
to give an enumeration here.
It is difficult to obtain a general idea of the artistic movement
that took place in Pisa in the 14th century. There existed a group
of local artists who at one time or another were influenced by all
the more important contemporary centres. Pisa had only one
painter of any consequence and that was Traini, who was entirely
inspired by the great Sienese master, Simone Martini. The
Sienese school had a strong and lasting influence on Pisan
painting, which, however, owes almost as much to Florence and
something even to Bologna. Taddeo di Bartolo and Niccolo di
Pietro Gerini, the most important figures of the decadence in
Siena and Florence, had many adherents in Pisa. Before them
the Sienese influence came from Luca di Tomme while Florentine
painting was represented by Bernardo Nello Falconi's inter-
pretation of Andrea Orcagna's art.
Pisa does not seem to have possessed a very great school of
miniature painting. In the Museo Civico there are four illuminated
antiphonaries (fig. 181) originating from the convent of S. Niccolo,
where some others also are preserved, which, although executed
under a strong Sienese influence, cannot, I think, be classified as
Sienese productions (2).
As in the art of painting, so too in that of miniature, the Pisan
artists possessed sufficient individuality to differentiate their
works from those of the larger centres and to enable us to
establish the existence of a local group.
Of the great artistic prosperity that we found in Lucca during
the 13th century, little remained during the 14th. It may be
that at the beginning of this century Lucca possessed some
painters of renown or perhaps it was only the afterglow of those
of the previous century, because in 1347 when inquiries were
made in order to find the best painter to execute the altar-piece
(') Rosini, op. cit., pi. X.
(2) As is done by C. Lupi, op. cit , pp. 398 and 425.
LIGURIA AND IN SMALL TUSCAN CENTRES. 279
for S. Giovanni-fuor Civita in Pistoia, Florence, Siena and Lucca
were looked to for likely candidates f1)-
I know of only one painting dating from this period in Lucca
and it is truly worthy of the city's past glory as an artistic centre.
It is a picture from the church of S. Cerbone, now in the Gallery
^nos. 41 and 42), representing the Virgin with the Child and St.
John the Evangelist. These panels, which are of a very fine
technique and brilliant colouring, must originally have belonged
to a polyptych. The Sienese influence is obvious, particularly in
the figure of the Child which resembles the Lorenzetti's model (2).
A little panel in the Gallery of Pisa is probably from the same
hand. The presence in Lucca, formerly in the church of S. Fran-
cesco, of a picture belonging to Segna di Buonaventura's school
might help to explain the pronounced Sienese influence in the
works of a Lucchese master ( 3).
Very few names of artists belonging to the 14th century school
of painting in Lucca have been recorded (4), and of two only do
we possess any productions. They are Angelo Puccinelli and
Nanni di Jacopo but as we shall see later on, the latter is not a
very well defined personality.
Several works dating from between 1350 and 1399 and signed
by Angelo Puccinelli have come down to us. The first of them is
a triptych in the Gallery of Lucca (no. 45) in which the mystical
wedding of St. Catherine is depicted in the centre and two saints
in each of the lateral panels. The long inscription commences
with the words: " Angelus Puccinelli de Luca pinxit AD.
MCCCL". It is a painting which, like the works of Giovanni di
Niccolo, is an outcome of Simone Martini's tradition, but in this
case the interpretation is coarse and provincial. A triptych of his,
showing the Coronation of the Virgin, which was signed and
dated 1382, once existed in the church of S. Ansano. Four years
later he executed the picture of the Death and Assumption of the
(') Crowe and Cavalcaselle, op. cit , II, p. 126 note.
(2) v. Vol. I, p. 306. M. Ridolfi, Scritti d'arte e d'antichita, Florence, 1879,
p. 283, and P. Campetti in the catalogue of the Town Gallery, both ascribe
these panels to Deodato Orlandi.
(3) v. Vol. II, p. 153.
(4) Crowe and Cavalcaselle, op. cit., Ill, p. 164. Gregorio di Cecco di Luca, a
Sienese painter (v. Vol. II, p. 570) was called after his grandfather and not
after the town of Lucca as has been sometimes supposed.
280 PAINTING IN PISA, LUCCA, SARDINIA,
Virgin, now in Sta. Maria fuori portam, which bears the signature
"Angelas Puccinellide Luca pinxif" (1). In the church ofVarano
there is a polyptych representing the Madonna with the Child
and four saints, on which the signature reads: " Angelas Pucci-
nellipinx AD. MCCCLXXXXIIir (fig. 182) and lastly, a signed
triptych, once in the church of S. Lorenzo at Poggio, dated from
1399. In the S. Francesco church at Pescia a triptych of this
modest painter shows us in the centre St. Anna, the Virgin and
the Child and SS. Tadeus, Simon, Lawrence and Dominic (2).
During his career which lasted almost fifty years, the artist's
style changed considerably. The elements of Simone Martini's
tradition that we noticed in his earliest work are less evident in
that of 1382 and have disappeared entirely in the painting of 1394.
In this last picture the heaviness of form is probably only a feeble
adaptation of the Florentine strength of design, but it is a detail
which, to a certain extent, connects this picture with that of
Francesco da Volterra at Modena. In the second half of the 14th
century the artists around Pisa and Lucca show a very definite
type of Madonna of a broad and rather clumsy model.
This peculiarity leads me to believe that Nanni di Jacopo,
whom we know only from his signature on a picture in the late
Sterbini collection, was of Lucchese origin. Two artists of this
name are found in Siena, both recorded in a document of 1414
concerning a question with Jacopo della Quercia about the price
of marble (3). Although the Lucchese artist is mentioned here
as a sculptor, it does not exclude the possibility that he exercised
also the art of painting. He is spoken of as : "Nannes magistri
Jacobi de Luca habitator Senarum", and frequently appears in
Sienese documents between 1404 and 1428 (*); but we cannot
be certain that he is the same as the artist who left his name :
f1) Ridolfi, op. cit., pp. 289 and 309.
(2) Signor Campetti in his catalogue of the Gallery, p. 32, ascribes to
Puccinelli still a picture in the chapel of S. Paolino, Lucca, representing the
burial of some saints. Crowe and Cavalcaselle, op. cit, III, p. 165, hold him
responsible for a painting of the Marriage of the Virgin and four saints in the
Gallery of Lucca, but I have been unable to find there a picture of this
description.
(3) G. Milanesi, Documenti par la Storia dell' Arte senese, II, Siena. 1854,
p. 68.
(4) G. Milanesi, op. cit., pp. 16, 24, 55, 56, 74, 95, 109, no, 131, 146.
LIGURIA AND IN SMALL TUSCAN CENTRES. 281
Fig. 182. Angelus Puccinelli, Polyptych, 1394. Varano.
Photo Perazzo.
"Nannes Jachopi pinsit" on the picture representing the Virgin
with the Child playing with a little bird, in the midst of six
angels (fig. 183) 0).
(') A. Venturi, La Galleria Sterbini, p. 47, tells us that this work originates
from Pisa and is of opinion that it is by a Pisan name-sake.
282 PAINTING IN PISA, LUCCA, SARDINIA, ETC.
The type and proportions correspond to what we find in the
few other Lucchese paintings of the 14th century and particu-
larly to those of Angelo Puccinelli (1).
In the first half of the 14th century we gather from several
productions that the dominating influence in Lucca and Pisa
was the tradition created by Simone Martini, but towards 1360
or 1370 the style changed and the heavier and more robust
forms of this period are sooner based on Florentine principles.
The works of artists, such as Giovanni di Niccolo in Pisa and
Angelo Puccinelli in Lucca, show that individual painters felt these
consecutive influences and their manner of painting changed
accordingly.
Pisa was the source of artistic inspiration for the sea-coast
near by because it was the only centre of any importance in this
region; its influence however was limited. We have already
remarked on the presence in Sicily of works of Pisan execution.
The two panels of the 14th century that wre find in Sardinia
probably also belong to the Pisan tradition. One of them is
preserved in the church of Ottana (2); it represents SS. Francis
of Assisi and Nicholas of Mira with small scenes illustrating
eight episodes from each of their legends. The terminals are
adorned with the angel and Virgin of the Annunciation, SS.
Catherine and Helen. It is not a first rate painting but never-
theless it is not without a certain merit, particularly the small
scenes which are depicted with much force.
This work obviously derives from Simone Martini's tradition,
and it might even be said that the type of the Virgin of the An-
nunciation with her dress threaded with gold shows a faint
connection with Duccio's art. Nevertheless it is evident that
it is not a production of the Sienese school whose influence was
probably transmitted to the artist indirectly through a Pisan
follower; perhaps he had seen some of Traini's works, which
would coincide also with the period of execution, because this
panel must have been painted between 1338 and 1344 since the
donor, whose name is inscribed, was Bishop of Ottana during
(4) In the Gallery of Lucca we find still three other local productions of this
period; they are nos. 44, 51 and 52.
(2) Briinelli, op. cit.
Fig. 183. Nanni di Jacopo, Madonna and angels. Ex-Sterbini
Collection, Rome.
284 PAINTING IN PISA, LUCCA, SARDINIA,
these years. The decorative details such as the ornamentation
of the gold background, are not inferior to what we find in the
best Sienese works.
The other panel painting of this school in Sardinia is kept in
the Town Hall of Sassari, it represents the half-length figures of
St. Antony Abbot in the centre with a bust of the Saviour in
the terminal, and of SS. Nicholas and Lawrence to the sides (fig.
184) (1). It is again a painting of a Pisan master working under
the influence of Simone's tradition but the forms are heavier
than in any of the other productions of this group.
A Madonna in the Museum of Cagliari by the Ligurian painter
Bartolommeo da Camogii will be discussed presently.
We now turn to the province of Liguria (-) where, as we saw,
Turino Vanni left a picture in the church of S. Bartolommeo
degli Armeni in Genoa. Taddeo di Bartolo, it is true, was the
animating spirit of the painting in this region in the 14th century
but he, dividing his energies between Pisa and Genoa, only
helped to strengthen the connection that existed between these
two towns (3). Barnaba da Modena, as I have said elsewhere (4),
was also active in Liguria.
The earliest Ligurian artist that we know is Bartolommeo
Pellerano da Camogii (5) who is mentioned for the first time in
1339, as engaging an assistant. Considering that he died before
1349 — probably in October 1348 — leaving sons, young enough
to require the appointment of a guardian, the date of his birth
can be admitted as being between 1300 and 1310
The helper whom Bartolommeo engaged in 1339 was also a
Ligurian of the name of Simone de Meraldo da Rapallo. A
document of 1341 records the name of another painter of this
(:) G. G. King, Sardinian Painting, I, London, New York etc., 1923, p. 55.
(2) Alizeri, Notizie dei professori del disegno in Ligiuria dall origine al
sec XVI, 3 vols , Genoa, 1870. Varni, Appunti artistici sopra Levante,
Genoa, 1870.
(3) v. Vol. II, p. 545.
(4) v. Vol. IV, p. 370.
(5) G. De Marzo, Delle belle arte in Sicilia, II, Palermo, 1859, pp. 172 — 177.
The Same, La pittura in Palermo nel Rinascimento, Palermo, 1899, pp.
38—41. Varni, op. cit., pp. 46 and 135. Janitsheck, Repert. f. Kunstwiss., I,
P- 355-
LIGURIA AND IN SMALL TUSCAN CENTRES.
285
region, Antonio Pellerano da Camogli, doubtless a member of
the same family as Bartolommeo to whom we are informed he
owes eight Genoese lire.
In 1346 Bartolommeo undertakes to execute a picture for the
church of S. Siro in Genoa. His death is recorded as having
already taken place in 1349, while in a document of the same
Fig. 184. Three saints, Pisan School. Sassari, Sardinia.
Photo Alinari.
year we find another Ligurian artist, Giovanni da Rapallo, taking
over his "bottega".
The only authentic work by Bartolommeo da Camogli
which is extant, is a Madonna of Humility from the church of S.
Francesco, Palermo, now in the museum of the town, while,
some writers say it was brought from Genoa. This painting,
which confirms the relationship that existed between Sicily and
the Italian sea-port towns on the Mediterranean, shows the in-
scription: "NraDna Dc Humilitate MCCCXXXXVI Hoc opus
286 PAINTING IN PISA, LUCCA, SARDINIA,
Pinsit Magister Btolomeus De Camitlis Pintor" (fig. 185). The
Madonna is depicted humbly seated on the ground, nursing the
Child; two miniature figures of the angel and Virgin of the An-
nunciation adorn the spandrels, while in the predella we see the
members of a religious order kneeling in adoration before the
symbols of the Passion.
In the Museum of Cagliari there is another Madonna by the
same artist, which originates from the church of S. Domenico*
This panel, which is in a very ruinous condition, is not signed,
but the characteristics of the authentic work are sufficiently
marked here for us to ascribe it to the same master.
The attribution to Bartolommeo da Camogli of a half-length
figure of the Madonna with the Child in Sta. Maria in Castello
in Genoa is less certain, The figures show the outline and type of
this artist's productions but the picture is so thoroughly repaint-
ed that it is impossible to verify the supposition (1).
There is no difficulty in establishing the principal artistic
tradition to which Bartolommeo da Camogli's painting belongs.
It is certainly the Sienese, in which Simone Martini's is the
dominating influence; but as in the Pisan productions, the
forms have changed under the artist's provincialism and idividu-
ality. It must be admitted, however, that with the exception of
Traini's and Giovanni di Niccolo's best productions, we do not
find such pleasing works in Pisa.
Belonging to the same artistic current, but of slightly later date
was a certain Francesco d'Oberto, who is mentioned in 1357 and
who in 1368 adorned a lunette in the church ofS. Domenico
with the half-length figures of the Virgin, SS. Dominic and
John the Evangelist and signed his work: " Francisai d'Ob'to*
pinxit" (2). This painting which, at the time Rosini wrote, was
privately owned, is now in the Gallery of the Accademia in
Genoa. The Sienese influence is even more marked than in the
works of the preceding artist.
Another Ligurian painter who is a fairly well defined figure, is
(1) C. Aru, op. cit., hesitatingly attributes it to the Ligurian school of the
14th century.
(2) Rosini, op. cit., II, p. 228. A/izeri, op. cit., II, p 408. Grasso, Pittura
genovese, Rivist. Ligure di Scien. Lett, ed Arte, 1908.
LIGURIA AND IN SMALL TUSCAN CENTRES. 287
Fig. 185. Bartolommeo Pellerano da Camogli, Madonna ot Humility, 1346.
Pinacoteca, Palermo.
Photo Minist. della Pubbl. Istr.
DEPARTMENT OF ART AND ARCHAE.
288 PAINTING IN PISA, LUCCA, SARDINIA,
Niccolo da Voltri (l). The following data concerning him have
come to our knowledge : in 1385 he witnesses an act in which he
is mentioned as painter and citizen of Genoa; in 1401, he under-
takes to execute a polyptych for the Cathedral of Nice and the
same year signs an altar-piece for the church of Sta. Maria delle
Vigne in Genoa, which picture is now found in the store-room
of the Vatican Gallery; in 1405 he, along with twenty-two other
painters, receives the right to name the consuls for the corpor-
ation, while in 141 7 he contracts to make aMaesta for the church
of S. Olcese in Val di Polcevera (2). There is a half-length figure
of the Madonna signed by Niccolo da Voltri in the church of
S. Donato, Genoa, but it is often attributed to Barnaba da
Modena, and there existed another picture showing the sig-
nature u Nicholaus opus", in the church of S. Teodoro; it was
mentioned by Raffaele Soprani in the 1674 edition of his "Vite"
of Genoese artists but in the that of 1768, published by C. G.
Ratti, it is mentioned that this picture has disappeared (3).
Prof. L. Venturi has very justly remarked that in Niccolo da
Voltri's art, the influence of two outside painters of considerable
importance who worked in Liguria and left their productions
there, can be clearly observed. These two artists were Barnaba
da Modena and Taddeo di Bartolo, but the influence of the latter
became more and more predominant as Niccolo's career devel-
oped. A resemblance to Barnaba da Modena's painting is partic-
ularly noticeable in the half-length figure of the Virgin in the
church of S. Donato which bears the signature, "Nicolaus D
Vulturo pin ", but even in this picture, the beginning of Tad-
deo's influence is manifest in the round unpleasing forms so
characteristic of this Sienese master.
I do not agree with SignorL. Venturi, that there is no trace of
Barnaba's influence in the polyptych from Sta. Maria delle Vigne,
Genoa, now in the store room of the Vatican Gallery, which
shows the inscription "Nicolaus de Vulturo pinxit MCCCCI"
(fig. 186). The proportions do not yet exactly correspond to
C) L. Venturi, Niccolo da Voltri, L'Arte, 1918, p. 271.
(2) These documents are found in Alizeri, op. cit., and in L. Venturi,
op. cit.
(3) L. Venturi, op. cit.
LIGURIA AND IX SMALL TUSCAN CENTRES. 289
j^wrrtft:tifttett:^-»fJwMwaiitni8ngffiim^
Fig. 186. Niccolo da Voltri, Polyptych, 1401. Store-room, Vatican Gallery.
Photo Sansaini.
"9
290 PAINTING IN PISA, LUCCA, SARDINIA,
Taddeo's and the difference between this picture and the pre-
vious one is not great enough for us to admit that between the
execution of the one and the other the master's style had com-
pletely changed. On the other hand the form and disposition of
the panel closely resemble those of Taddeo's Annunciation of
1409 in the Gallery of Siena I1)- In Niccolo's altar-piece too, the
principal figures are those of the Annunciation; the archangel
Raphael and St John the Baptist are depicted at the sides while
above, we see the Hoi}- Trinity in the centre and two half-length
figures of saints, one above the other, at either side.
Niccolo da Voltri was completely dominated by Taddeo di
Bartolo when he executed a half-length figure of the Madonna
in the midst ol four angels with two miniature portraits of the
donors originally in the Dominican monastery at Finalborgo,
now in the Gallery of Savona (fig. 187). This picture, which has
often been ascribed to Barnaba da Modena, is essentially a pro-
duction of Taddeo's school; the unpleasing image of the Child
is a poor imitation of the Sienese artist's not very beautiful
model; the mantle threaded with gold is one of the last details
borrowed from Barnaba.
The half-length figure of the Madonna between two saints in
the church of S. Siro, Genoa, which is ascribed to Niccolo 1 2)y
must, I think, have been executed in the same manner; but it has
been so thoroughly repainted that it is impossible to judge with
certainty.
A few other works might still be added to the list of Ligurian
paintings that I have already mentioned.
Some 14th century frescoes are preserved in the vicinity of
Albenga(3); a polyptych of this school of about 1400 is found in
the parish church of LavagnolaU); the church of S. Bartolom-
meo, Genoa, possesses a considerably restored painting of a
saint and scenes from his life, while in the church of the Hospital
for Incurables we find three panels showing figures of saints.
(\) Vol. II, p. 561.
(2) C. Ant, Una Madonna di Niccolo da Voltri, L'Arte, 1921, p. 208.
1 ) P. Toesca, Antiche affresche nel dintorni di Albenga, L'Arte, 1906
p. 460
i4) P. Toesca, Bolletino d'Arte del Minist. della Pubbl. Istr.. 1923, p. 291
LIGURIA AND IN SMALL TUSCAN CENTRES. 291
Fig. 187. Niccolo da Voltri. Madonna. Gallery, Sav< ma.
Photo Alinari.
292 PAINTING IN PISA, LUCCA, SARDINIA,
The artist of the last mentioned pictures was strongly influenced
by Barnaba da Modena (x|.
Works of the 14th century in Liguria, however, are fairly
rare; furthermore, there does not seem to have been a very large
number of painters. Several whose names have been recorded
are called da Camogli. We find Opozzino da Camogli in 1302;
Aufreone di Noci da Camogli who, in 1348, receives Guglielmo
de Celesia as pupil ; Giovanni di Rapallo, active from 1348— 1366,
who has already been mentioned; and in 1368 Oberto de Monellia,
Janino Antonio Vaccha and Manuel Vaccha da Albenga ; but the
number of outside painters who worked in Genoa in the second
half of the 14th century is considerable. They came chiefly from
Florence, but also from Modena, Padua and Siena, such for
example as Giovanni di Giorgio daPadova active in Genoa from
1367 till 1397, Barnaba di Bruno di Siena who in 1360 assisted
Giovanni di Rapallo at Genoa and Barnaba da Modena who
worked there in 1362 (2). A monk of the Cibo family who was
born in Genoa in 1326 exercised the art of miniaturist. He is des-
cribed as "il monaco dell' Isole d'Oro" and is supposed to have
executed certain miniatures in a manuscript in the Vatican (3).
The works which we find in these regions of lesser importance
in Tuscany, situated nearer to Florence than to Siena, prove that
the artistic dissemination from the former town was very limited
compared with that from Siena, of which all the beautiful Sienese
paintings in this region bear testimony. Paintings produced
nearer Florence are always of a very mediocre technique and
but rarely worthy of a detailed description. While pictures of
good qualit}' seem to have been so abundant in Siena that even
its most modest dependencies received a share, there is no
evidence of a similar munificence around Florence, for imme-
diately beyond the town, the manner of painting becomes pro-
vincial.
Going north from Florence we find that besides the Florentine
artists who worked there and whose productions we have dealt
(') P. Toesca, op. cit., p. 294, note 3.
(2) Alizeri, op. cit., I, pp. 119, 131, 136, 137, 138, 141, 146 and 405. Varni,
op. cit., pp. 50 and 142.
(3) Soprani, op. cit., p. 9. Badimicci, I, p. 303. Rosini, II, p. 229.
LIGUKIA AND IX SMALL TUSCAN CENTRES. 293
with in Vol. Ill, Prato and Pistoia possessed a group of painters
of a certain consequence. Several [4th century paintings that are
preserved in Montecatini, Pescia^) and other little towns in the
neighbourhood only help to augment the importance of Pistoia
as an artistic centre)-).
The Florentine school dominated also the valley of the Arno.
Going towards the sea we find apart from some insignificant
works (;!). traces of a considerable artistic prosperity at Empoli,
here with the exception of one Sienese painting --a Madonna
in the Collegiata -- we see in the gallery of this church several
works belonging to the Florentine school, some of which are
anonymous and might be the production of local artists!4). A
Giottesque crucifix at Marcignano near Empoli, is of a very
mediocre technique L).
In the valley of the Arno to the south of Florence, the influence
of the Florentine school can be traced as far as Arezzo(6) which
town possessed an artistic centre sufficiently important for us to
deal with it apart. Further south at Castiglion Fiorentino we
discover the existence of both the Florentine and Sienese cur-
rents (7); while at Cortona, not far from here, Siena was repre-
sented in the first half of the 14th century by the two Lorenzetti
I1) M. Salmi, Spigolature d'Arte toscana, L'Arte, 1916, p. 210.
(2) These paintings are mentioned by C. Stiavelli, L'Arte in Val di
Nievole, Florence. 1905. pp. 4. 15, 17, 23, 36, 59, 61, 82, 83, 88. 92 and 123.
(3) G. Carocci, II Valdarno da Firenze al mare, Bergamo. 1906. pp. 7.35
and 45.
(4) Gigiioli, Empoli artistiea, Florence, 1906. pp. 60 — 62.
(5) Giglio/i, op. cit . p. 188. wrongly attributes it to the 13 '■ century.
(G) At Rosano, near Pontassieve, the church contains an Annunciation
of the school of Agnolo Gaddi. In the church of Ristonchi, near Vallambrosa,
we find two panels each showing three saints, executed in an original and
interesting manner; a Madonna delle Grazie in the Oratory of San Giovanni
Val d'Arno which also possesses an altar-piece by Giovanni del Biondo.
shows, although considerably repainted, Florentine characteristics. E. Bahli,
L'Oratorio della Madonna delle Grazie in San Giovanni in Val d'Arno.
Florence, 19:4. pi. XII. Some remains of 14th century frescoes are to be
found in the S. Lorenzo church of this town.
(7) The former of these schools is represented by a Madonna by Taddeo
Gaddi (v. Vol. Ill, p, 342); the latter by Segna's Maesta (v. Vol. II. p. 127 .
A half-length figure of the Madonna in the church of Rivaio seems to be
a production sooner of the Sienese tradition. A. Del Vita, Castiglion
Fiorentino, Milan, no date, pi. XI.
294 PAINTING IN PISA, LUCCA, SARDINIA,
and perhaps also by Barna da Siena ( 1), but the Coronation of the
Virgin by Lorenzo di Niccolo Gerini cannot be cited as a proof
of this Florentine's activity in Cortona because it is well known
that this altar-piece was sent there from Florence (-).
In the valley of the Elsa, going from Empoli towards Siena
there is but little evidence of a Florentine influence. I have already
mentioned the frescoes at San Miniato al Tedesco, executed
after the manner of Gerini (3) ; and the one in the council room of
the Town Hall, a fresco dating from 1393, wrhich clearly belongs
to the same tradition (4). At Montespertoli, Castel Fiorentino
(Yal d'Elsa) and the neighbouring country there exist a few
frescoes of the 14th century which can be classified as works of
the same school (5); but beyond Certaldo(6) all the paintings
belong to the Sienese school. Exception, however, must be made
for a Florentine painting of the Madonna between SS. Dorothy
and Lucy in the parish church of Barberino.
The Casentino, from an artistic standpoint, was also domin-
ated by Florence; certain works in this region date from as early
as the end of the 13th century ('). Jacopo, who called himself after
this district, really belonged to the Florentine group of artists;
several paintings of the Florentine school are preserved in the
Casentino (8).
Arezzo was a very active centre of art. It was influenced on
one hand by the Florentine school of which the Aretine painter,
Spinello Aretino, was a member (9), while on the other hand
many Sienese artists came there to work. Among them wre can
cite DuccioC0), SegnadiBuonaventura, whose crucifix still exists
( ') v. Vol. II, pp. 285, 299, 323, 326, 343, 370- and 377.
('-') v. Vol. Ill, pp. 632, 635.
(") v. Vol. III. p. 631.
I1) G. Carocci, op. cit, p. 94, assigns it to the school of the Gaddi. Khovs-
hinsky and Salmi, pp. cit., p. 49, hesitatingly ascribe it to Cennodi Fran-
cesco di Ser Cenni. v. Vol. Ill, pp. 561 and 563. I attribute it to the school of
Nic. di Pietro Gerini.
(3) M. Cioni, La Valdelsa, Florence, 1911.PP. 186, 195, 213 and 215.
(") v. Vol. II, p. 542-.
(7) v Vol. I, p. 300.
(8) Salmi, Spigolature etc. Bern', Guida del Casentino, Firenze, 1909.
('•') v. Vol. III. p. 577.
<"') v. Vol. II, p. 5.
LIGURIA AND IN SMALL TUSCAN CENTRES. 295
in the church of SS. Flora e Lucilla('), Pietro Lorenzetti whose
magnificent altar-piece is preserved in the Pieve(-), Barna da
Siena to whom the fresco of the Crucifixion in the Cathedral can
perhaps be attributed (:!), while the presence of Luca diTommc 1 ' )
and of Taddeo di Bartolo(5) has also been recorded.
There were, besides, local painters active in Arezzo from the
beginning of the 14th century. The best known was Montano
d'Arezzo; we find also Gregorio and Donato d'Arezzo and
Giovanni Toscano, perhaps the same as Giovanni d'Arezzo, who
assisted Matteo Gianetti da Viterbo in the decoration of the Palace
of the Popes at Avignon (,;).
To us Giovanni Toscano is but a mere name and we do not
possess one work that can be attributed to him. Vasari gives us
a certain amount of information concerning this artist ("). In the
first edition of his book he calls him Tossicani, a mistake that
Cavalcaselle copied. Vasari describes him as Giottino's best
pupil and tells us that he worked throughout Tuscany, but in
particular at Arezzo, Empoli and Pisa, but once more, Vasari
seems to have let his imagination run away with him, because
he tells us that the artist's last work was the decoration of a
chapel for the Contessa Giovanna di Tarlato da Pietramala
whose epitaph bears the date 1335. A pupil of Giottino's could
hardly have been working at this early date, and certainly not at
his last production. Milanesi doubts this artist's Aretine origin
and thinks that he was more likely a native of Florence where a
painter of the name of "Giovanni di Francescho dipintore To-
schani" is inscribed in the roll of painters of 1423.
More information is recorded concerning Montano d'Arezzo (8),
( ') v. Vol. II, pp. 127 and 129.
('-') Idem, pp. 323 and 342.
(') Idem, pp. 285 and 297
I4) Idem, pp. 466 and 483 '.
Is) Idem. p. 548.
(,!) Idem, p. 311.
1 7i / 'asari-Milanesi, I. p. 629.
Is) Croive and Cavacasel/e, II, pp. 97 and 98. E. Bertaitx. Sta. Maria di I )onna
Regina, Naples, 1899. p. t 18 G. Filangieri di Sar/iauo, Documenti per la
storia, le arti e le Industrie delle provincie napolitane, VI, Napoli, 1891,
p. 190. W. Rolfs. Geschichte der Malerei Neaples, Leipzig, 1910. pp. 35
and 44. U. Pasqui, Pittori aretini vissnti della meta del sec. XII al 1527.
Ri vista d'Arte, 1917— 1918. p. 37.
296 PAINTING IN PISA, LUCCA, SARDINIA,
whom, however, we find active only in Naples where in 1305 he
decorated two chapels in the Castello Nuovo for Charles II, and
it is perhaps to this ornamentation or that of two other chapels
that a document of 1309 makes reference. Giotto succeeded him
in this enterprise. In 1308 he painted a crucifix for the same king'
to offer to the monaster}7 of St. Louis at Aversa, in the Francis-
can monastery of which town the painter executed some fres-
coes. In 13 10 Philip of Tarento charged him with the execution
of the extant Madonna for a chapel in the church of Monte-
vergine, near Avellino ; the same prince "requested him to make a
similar picture for a chapel in Naples and recompensed the artist
for this work with a gift of land. Lastly he is mentioned in a
document of 13 13 concerning this land and is spoken of there as
the "pittore famigliare e fedele del re".
The Madonna at Montevergine, which is doubtless the one to
which the document alludes, is in a bad state of preservation. It
is a large panel showing the Virgin carrying the Child Christ,
Who is very small, between two angels swinging censers while
six others are depicted at the foot of the throne. The technique
of the entire picture is the same and in no way supports the
hypothesis that the head of the Virgin was brought from the
Orient and the rest of the picture painted around this fragment.
In the drawing there are certain features reminiscent of early
Sienese works, but on the other hand the obvious archaic and
Byzantine elements reveal clearly that this master's style is
based on the art of the previous century.
Gregorio and Donato d'Arezzo are known to us only from
their signature on a triptych which bears the date 13 15 and
which has recently (February 1922) been stolen from the Cathe-
dral of Bracciano (figs. 188 and 189). The three panels which
compose the picture are painted on both sides. In the central
panel on one side the Saviour is depicted sitting on a throne
bestowing a blessing while two very small angels swing censers
over His shoulders; the wings on this side are adorned with the
figure of the Baptist and St. Nicholas; the latter is very damaged.
On the reverse side is represented the Assumption of the
Madonna who, in a mandorla, is borne heavenwards by four
angels while on one side of the empty tomb below, we see St.
Thomas receiving the holy girdle and on the other a kneeling
LIGUR1A AND IX SMALL TUSCAN CENTRES. 297
Fig. 188. Gregorio and Donate d'Arezzo, Triptych, 1315. Formerly in the
Cathedral of Bracciano.
Photo Minist. delta Pubbl. Istr.
monk. The figures on the lateral panels are those of SS. Stephen
and Lawrence.
As in Montano's Madonna, here too the reminiscences of 13th
century painting are obvious in the schematic drawing, but in
this case the sturdier forms reveal sooner a Florentine than a
Sienese influence. The decorative details are finelv executed and
298 PAINTING IN PISA, LUCCA, SARDINIA, ETC.
recall similar ornamentations on certain of Giotto's panels (*).
The paintings of this period that remain in Arezzo itself do
not lead us to suppose that the local school attained a very high
standard. Several works are preserved in the Gallery (2);
among them the most interesting are : a crucifix (no. 3) from the
church of Sta. Trinita which is executed after the manner of the
previous century ; a detached fresco of the Pieta (no. 9) showing
a half-length figure of the Saviour in a little building between
those of the Virgin and St. John, which bears some resemblance
to Spinello Aretino's manner but which is sometimes attributed
to Jacopo di Landino, none of whose authentic works is known
to us; a half-length figure of the dead Saviour (no. 4), finely exe-
cuted rather in the Sienese style, but this is an exception, for the
other paintings of the 14th century in the Gallery manifest a
strong Florentine influence or are genuine productions of Flor-
ence itself (3).
With regard to mural paintings of this period in Arezzo, we
find, besides those ascribed to Spinello Aretino or to his school,
a considerable number in the church of S. Domenico, the walls
of which are adorned with Aretine frescoes dating from the 13 tJl
till the 15th century!4). A painting of the Madonna and Child,
with six scenes from the legend of St. James, in the Cathedral
might be identified with the picture thatVasari ascribed toLippo
Fiorentino(5). Its author was influenced by Spinello's art but
otherwise the fresco is of no importance (i;).
Some frescoes of minor importance are preserved in the Pieve
of Sietina and in that of Sta. Maria alia Chiassa in the vicinity of
I ') Compare for example the ornamental design of the Virgin's robe with
that of the figure of St. Stephen by Giotto in the Home collection Florence,
v. Vol. Ill, fig. 99.
(-) A. Del Vita, La Pinacoteca d'Arezzo, Rassegna d'Arte. 1915, p. 75.
M. Sii/mi, Catalogo della Pinacoteca Comunale d'Arezzo, Citta di Castello.
192L
(:;) M. Sa/mi, op. cit., nos. 5, 6, 12, 13, 14 and 23.
(4) M. Sa/mi, Un affresco primitivo in S. Domenico di Arezzo, Rassegna
dJArte, 1910, December, p. I
n Vasari-Milanesi, II, p. 12. Tavanti, Affresco del sec. XIV scoperto nel
Duomo d'Arezzo, Vita d'Arte, 1908, p. 72. A. Del Vita, II Duomo d'Arezzo,
Milan, no date, p. 59.
(G) v. Vol. Ill, p. 609.
Fig. 189. Back of the panel, reproduced as fig. 187.
Photo Minist. della Pubbl. I>ir.
300 PAINTING IN PISA, LUCCA, SARDINIA,
Arezzo. A curious iconographical detail in these two instances, as
well as in a detached fresco in the Gallery (no. 12), is the position
of the Virgin's finger on the Child's throat. Dr. Salmi believes
that this is a sign of protection against a cough!1) but I am of
opinion that it is only meant to portray the gesture of caressing
the Child under the chin. One of the frescoes at Sietina shows
the heretic image of the Trinity, one body with three heads.
Besides those already mentioned, there were other painters
active in Arezzo during the 14th century. The records provide
us with more than twenty names of artists (2j among which is
that of Jacopo di Landino who was born about 1327 and who
died in 1403, and with whom Jacopo del Casentino has very
frequently been confused.
In the Gallery of Borgo San Sepulcro which, from an artistic
standpoint, was doubtless dependent on Arezzo, we have already
found a polyptych by a late follower of SegnadiBuonaventural::l.
Some very mediocre frescoes which are preserved in different
churches of the town seem to belong sooner to the Florentine
tradition (4).
Going south by the valley of the Chiana we reach Montepul-
ciano, near the Umbrian frontier. Here too several works point
to the predominance of the Sienese school. I have already men-
tioned a Madonna in the church of St. Agnese as a work faintly
reminiscent of the school of Simone(r>). In a little chapel to the
right of the entrance in the same church we find another fresco
which has been inspired by the same artistic movement. A very
small fresco of the Madonna on the second altar to the right in
Sta. Maria, shows the same influence.
In the Gallery of this town there is an important but consider-
ably repainted panel of the Coronation of the Virgin in which the
(') M. Salmi, Catalogo etc., p. 18.
(2) A. Del Vita, Documenti su pittori aretini dei secoli XIV — XVI, Rivista
d'Arte, 1916, p 142. U. Pasqui, op. cit. G. F. Gamurrini, I pittori aretini dalT
anno 1 150 al 1527, Rivista dArte, 1917 — 18, p. 88.
(:1) v. Vol. II, p. 156.
(4) O. H. Giglioli, Borgo San Sepolcro, Florence, 1921, pp. 7, 14,17,20
and 32.
(5) v. Vol. II, p 248 note 1.
LIGURIA AND IN SMALL TUSCAN CENTRES. 301
angels grouped around the throne clearly reveal the influence of
Pietro Lorenzetti(')-
Among the pictures which are kept in the store-room of the
library we find a processional banner showing an important
composition of the Crucifixion. Notwithstanding the numerous
alterations and even additions that have been made in the 17th
century the painting still obviously reveals the hand of a capable-
artist, inspired by the manner of Barna.
Pistoia possessed a little nucleus of painters who were fairly
independent of Florence. This group flourished only in the third
quarter of the 14th century, since earlier in the Trecento we find
painters from the great centres of Florence and Siena working
there. It is said that Duccio went to paint at Pistoia (-); Pietro
Lorenzetti certainly was active there because the Madonna by
him in the Uffizi originates from the church of S. Francesco of
this town f3). According to Vasari this church possessed also a
Madonna from the hand of Lippo Memmi I ').
The Florentine school was naturally well represented. It will
be remembered that the choir of S. Francesco was decorated
with beautiful Giottesque frescoes, illustrating the history of St.
Francis (5). The altar-piece for S. Giovanni fuor Civitas was exe-
cuted by Taddeo Gaddi (,;). There was a crucifix by Puccio
Capanna in the church of S. Domenico, of which Vasari records
the inscription (7), while Maestro Stefano Fiorentino was also
active (8). We find still a Madonna that Prof. Venturi attributes
to the Bolognese painter, Lippo Dalmasio, who came to this town
where his father Lippo was active in 1365, 1380 and 1384 (9).
From the above facts we are forced to infer that Pistoia did
not possess any good painters in the first half of the 14th century
(') Recently Mr. Dewa/d has wrongly attributed to his imaginary "Master
of the Ovile Madonna", v. addition to Vol. II, p. 333 at the end of this volume.
f-i v. Vol. II, p. 153.
(:,l Idem, p. 363.
(J) / 'asari- Milanesi, I, p. 556.
(5) v. Vol III, p. 268.
n v.Voi ill, p. 335.
1 7) / 'asari- Milanesi, I, p. 403.
(8) Crowe and Cavalcaselle, II, p. 172.
('•'1 / "enturi, Storia dell' Arte italiana, V, p. 948 ; v. Vol. IV, p 453.
302 PAINTING IN PISA, LUCCA, SARDINIA,
and this is confirmed by what I have already said in connection
with the Lucchese group of painters, that in 1347 when an artist
of great renown was required for the altar-piece of S. Giovanni
fuor Civitas, the list that was drawn up by the authorities of
Pistoia included painters from Florence, Siena and Lucca but
none from their own town P).
We find, however, the names of Alessio d "Andrea andBonac-
corso di Cino recorded as the painters who, in 1347 worked in
the chapel of St. James in the Cathedral and there depicted an
image of the Saviour in glory and scenes from the life of St. James.
They were assisted by TommasodiLazzarowhosefather, Jacopo,
was also a painter of whom mention is made in 1368. In 1380 we
meet with another Pistoian artist of the name of Filippo di
Lazzaro (-').
Of painters of the second half of the 14th century we know
Sano di Giorgio, an unimportant artist by whom a painting of
the Madonna and angels is preserved in the church of S. Michele in
Borgo at Pescia while in documents we find mention of Giovanni
di Bartolommeo, Cristiani and Antonio Vite but no authentic
works by the latter are known. Pistoia, however, possessed a
considerable number of fairly important paintings dating from
this period.
Giovanni di Bartolommeo Cristiani, about whom Vasari fur-
nishes us with the absurd information that he was a pupil of
Cavallini'sp), was the son of a tailor called Jacopo. He is mention-
ed in 1366, the year of his marriage, in 1367 when he worked
in the church of S. Salvatore, in 1370 when he signed the extant
picture, in 1374 when he was"anziano"and in 1377 — 1378 when
he painted the figures of the Virtues and the Fathers of the
Church in the portico of the Cathedral. Further he worked with
(:) Crowe and Cavalcaselle, II, p. 126 note.
(2) Ciampi, Notizie inedite della sagrestia di Pistoia etc., Florence, 1810,
pp.93, 106, 107 and 145.
(3) Only, however, if we identify his Giovanni di Pistoia with this painter,
Vasari-Milanesi, I, p. 542. See also Ciampi, op. cit., p. 117. To/omei, Guida
di Pistoia, Pistoia, 1821, pp. 13, 102, 161 and 163. Crowe and Cavalcaselle,
III, p. 219. C/iiappelli, Di una tavola dipinta di Taddeo Gaddi, Bollet. Stor.
pistoiese,II, 1900. Khvoshinsky and Salmi, op. cit , p. 37. M. Salmi inThieme-
Becker, Ktinstler Lexikon, XIV, p. 108.
LIGURIA AND IN SMALL TUSCAN CENTRES. 303
Fig. 190. Giovanni Cristiani, Polyptych. Acton Collection, Florence.
Antonio di Borghese in 1381 — 1382 in the Campo Santo of Pisa ;
a picture by him of the Madonna between two saints, once in the
Castle of Montemurlo, dated from 1390, while Tolomei in his guide
ofPistoia mentions a Madonna of 1391. In 1396— 1398 he executed
frescoes illustrating the genealogy and the Life of Christ in the
church of the "Disciplina dei Rossi". At one time there existed
paintings from his hand in the church of S. Lazzaro alle Fornaci,
3°-
PAINTING IN PISA, LUCCA, SARDINIA,
Fig. 191. Detail of fig. 190.
just beyond the Porta Lucchese, in the Cathedral (0, in the bis-
hop's palace and in that of the "anziani". He has also been held
responsible for the design for the silver altar of St. James in the
Cathedral. The artist had five sons, two of whom were painters,
(') Tolomei, op. cit., p. 26.
LIGURIA AND IN SMALL TUSCAN CENTRES. 305
Bartolommeo, born in 1367, and Jacopo, a child of the father's
second marriage, in 1395.
The only authentic works by Cristiani are the altar-piece in
S. Giovanni fuor Ci vitas and the frescoes representing the Virtues
in the portico of the Cathedral. The latter decoration is so ruined
that it affords us no idea of the master's style. The panel painting,
however, is well preserved ; it shows in the centre St. John the
Evangelist in majesty between four angels while two small de-
votees kneel below ; to either side we see four scenes from the life
of the saint. This work manifests in the details of the composition
as well as in the technique of the plasticity a strong influence
of Andrea Orcagna; certain of the t}Tpes are reminiscent of Tad-
deo Gaddi's art. Judging from this picture it may be said that
Cristiani was an able artist, but one without any originality and
a close adherent of the Florentine school.
Mr. Offher rightly attributes to this painter an important
polyptych in the collection of Mr. Acton, Florence, representing
the Virgin and numerous saints (figs. 190 and 191) and Caval-
caselle hesitatingly ascribed to him the frescoes in the St. Louis
chapel of S. Francesco, Pistoia, and those in the church of S.
Antonio Abate (1), but these works bear only a vague resembl-
ance to this artist's style.
Antonio Vite di Pistoia was, according to Vasari, the pupil
that Stamina in 1403 sent in his place to Pisa to decorate the
Chapter House of S. Niccolo, a decoration that still existed in
Vasari's day (2). Further Vasari informs us that the scenes from
the life of Francesco di Marco in the "Palazzo del Ceppo" at Prato
are from his hand (3) but this seems unlikely because we know
that Niccolo di Pietro Gerini and other artists whose names are
recorded, worked there in 141 1. Ciampi attributes to him some
frescoes on the exterior and in the interior of the church of
S. Antonio Abate and affirms that Vite finished the frescoes in
the Chapter House of S. Francesco which Puccio Capanna had
(') Crowe and Cavalcaselle, II, p. 149, III, p. 219.
('-) I Tasari-Milanesi, p. 8. Manni in his annotations on Baldinucci gives the
signature as "Antonio Vite de Pistorio pinxit" . Baldinucci calls the painter
Lorenzo Antonio Vite.
(:l) Vasari-Milanesi, p. 26 and p. 8 note. Should this not be the Palazzo del
Ceppo in Pistoia?
v 20
3°6
PAINTING IN PISA, LUCCA, SARDINIA,
Fig. 192. Detail of the Paradise, Pistoian School, 2nd half of the 14th century.
Monastery of S. Antonio, Pistoia. Photo Brogi.
begun. He believes him to have been the author of the frescoes
in the Campo Santo of Pisa representing the Passion and Resur-
rection of Jesus Christ that I have classified as a work ofTraini's
tradition. Tolomei provides us with the facts that Antonio's
family belonged to Lamporecchio, that he was mentioned as
early as 1347 and that in 1378 he was a member of the council of
Pistoia. The name of Antonio di Filippo di Pistoia appears in a
LIGURIA AND IN SMALL TUSCAN CENTRES.
3°7
roll of the members of the painters' corporation of Siena in
1428 ( i), but if Tolomei's statements are correct it seems highly
improbable that this record bears reference to the artist in
question.
From what remains of these frescoes it is very evident that
they are from different hands so that it is impossible to ascribe
any at all to Antonio Vite.
Fig. 193. Adam and Eve, Pistoian School, 2nd half of the 14th century.
Monastery of S. Antonio, Pistoia.
Photo Brogi.
In the old monastery of S. Antonio or "del T", there are some
frescoes which are contemporaneous with Vite's activity but
here again we can discern different styles.
In this building, the form of which has undergone much change,
we see to one side above, a representation of Paradise, modelled
a little on Orcagna's composition in Sta. Maria Novella, Florence,
and not without a certain resemblance in the style of painting as
G. Milanesi, Documenti per la storia dell' Arte senese, I, Siena, 1854,
p. 48.
308 PAINTING IN PISA, LUCCA, SARDINIA, ETC.
well; the Saviour in Glory in the midst of angels is depicted in
the centre with rows of saints to either side (fig. 192). In another
part of the building the vault is adorned with illustrations from
the story of Adam and Eve (fig. 193), and scenes from the lives
of Christ, the Virgin and St. Anton}7 and with the scene of
Jacob surreptitiously receiving his father's blessing (fig. 194).
The last mentioned paintings are rather provincial in appearance
and are certainly not by the same artist who executed the other
frescoes; they show7, however, a certain resemblance to the
work of the painter, who decorated the Chapter House of S. Fran-
cesco with a large representation of the tree of Bonaventura
simulating the scene of the Crucifixion, with the swooning Vir-
gin in the arms of her companions, St. Francis at the foot of the
tree and other figures (fig. 195).
The very elongated figures with sharp features make it easy
to recognize this master's hand in the ornamentation of the vault,
where we find depicted the Resurrection of Christ (fig. 196),
St. Francis' miracle at the Christmas mass at Greccio, the funer-
al of the saint and St. Francis in glory seated on a Gothic throne
in the midst of angels. The site and general aspect of the decorat-
ion and the composition of the last mentioned scene are similar
to what we find in the Lower Church, Assisi.
Some fairly important frescoes of scenes from the life of St.
Antony have been discovered in S. Francesco in the chapel dedi-
cated to this saint. They are not, however, as Cavalcaselle
thought, from the same hand as the beautiful Giottesque frescoes
in the choir. The paintings in St. James' chapel from the life of
the titular saint are by another artist who shows considerable
connection with the author of the frescoes of the Marriage, Death
and Assumption of the Virgin that have been found in another
chapel. Cavalcaselle associated the last-mentioned paintings, as
well as those in the chapel of St. Louis, with the name of Giovanni
Cristiani.
Donna LippadiLapo, who died in 1386, left in her will an order
for the execution of the latter frescoes (')•
Vasari states that Puccio Capanna executed frescoes from the
(*) Crowe and Cavalcaselle, II, p. 149'. Beam', La chiese pistoiese, Pistoia,
1883.
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PAINTING IN PISA, LUCCA, SARDINIA,
Fig. 195. The Tree of St. Bonaventura, Pistoian School, 2"dhalf of the
14th century. S. Francesco, Pistoia.
Photo Brogi.
life of the titular saint in this chapel, but the date of Puccio's
activity does not correspond to that of the death of Donna Lippa
with which the frescoes seem to be contemporaneous.
The subject of the decoration, however, is not the story of St.
LIGURIA AND IN SMALL TUSCAN CENTRES. 311
Fig. 196. The Resurrection, Pistoian School, 2nd half of the 14th century.
S. Francesco, Pistoia.
Photo Brogi
Louis but the Crucifixion, the Nativity, the Descent from the
Cross and St. Francis receiving the stigmata.
In the same church we find still some fragments of mural
painting. I think we can ascribe to one artist the half-length fi-
gures of the dead Christ and of the Virgin, each in a lunette, and a
312 PAINTING IN PISA, LUCCA, SARDINIA,
figure of the Magdalene, receiving the communion (fig. 197). The
type of the Virgin is similar to that of Giovanni da Milano's Ma-
donnas. The artist to whom we owe these works is interesting
on account of his crude realism, in spite of his rather coarse
technique. There are also some remnants of a figure of the Cru-
cified in this church.
In the Town Hall we find a fresco showing SS.Nicholas(?)and
James carrying the model of a building; above a coat of arms a
half-length figure of the Madonna is represented with a little
angel kneeling at either side below. The image of the Madonna
shows much connection in style to Taddeo Gaddi's art but the
painting dates from 1360.
Vasari, who writes at considerable length ofPuccioCapanna's
activity in Pistoia - - but, as we saw, without much truth — attri-
butes to this artist a half-length figure of the Virgin between
those of two saints over the entrance of Sta. Maria Nuova C).
The Sienese tradition, although of much less importance, is
also represented at Pistoia, as Prof. A.Venturi has remarked, by
two altar-pieces in Sta. Maria del Letto and the figures of SS.
Antony Abbot, John the Baptist and St. Francis in the church of
S.Francesco. The latter three figures are the outcome of Simone
Martini's art (*).
At Prato, which is situated at the gates of Florence, we find
Florentine artists active even towards the end of the 14th century.
Besides Giovanni da Milano, Agnolo Gaddi and Niccolo di Pietro
Gerini also worked there.
Frescoes illustrating the life of the Virgin and the martyrdom
of St. Stephen in a chapel to the right of the choir in the Cathe-
dral of Prato have been, as I remarked, attributed to Antonio
Vite, and Cavalcaselle compares them to the paintings in Pistoia,
ascribed to this artist. They are, however, unimportant works of
later date.
We find a record at Prato of the painters Bettino, 1312 — 1360,
Guido 1330 — 1340, Migliore di Cino and Giovanni di Lotto (').
i1) Vasari-Milanesi, I, p. 403.
(2) A. Venturi, op. cit., V, p. 836.
(3) Crowe and Cavalcaselle. op. cit. Ill, p. 220. Some other 14th century paint-
ings are to be found still in this part of Tuscany. They are: Bibbiena, R. Con-
servatory di S. Andrea, in a room behind the church, Crucifixion between
LIGURIA AND IN SMALL TUSCAN CENTRES.
3L3
If my remarks on painting in the small centres of Tuscany
seem somewhat incoherent, it is due to the fact that we do not
find any general direction in the groups of painters who were
active there.
The absence of unity can be accounted for by the fact that
Florence, contrary to Siena, did not serve as a radiating centre,
Fig. 197. St. Mary Magdalene receiving the Holy Sacrament, Pistoian School,
2nd half of the 14th century. S. Francesco, Pistoia.
Photo Brogi.
and whereas we find Sienese art wide spread in the regions
around the city, Florentine art is, but for a few exceptions, limited
almost to within the gates of the town.
the Virgin and St. John. Borgo a Baggiano (a//o), Pieve di Sta. Maria Mag-
giore, first altar to the right, the Holy Women at the Empty Sepulchre. Campi
Bisenzio, near Prato. Pieve di S. Stefano, crucifix ; facade of the Town Hall,
Annunciation. Peseta, Cathedral, sacristy, some unimportant panels of the
14th and 15th centuries. Popiglio (region of Bagni di Lucca), Sta. Maria As-
sunta, sacristy, panels of no importance. Poppi, courtyard of the castle, re-
mains of frescoes of the 14th and 15th centuries.
CHAPTER IV.
TRECENTO PAINTING IN NAPLES AND IN THE
NEIGHBOURING REGIONS (J).
In almost even' district in Italy to the south of Tuscany,
Umbria and The Marches, painting of the 14th century was im-
ported, and Naples is no exception to this rule.
Thanks to the magnificence of the Anjou's court, the artistic
activity was very intense and the best masters from the impor-
tant centres of painting throughout Italy came to work in Naples
or were represented there by their pupils.
Pietro Cavallini himself was active there while in the frescoes
in the church of Sta. Maria di Donna Regina we have the finest
production of his school (-)• Giotto undertook important works
there (3); we have already noted the presence of Montano
d'Arezzo in this city!4) while mention is made of a certain Barto-
lommeo d'Aquila, a contemporar}r of Giotto's, who, on account
of his name, must have originated from the Abruzzi, a region
which, however, possesses but few pictorial works of any
importance.
As in the case of man)- other parts of Italy, here also we find
that Siena furnished the majority of artists, and it was chiefly
from this town that the Anjou drew the masters who came to
i1) H. W. Sclmlz, Denkmaeler der Kunst des Mittelalters in Unter-Italien,
III, Dresden, i860, p. 3. E. Bertaux, Sta. Maria di Donna Regina e l'arte
senese a Napoli nel secolo XIV, Naples, 1899. The same, L'art siennois a
Naples, Revue Archeol., 1900, p. 31. Erbach von Fiirstenau, Pittura e minia-
tura a Napoli nel secolo XIV, L'Arte. 1905, p. 1. W. Rolffs, Geschichte der
Malerei Neapels, Leipzig, 1900. R. van Marie, Simone Martini, p. 173
'-) v. Vol. I. p. 530.
v. Vol. Ill, pp. 5, 6.
(4) v-P-295-
TRECENTO PAINTING IN NAPLES ETC. 315
work for them. The Sienese sculptor, Tino di Camaiano has left
a large number of works in Naples, where he carved tombs for
many of the members of the royal family; architects, goldsmiths
and bell-founders of Sienese origin are found active in Naples I1).
In 1314 the sculptors and mosaicists who were working in Orvieto
were called to Naples and it might be that some of them came
from Siena (2).
The presence of Simone Martini in Naples, more than that of
any other artist, played a very important part in the development
of the Neapolitan school of painting. The official character of the
picture that he executed for Robert of Anjou (:!) and the title of
knight that was conferred on him(4) lead us to suppose that
Simone at this moment was painter to the king. Further I do not
think that there can be any doubt about Simone's actual presence
in Naples — a question which has given rise to some contro-
versy - for we can hardly imagine that the sole presence of some
pictures sufficed to dominate an entire school of painting so
completely as Simone's art did that of Naples. Besides the work
that I have just mentioned, the Madonna by Simone, now in the
Museum in the Palazzo Venezia, Rome (5), originated from this
part of Southern Italy.
Simone was not the only Sienese artist who worked in Naples;
after him Andrea Vanni (,5) and Fei (7) were active there, unless
the triptych by the latter artist in the Cathedral was sent from
Siena. As will be seen in the notes at the end of this volume, I
discovered a painting by Lippo Memmi at Ravello.
With regard to Florentine painters in Naples, we find only
Niccolo di Tommaso da Firenze in 137 1 (8). As for the local
artists we know the names of Simonetto (1304), Nicola Pigna-
tello (1316) and particularly that of Giovannino Salvaggio who
(M Bertaux, op. cit., p. 174.
('-) Idem.
r) v. Vol. II, p. 182.
(4) Idem, p. 168.
(5) v. Vol. II, p. 186 et seq. A half-length figure of die Saviour in the Gallery
of Naples belongs also to Simone's school, v. Vol. II p 249.
(8) Idem, p. 432.
ri Idem, p. 527.
(8) L. Salazar, La chiesa di Sant' Antonio Abbate, Napoli Nobilissima,
XIV, 1905, fasc. IV. v. Vol. Ill, p. 535.
31 6 TRECENTO PAINTING IN NAPLES
must have been of considerable importance, since the king made
certain dispositions in his favour, dispositions which point, how-
ever, to the artist's poverty (l).
Divers writers have recorded the names of more or less apo-
cryphal painters. A certain Farina, a pupil of Giotto's, is said to
have executed the frescoes in the Incoronata church (2). De
Dominici in his "Vite dei pittori napolitani" mentions Genaro di
Cola, Fra Simone and Stefanone as Neapolitan painters of the
14th century (3), but I do not think that his statements are very
trustworthy. Bartolommeo d'Aquila, to whom I have already
referred, worked in Sta. Chiara in 1328 (4).
In the early years of the 15th century we find a certain Gio-
vanni di Pietro di Napoli who, according to a deed, collaborated
in Pisa with the Sienese artist, Martino di Bartolommeo and it
was even stipulated that he had to paint with his own hands the
figures in a polyptych that they executed together for the hospital
of Sta. Chiara in Pisa ; but this picture, now in the Gallery of Pisa,
bears such a strong resemblance to other paintings which Mar-
tino di Bartolommeo made at this period, that we are forced to
attribute the panel in question to the Sienese master (5).
A work which seems to be entirely independent of the Tuscan
infiltration is a mosaic in a chapel of the church of Sta. Restituta,
showing the Virgin enthroned between SS. Januarius and Resti-
tuta. The position of the Virgin and Child, both represented in
full-face, is somewhat archaic; the Madonna holds a long sceptre
in her left hand (fig. 198). The inscription below shows the date
1322 and the name of the artist runs: "Hoc opus fee. Lellufi,]
Ven. Dofmiujus E ". Herr Rolffs completes it as; Lellns
Venetus Dominus Eqites" (6). Although this manner of complet-
ing the signature seems quite logical, I must say that the Byzan-
tine elements, common to all Venetian mosaics, even to those of
f1) Rolffs, op. cit., p. 50.
(2) Idem, pp. 47 and 62.
(:1) v. Schitlz, op. cit , pp. 164, 188 and 203.
(4) Schulz, op. cit , p. 76 and doc. 390.
(5) Milanesi, Doc. sen., II, pp. 8—10. Schulz, op. cit., Ill, p. 176. Vasari-
Milanesi, I, p. 477s2. Rolffs, op. cit., p. 72. M. Salmi, L'Arte, 1919, p. 158. v. Vol.
II, pp. 584 and 608.
(GJ Rolffs, op. cit., p. 4 r.
AND IX THE NEIGI IBOURING REGIONS.
317
Fig. 198. Lellus, Virgin and saints, 1322. Sta. Restitnta, Naples.
Photo Alinari.
the 14th century, are here absent. In supposing it to be of Sicilian
origin, the same difficulty arises, for the technique of the Sicilian
mosaic worker in the first half of the 14th century was still quite
Byzantine.
318 TRECENTO PAINTING IN NAPLES
I do not share Prof. A. Venturi's opinion that the sketch for
this mosaic was made by Simone Martini. Reminiscences of
Roman art, particularly that of the Cosmati, are, 1 think, more
obvious in the work, which, however, on account of a restorat-
ion made in 1850, probably has lost something of 'its original
appearance.
Among the paintings recently discovered in the church of
S. Lorenzo there is a certain number which seems to show a
connection with the school of Cavallini. These adorn the right
transept and as some of them are found on the right wall over
a tomb which shows the date 1347, they in all probability belong
to the same period. In this part a figure of the Madonna is clearly
visible while some fragments close by apparently formed part of
a representation of the Nativity. On the opposite wall there are
some more important pieces of a fresco of the Death of the Vir-
gin. All these paintings are executed in clear colouring and show
also fairly marked reminiscences of the Byzantine style.
Of the chapels built around the choir the first to the right has
been adorned by a painter of about the same period as the fore-
going and inspired to the same degree by Cavallini but less
influenced by the Byzantine manner. The frescoes represent the
Resurrection of Lazarus, the pilgrims on the road to Emmaus
and St. Mary Magdalene in a grotto.
These paintings are of good quality and not at all provincial
in appearance. They are of a certain importance in that they are
proof of the persistence of Cavallini's school in Naples.
Among the few genuinely Giottesque works in Naples, there
is one, representing the feeding of the five thousand, preserved
in a printing-house in the Largo Sta. Trinita. Little remains of
this decoration, but the contours alone reveal the artist's adher-
ence to the Giottesque school (').
The nun's choir, behind the church of Sta. Chiara, was in all
likelihood once adorned with Giottesque paintings. The fres-
coes that we find there now date from the 18th century,
but the division of the wall into small compartments and even
certain elements in the compositions lead us to suppose that we
are dealing here with completely repainted frescoes ol the
(*) Rolffs, op. cit , p. 33, attributes it simultaneously but with some hesi-
tation to Giotto and to Cavallini's school.
AND IN THE NEIGHBOURING REGIONS. 319
14th century (M. Sumonte, who, in 1524, wrote a letter about the
artistic monuments in Naples, informs us that the paintings here
were by Giotto himself (-).
A fragment of a Pieta in the third chapel to the right in Sta.
Chiara can be classified as a thoroughly Giottesque work, but
again we see little more than the contours of the Virgin who
holds her Divine Son in a manner that reminds us of a represent-
ation of the Descent from the Cross.
Before passing on to the paintings in Naples that belong to
Simone's tradition, I should like to mention a few other works
showing Florentine peculiarities.
I need not describe again the panels by Niccolo di Tommaso
da Firenze in the church of S. Antonio Abbate (3). Some of the
old writers, such as Rosini and d'Agincourt, who read the in-
scription incorrectly, called him Colantonio del Fiore and thought
that he was of Neapolitan origin.
More Florentine than Sienese, but showing a connection with
both schools are the considerably repainted frescoes in S. Domen-
ico, in the second chapel to the left, that dedicated to St. Rai-
mondo di Pennaforta, where, on the left wall, we see the Saviour
on the Cross between the Virgin and St. John and to the extreme
left and right the figures of SS. Dominic and Vincent, each stand-
ing before a gateway (fig. 199). Higher up is depicted what might
be St. John the Evangelist borne to heaven, while a bishop,
followed by a crowd of people, looks at the miracle. Above this
the painter represented probably the martyrdom of the saint
before Nero, but the interpretation of this scene is far from
certain.
On the wall opposite the story of Mary Magdalene is illustrated ;
below, the saint is represented washing the Saviour's feet, but
this fresco has been considerably damaged by the building of a
tomb ; then follows the Noli me tangere and, above, an angel
appearing to the saint who is covered only by her hair. The
figures of SS. Onuphrius and John the Evangelist are seen at the
sides of the window.
(!) Carcano di Varese, Guida della monumentale chiesa di S. Chiara in
Napoli, Milan, no date, p. 25 and pis. 36 and 37.
(2) Rolffs, op. cit, p. 49.
(■') v. Vol. HI, p. 535.
320 TRECENTO PAINTING IN NAPLES
Certain Byzantine features are noticeable in the paintings of
this chapel, but the plasticity of the well-built figures, particu-
larly those in the scenes from the life of the Magdalene, is remi-
niscent of the Florentine school, while the types and expressions
show more connection with Sienese art. This decoration seems
to date from the first half of the 14th century and I fail to see why
Herr Rolffs ascribes it to the 15th century.
This manner of painting, in which a Florentine influence is
more obvious than that of Siena, characterizes some other
Neapolitan works.
In the church of Sta. Chiara, to the left of the entrance, we
find a fresco of the Hoi}' Trinity - - God the Father holding the
Cross to which is attached His Son, towards Whom descends the
Holy Ghost in the form of a dove - - which, although of mediocre
workmanship, has clearly been inspired by Florentine art I1).
The same will be found to be the case for a somewhat repainted
half-length figure of the Virgin, suckling the Child, which is
preserved in the second chapel to the left of the choir in the
church of S. Antonio Abbate ; and for a Coronation of the Vir-
gin in the midst of saints in the first chapel to the right in the
church of S. Pietro Martire, but the site of the painting and the
poor light prevent us from forming a precise idea of this work,
which dates probably from shortly after 1356 (-).
A considerable number of 14th century frescoes adorn the
Minutolo chapel in the Cathedral, and as they show no connec-
tion with Simone Martini's art, I think we should deal with them
now (3). This decoration however is so much over-painted -- the
fate of many Neapolitan works — that it is impossible to form a
definite judgement.
In the vault we see the Saviour in the midst of angels, pro-
phets, Evangelists and saints. Among the frescoes decorating the
right wall some scenes narrating the martyrdom of SS. Peter,
P) Carcano di Varese, op. cit., p. 33 and pi. 53. Rolffs, op. cit., p. 72, fig. 44,
mentions, with regard to this fresco, that the sculptor Baboccio who execu-
ted the Penna tomb, above, was also a painter, so that it is not entirely im-
possible that he is responsible for this mural decoration.
(2) Rolffs, op. cit . p. 68.
(3) Schulz, op. cit. Ill, p. 29, thought them pre-giottesque.
AM) IN THE NEIGHBOURING REGK >NS.
321
Fig. 199. The Crucifixion, middle of the 14th century. S. Domenico, Naples.
Photo Alinari.
21
322 TRECENTO PAINTING IN NAPLES
Paul, Stephen and other saints can be recognized; below, a row
of kneeling knights is depicted.
The vault of the choir is occupied by angelic figures, while
above the two tombs we see near the one to the left a Madonna
and two holy martyrs, and opposite this, Christ between Moses
and Elijah. The walls are decorated wTith scenes from the Life of
Christ; to one side we find the Last Supper, the Betrayal and Ar-
rest, the Flagellation and the Crucifixion presented in a crowded
scene with the swooning Madonna below the Cross ; to the other
side are the Prayer in the Garden of Olives, the Calvary, the
Resurrection and the three Maries at the Empty Sepulchre.
These paintings in as far as they have retained their original
appearance, as is the case with the last mentioned scenes in par-
ticular, are rather coarsely executed and of little aesthetic value.
They are obviously the work of a provincial artist who was in-
fluenced chiefly by the Florentine school, as his pronounced
dramatic sense, which is revealed in the realism of the expres-
sions, clearly demonstrates P).
The foregoing works however do not belong to that part of the
Neapolitan school which was founded by Simone Martini and
which remained more or less faithful to his tradition.
There is a painting in Naples which shows such a close con-
nection with Simone's style that it has sometimes even been attri-
buted to biimp), but although the likeness to his works is indis-
putable, I do not share this opinion.
This picture, which is now preserved in the episcopal palace,
represents the Burgundian, Humbert de Montauro, Bishop of
Naples, whose name and insignia were inscribed in the chapel
in the Cathedral where he was buried and whence the picture
originates. The inscription bore the date 1320 which we can admit
as that of the execution of the panel (fig. 200). The bishop in full
episcopal vestments is represented in half-length figure, bestowin g
(*) Rolffs, op. cit., p. 69, mentions some frescoes in the Lofreddo chapel,
which are unknown to me. He judges them to be unrefined productions of
little value of the end of the 14th century.
(-') e g. by Rolffs, op. cit., p. 40.
AND IN THE NEIGHB< >URING REGK >XS.
323
a blessing ; a bust
of St. Paul adorns
the apex. These
t w o fi gures are
framed by several
borders of orna-
mental design, one
of which is of an
arabesque pattern.
A 1 1 h o u g h the
source of inspir-
ation is obviously
thatofSimone's art,
it is none the less
clear that the paint-
ing is not by him but
by one of his more
faithful pupils; force
and realism are
more marked than
in Simone's work
The technique is
in no way less fine
than that of a
genuine Sienese
painting.
Slightly more
provincial in ap-
pearance but the
work in which, after
the foregoing panel,
Simone's manner is
most faithfully re-
produced, is a
fresco on a wall in
the refectory in
the convent of Sta.
Chiara. Here we
see the Saviour
Fig. 200. Bishop Humbert de Montauro, school
of Simone Martini. Episcopal Palace, Naples.
324 TRECENTO PAINTING IN NAPLES ETC.
sitting on a Gothic throne, inlaid with marble (fig. 201) between
six saints ; to the left are represented the Virgin, St. Louis of
Toulouse and St. Clare and to the right SS. John the Evangelist,
Francis and Anton)' of Padua. The figures of adorers at either
side are much smaller. It is generally believed that those
near the Virgin are King Robert and Charles of Calabria and
that the female figures opposite are their wives Sanchia and
Marie de Valois; all are dressed in garments of very rich
material, adorned with fleurs-de-lis; Robert and his wife wear
emblems of royalty.
The painting is not very pleasing, and here and there it has
been retouched. Simone's inspiration can be discovered in the
style of the figures, particular)- those which are erect, as well as
in the types and the expressions. Of Cavallini's art which Herr
Rolffs believes to be the dominating influence here, I fail to find
any trace(' ). The fresco must have been executed between 1324
and 1328 since Charles of Calabria married in the former of these
years and died in the latter.
In the Erbach von Fiirstenau collection a panel with apoca-
lyptic representations revealing some connection with Neapoli-
tan miniatures, shows elements borrowed from Cavallini's art
intermingling with vague reminiscences of Simone Martini's
painting (-).
Of later date but still always faithful to Simone's tradition are
the frescoes that adorn the left wall of the fifth chapel in the
chancel aisle of S. Lorenzo, representing the Annunciation, some-
what after Simone's model in the Uffizi, the Meeting at the Golden
Gate and the Adoration of the Magi (fig. 202).
The author of this work must have been of a sweet and gentle
temperament, it is principally in his expression of feeling that he
has been inspired by Simone's art. His attempt to imitate this
master's graceful models has resulted in attenuated and some-
what weak forms. I do not agree with Herr Rolffs that traces of
Orcagna's influence are evident in this mural painting and the
(') InL'Arte, 1905, p. 11, the editor is apparently of opinion that this fresco
might be a work from Giotto's own hand. Schulz, op. cit. Ill, p. 151, attributed
it to the Great Florentine.
(2) Erbach von Fiirstenau, op. cit.
Fig. 201. The Saviour, tradition of Simone Martini. Refectory of the
Convent of Sta. Chiara, Naples
Photo Brogi.
326 TRECENTO PAINTING IN NAPLES
decoration on the wall opposite is certainly from a different
hand, probably that of Roberto Oderisi, whom we shall discuss
later on. Although it seems likely that the painter in question
assisted Oderisi in the ornamentation of this chapel, his manner
shows too much difference to call him a pupil.
Fragments of frescoes in the fourth and sixth chapels repre-
senting St. Francis receiving the stigmata, an angel and the head
of the Virgin, are productions of another artist.
Still executed after Simone's manner are the frescoes in the
Crocifisso chapel in the Incoronata church, but they are works
of a different painter, one whose drawing is more vigorous than
that of the foregoing artist. Several of these frescoes unfortu-
nately are very fragmentary but Schultz's description, made
more than seventy years ago, enables us to indentify the
subjects.
The following scenes are still clearly visible: the Birth of the
Virgin with her first bath, the Presentation of the Virgin in the
Temple, and her Marriage. Herr Rolffs believes that there was
also a Coronation of the Virgin - - a subject that would corres-
pond to the name of the church — which occupied that place
where at present we see an i8t]l century effigy of Christ on St.
Veronica's handkerchief.
The entrance wall was adorned with half-length figures ol
God the Father and the Saviour between the Virgin and St. John,
and the arch with eight prophets. The figures of SS. Martin and
George date from a later period. On the lateral walls we see,
above, frescoes in the form of lunettes, comprising many figures.
The scene to the right represents, apparently, the consignment ol
a box, which has been interpreted as depicting the presentation
of the relics of the thorns of the Saviour's crown to the Carthu-
sian monks. A group of figures in the lunette to the left has been
thought to represent the laying of the foundation stone of the
Incoronata church. The two paintings below illustrate probably
the glory of St. Louis and the handing over of the church, when
finished, to the Carthusians, but some writers recognize in these
frescoes scenes from the legends of St. Martin or St. George or
again incidents from the life of Queen Jane.
From among the debris thac remains of this decoration we can
pick out some interesting and well-drawn faces which, although
AM) IX THE NEIGHBOURING REGIONS.
327
Fig 202. The Adoration of the Magi, tradition of Simone Martini.
S. Lorenzo, Naples. Photo Minist. della Pubbl. Istr.
328 TRECENTO PAINTING IN NAPLES
somewhat heavier in form, show clearly the inspiration of
Simone's art.
In the Gallery of Naples there are three panels which originally
belonged to one altar-piece. One represents St. Anna with the
Virgin Mary, who holds the Child Christ on her knee ; the two
other panels are occupied by the figures of SS. Peter and Paul
(Inventory, 843 16, 84261 , 84258 ; Catalogue, 191 1 , no. 25). These
pictures, which were attributed first to Gennaro di Cola, then to
Neri di Bicci, originate from the Incoronata church. Herr Rolffs is
of opinion that they show some connection with Oderisi's manner
of painting, but Cavalcaselle -- I think more justly -- associates
them with the master who decorated the above mentioned
chapel,
Some frescoes by adherants of Simone Martini's manner have
been discovered in a house adjacent to the church of Sta.
Annunziata, they date probably from the foundation of the church
which occurred in 1343.
The most important part of this mural painting consists in a
representation of the Last Judgment. Apart from figures of saints
and St. Michael slaying the dragon we see large groups of the
celestial hierarchies, costumes and insignia of the different angels,
varying according to their ranks.
A painter who derives from the same tradition, but whose style
is characterized by many personal elements, is Roberto Oderisi.
He is known to us only by one signed work, representing the
Crucifixion, which is preserved in the church of S. Francesco at
Eboli, about fifty miles to the south east of Naples (fig. 203). The
signature reads: "Hoc Opus pinsit Robertas De Oderisio de Nea-
poti". The chief features of the composition belong as much to
Cavallini's school as to the Sienese and although the faces are
characteristic of the latter, the breadth and plasticity of the figures
point sooner to another source of inspiration which Mr. Berenson
has demonstrated to be Cavallini's art. For chronological reasons
it is impossible to admit that Oderisi could ever have known
Cavallini or even his direct disciples who worked in the church of
Sta. Maria di Donna Regina in Naples ; nor could he have been
acquainted with Simone Martini. But his style of painting reveals
the influence of both these masters, and it may very well be that
a study of the Cavallinesque frescoes in Naples sufficed to mingle
AND IN TI IE NEIGHBOURING REGIONS.
329
Fig. 203. Roberto Oderisi. the Crucifixion, Eboli.
Photo Moscioni.
the elements of this tradition with Simone's manner, which was
still very popular in Naples. The vigorous colours sooner cor-
respond with Tuscan painting of the Trecento.
330 TRECENTO PAINTING IN NAPLES ETC.
Concerning the life of the artist, we know practically nothing.
The frescoes in the Incoronata church that are justly attributed
to him, date from about 1360, while a document of 1382 informs
us that King Charles II honoured the artist by making him a
member of the royal household (r).
A picture that demonstrates still more clearly than the Cruci-
fixion the importance of the Cavallinesque element in Oderisi's
art is a Pieta surrounded by emblems of the Passion, which for
man)T years was in Florence, but now belongs to the Grenville L.
Winthrop collection, New York (2) Here, between the Virgin and
St. John, the half-length figure of the Saviour is represented rising
from His tomb, before which a soldier lies sleeping; reminis-
cences of the Passion fill both the foreground and background
of the panel. Such an agglomeration of small representations
could never form an artistically beautiful picture but the execu-
tion is extremely fine and reveals the great merits of the artist
who obtained such excellent plastic effects in the principal
figures.
In the same article Mi". Berenson attributes to Oderisi another
work which bears a very close resemblance to the panel in the
Winthrop collection. It is a fresco in the church of Sta. Trinita
at Venosa which is situated a little over eighty miles due east ot
Naples. It represents the majestic standing figure of St. Catherine
above, and below a Pieta, showing a half-length figure of the
Saviour between those of the Virgin and St. John (fig. 204). It is
particularly in the smaller figures of the Pieta that we find proof
of the accuracy of this attribution. A certain difference will be
noticed in the proportions of the principal figure which besides,
for a work of Oderisi's, is a little flat. Near the entrance door of
this church an angel of the Annuciation shows considerable
similarity to Oderisi's manner.
The most important extant painting by this artist is the series
(l) Rolff's, op. cit., p. 62'-, states that a certain Johannes de Rodisio —
doubtless an altered form of the same name — received a minor charge at
the court of Naples in 1387.
('-') D. Berenson, A panel by Roberto Oderisi, Art in America and Else-
where, 1923, p. 69.
Fig. 204. Roberto Oderisi, St. Catherine and the Pieta.
Sta. Trinita. Yenosa. Phot,. Moscioni.
332 TRECENTO PAINTING IN NAPLES
of frescoes with which he decorated the church oflncoronata in
Naples P).
Formerly these frescoes were always attributed to Giotto,
Cavalcaselle believed them to be works of his school; Erbach
von Fiirstenau held almost the same opinion, Schubring ascribed
them without any grounds to Paolo di Maestro Neri while Prof.
A. Venturi classified them as productions ofSimone's school, but
it is to Mr. Berenson's acuity that we owe the correct attribution
to Roberto Oderisi.
As Rolffs has pointed out, the chapel in its present form was
built between 1350 and 1370 and as it was used for burials already
in 1360 it may be supposed that at that time the building was
finished. The paintings must have been executed about the same
period (-).
The most interesting frescoes of the series are those represen-
ting the seven Sacraments and the glorification of the Church,
which adorn the eight divisions of the vault over the organ loft.
Baptism is depicted taking place under an open portico towards
which flies an angel bearing a torch. The family approaches the
large baptismal font, one of the members carrying in rather an
awkward manner the child on whom the priest, w7ho is assisted
by two acolytes, sprinkles the holy water (fig. 205). According
to Cavalcaselle the women represented below were busy replac-
ing the child in its cradle ; but this part is so much damaged
that nothing can be distinguished. It has been thought that this
fresco illustrated the baptism of a member of the house of Anjou,
but the only fact on which the hypothesis can be based, is the
strong resemblance borne by the man to the left, who is wearing
(l) S. D'Aloe, Les peintures de Giotto de l'eglise de l'lncoronata a Naples,
Berlin, Paris, etc , 1843. D. Ventimiglia, Sugli affreschi di Giotto nella chiesa
dell' Incoronata in Napoli, Naples, 1844. M. Riccio, Saggio storico intorno
alia chiesa dell' Incoronata a Napoli e suoi affreschi, Naples, 1845.6V/////*, op.
cit , III, p. 153. Vasari, ed. Milanesil, p. 422. B. Berenson, Roberto Oderisi u.
die Wandgemalde der Incoronata, Repert. f. Kunstwiss., 1900, p. 443. Frau-
chetti, Gli affreschi dei Sacramenti nella Incoronata, Flegiea, II, 1900. P.
Schubring, Die Fresken der Incoronata in Napel, Repert. f. Kunstwiss., 1900.
Erbach von Fiirstenau, op cit E. Bernich, La chiesa dell' Incoronata, Napoli
Nobilissima, 1906. p. 100. G. Laneri, Alcuni antichi affreschi e un nuovo
ritratto di Dante a Napoli, Rivist. stor. Salentina, 1907, p 122.
(-'1 Rolffs, op. cit., p. 52.
AND IN THE NEIGHBOURING REGK >NS.
333
Fig. 205. Roberto Oderisi, Baptism. Incoronata, Naples.
Photo Bro?i.
a little white bonnet, to King Robert. Some of the figures have
been restored, particularly those of the angel above and of one
of the women below, but Rolffs exaggerates in saying that almost
the whole fresco is repainted. The principal figures on the con-
trary are very well preserved.
334 TRECENTO PAINTING IN NAPLES
The Confirmation is shown in a very simple composition
(fig. 206). Within a curious building, adorned with stained glass
windows and on the roof of which we see a balustrade, three
women of different social conditions carry their children towards
the bishop who, writh his thumb, makes the sign of the cross
on the forehead of one of the children. The bishop's mantle is
decorated with a design of fleurs-de-lis. The angel, depicted
above, seems to be again considerably repainted.
Confession is represented by two figures, a priest of severe
countenance, with his head turned to one side, listening intently
to the words of the woman who kneels before him (fig. 207).
Once more the former bears a resemblance to King Robert. In
the other corner three cow7led flagellants, scourging" themselves,
personify penitence (fig. 208). Three little demons, flying above,
are evidently on the look out for impenitent souls.
Communion is seen occuring inside a Gothic building, of which
the upper part of the outer wall is shown, while the lower part
of the same wall is suppressed to enable the spectator to see the
priest, distributing the holy sacraments. He is followed by two
acolytes, and once more the resemblance to King Robert is
marked.
The Sacrament of Ordination occurs in a church seen in cross
section, which gives it rather the appearance of an open porch.
A pope, who is given the features of the King, a bishop and two
priests perform the ceremony, ordaining seven young clerics
who kneel before them. Below there was a group of choristers,
but a gap in the wall has almost entirely destroyed this portion
of the fresco. The painter has adorned the left apse of the church
which he has depicted in this scene with a mosaic, the subject of
which is the calling of two Apostles. A small angel flies towards
the central group.
The representation of Marriage has also partly disappeared on
account of a breach in the wall. The couple united are a prince
and princess, doubtless belonging to the house of Anjou. High
up in the background little sprites support festoons, while lower
down a baldaquin of brocade has been erected; from the sides
two angels fly towards the principal group. The upper parts of
the bride, of the priest who unites her hand with the bride-
groom's, and of several of the bridesmaids have disappeared;
AND IX THE NEIGHBOURING REGIONS.
335
Fig. 206. Roberto Oderisi, the Confirmation. Incoronata, Naples.
Photo Alinari.
the last three maids of honour and a page remain visible.
To the other side we see the bridegroom, who is magnificiently
dressed and wears a beard, placing the ring on to the finger of
the bride. Among the numerous persons who accompany the
prince, we can easily recognize King Robert, but a monk beside
336
TRECENTO PAINTING IN NAPLES
Fig. 207. Roberto Oderisi, Confession. Incoronata, Naples.
Photo Alinari.
him has been given almost the same features. Two men are de-
picted blowing trumpets; below, seven people dance to the music
of a trumpet and a violin. It would be interesting to know whose
AND IN THE NEIGHBOURING REGIONS.
337
Fig. 208. Roberto Oderisi, Penitence. Incoronata. Naples.
Photo Alinari.
marriage is represented here and various conjectures have been
made without, however, arrivingat a definite conclusion, although
many suppose it to be one of the weddings of Queen Jane (').
(') Rolffs, op. cit., p. 58.
22
338 TRECENTO PAINTING IN NAPLES
The fresco of the Last Sacrament shows a priest, assisted by
a sacristan, administering extreme unction to a dying man who
is supported by a woman, while six others and two children are
seen around the bed (fig. 209).
The Glorification of the Church is depicted against a back-
ground of architecture. Under a baldaquin in the centre, we see
the Saviour, before Whom is represented the figure, now almost
effaced, of a pope wearing the pontifical tiara and carrying a
chalice in one hand and a cross (?) in the other.
The part of the fresco to the left-hand side has almost entirely
disappeared; from the right approaches a procession led by
saints, headed apparently by St. Paul, followed by the crowned
figure of King Robert who wears a cloak, adorned with fleurs-de-
lis, and carries a banner showing the same motif. By his side is
the young Queen Sanchia, crowned and dressed in garments,
decorated in similar manner. A second banner with fleurs-de-lis
is seen over the cortege. This painting was evidently made with
the express view of demonstrating the fidelity of the Anjou to
the church.
The various divisions of the vault are framed in rich ornamental
borders while the spandrels below are adorned with medallions
enclosing busts of saints.
Fragments of mural painting are visible on the lateral walls.
In the first division, on that to the left, we see Joseph's brothers,
who form a group to the right of a Gothic church, announcing to
Jacob and his wife the death of their youngest son. Opposite we
can still vaguely distinguish Samson pulling down the temple.
To either side of the window we see Joseph being tempted by
Putiphar's wife and Joseph, depicted in half-length figure, in
prison conversing with Pharaoh's butler and baker. Below the
latter painting there are three other scenes which, from left to
right, depict Moses and the burning bush together with Moses in
the bulrushes found by Pharaoh's daughter, and Joseph sold by
his brethren.
These scenes are shown in very simple compositions, in which
nothing is represented but the figures.
Below the above mentioned painting to the other side of the
window, there is no longer any trace of decoration.
The numerous portraits of Robert of Anjou do not furnish any
AND IX THE NEIGHBOURING REGIONS.
339
Fig. 209. Roberto Oderisi, Extreme Unction. Incoronata, Naples.
Photo Brogi.
clue with regard to the date of the execution of these paintings.
King Robert died in 1343 and the fact that Oderisi was active
still in 1382 renders it highly improbable, that he worked during
340 TRECENTO PAINTING IN NAPLES
the lifetime of this prince. The history of the church of the Inco-
ronata makes it very likely, as we have seen, that the decoration
was executed after 1350.
They are to a certain extent commemorative paintings which
might very well have been made a considerable time after the
King's death. It may be assumed that the marriage, with its
appearance of actuality, was the event in commemoration of
which the church was built, or at least ornamented, but this does
not help us to solve the problem, since we have no means of
discovering the names of the couple. It is not impossible that it
represents the union of Philip of Tarento and Queen Jane, which
took place in 1347. The construction of the church was under-
taken some years later and the decoration about twelve years
after the event.
I think we can attribute to Oderisi some frescoes in the fifth
chapel in the chancel aisle in the church of S. Lorenzo where we
have already noted the productions of an artist who collaborated
with Oderisi and was very much influenced by him.
The frescoes in question are those on the right wall, represent-
ing the Birth of the Virgin, her Marriage (fig. 2 1 o) and the Nativity
of Christ. The drawing is harder and a good deal inferior to that
in his other works, the forms are large and clumsy and there are
few really pleasing faces. Nevertheless the types, the technique
and the combination of Sienese and Cavallinesque elements make
me think that this decoration might be from the hand of Oderisi.
If such be the case, it must be a production of his later years,
showing most connection with the Crucifixion at Eboli. The
fresco at Venosa and the panel in the Winthrop collection in
particular might be youthful works since we see more clearly in
them the sources of his inspiration — Simone Martini and Caval-
ini - - which are adapted in a less individual manner than in his
other works.
I imagine that his early productions must date from about 1350,
because the frescoes in the church of Incoronata, which can be
ascribed to about 1360, belong to an intermediate stage. How-
ever, as we have no dated work in our possession, this chrono-
logy is purely hypothetical.
Roberto Oderisi was the most individual of the Neapolitan
painters whose works have come down to us, but, in spite of the
AND IN THE NEIGHBOURING REGIONS.
341
many qualities that we have remarked in the panel of the Pieta
and in the Incoronata frescoes, he was not a great painter; his
productions are full of inequalities, and this is particularly notice-
able in the long series of frescoes where, adjacent to really fine
Fig. 210. Roberto Oderisil?), the Marriage of the Virgin. S. Lorenzo, Naples.
Photo Minist. della Pubbl. I^tr.
figures, we see some that are very weak ; his compositions are
always poor and his attempts to produce distance and perspec-
tive very feeble.
In various churches of Naples we find representations ot the
Madonna, reflecting" the influence of the different periods of the
Sienese school in the 14th century. A painting that seems to
be directly inspired by Simone's art is a half-length figure of
the Madonna suckling the Child, on a pillar between the 3rd and
342
TRECENTO PAINTING IN NAPLES
4th chapels to the left in the church of Sta. Chiara (fig. 211) ; this
image, which is generally covered with ex-votos, is known as the
Madonna delle Grazie. The figures of cherubs that are seen
above, have been added at a later date. The Virgin is apparently
sitting on the ground and it is probably the upper part of an
example of the Madonna of Humility. Several other specimens
of this subject, all executed in a Sienese style, are found in Naples.
One in which the Madonna resembles in facial type that of Sta.
Chiara is seen on the first altar to the left in the St. Thomas chapel
in S. Domenico. This image, which is of a superior execution to
the foregoing, is called the Madonna delle Rose. The drawing
of the face and the shape of the hands are worth}' of a good
Sienese artist and recall in particular Andrea Vanni. The figure
of a Dominican monk is of a much later date.
A similar representation is preserved in the same church, in
the last chapel to the right behind the tomb of Johanna Aquinas,
who died in 1345, anc^ tms furnishes us with an indication of the
approximate date of the painting. It is less pleasing than the
other work in the same building, but none the less, it is of good
technique and of Sienese inspiration.
Of later date, but equally reminiscent of Andrea Vanni is a
lunette-shaped panel of the Madonna in the chapel to the left of
the choir in the same church ; six little angels are depicted flying
at either side. The painting on the high altar of the Madonna
nursing the Child is of less importance, although it shows to the
same degree the influence of the Sienese school.
We find yet another good example of the Madonna of Humil-
ity in the church of S. Pietro a Maiella; it is a fresco adorning the
altar in the chapel of Sta. Maria succure miseris. The work is
pleasing but it has been considerably restored! ')■
We find still a half-length figure of the Madonna with the Child
at her breast in a corridor leading to the exit on the right into the
cloister in the church of S. Lorenzo, which, however, belongs to
a later period, dating probably from about 1400. Rolffs judges it
to be executed in the manner of Vanni, but I do not hold this
opinion.
(') G. Filangieri di Sartiano, Chiesa e convento di S. Pietro a Maiella in
Napoli, Naples, 1884. p. 79, wrongly attributes it to the 15th century.
AND IX THE NEIGHBOURING REGIONS.
343
In the courtyard of the church of S. Lorenzo we find still two
very important frescoes, executed in the Sienese style. Over the
door, leading- into the refectory, we see a beautiful fresco of St.
Francis giving the rules of his order to the Franciscan monks
Fig. 211. Madonna, tradition of Simone Martini. Sta. Chiara. Naples.
Photo Alinari.
and to the Poor Clares, while a half-length figure of the Madonna
with a small adorer, over the side-entrance to the church, is one
of the finest and earliest examples of Simone's school in Naples.
A fresco of the Madonna between SS. Francis and Clare in
the cloister of Sta. Chiara, has been entirely repainted, but we can
imagine that the original work was executed under an equally
strong Sienese inspiration.
344 TRECENTO PAINTING IN NAPLES
All these paintings prove the importance and long duration of
the Sienese influence in Naples)1).
In the region of Naples, some 14th century paintings are pre-
served in the church of S. Giovanni del Toro at Ravello.
In the crypt the vault of the apse is adorned with a figure of
the Saviour in a mandorla, carried by four angels ; some vague
traces of figures of saints can be seen on the wall below. The
intrados of the arch shows the symbols of the Evangelists and
four figures of saints (fig. 212).
In the church itself the same artist executed some unimportant
frescoes on the lower part of the pulpit. Here we find a represen-
tation of Noli me tangere and in a niche in front the dead Christ
arising from His tomb between the Virgin and St. John, while
above, a figure of the Annunciation is depicted to either side.
These paintings are very provincial in appearance, but again
reveal a Sienese inspiration, the drawing is coarse but the
colouring is clear and pleasing.
We might still mention the figures of a holy bishop and a
crowned female saint on the entrance wall of the Cathedral of
Ravello and under the pulpit, a triptych, repainted in 171 1,
showing the Madonna between the Baptist and St. Nicholas.
The date of 1272, which we see on this work, is a later addition;
in all probability it is a production of the 14th century.
Continuing our examination of the paintings in this part ot
Italy we come to the Abbey of Cava dei Terreni, where in the
subterranean church there are some unimportant frescoes repre-
senting the Madonna between St. Catherine and another female
saint, the Trinity between the two SS. John and in the vault
the Lord and the four Evangelists. It is an exceedingly crude
decoration of the end of the 14th century.
The round Baptistery of Nocera Superiore contains some
remains of frescoes of more importance. To the right of the
entrance we see the Nativity of Christ with the Child's first bath,
the Massacre of the Innocents and, in the arch above the Lord in
glory, Christ resurrected and other figures. The wall to the
H H. Thode, Franz von Assisi u. der Anfange die Kunst der Renaissance
in Italien, 2,ld ed., Berlin, 1904, p. 140, mentions a panel, representing St. Fran-
cis' sermon to the birds and other animals, belonging to Mr. F. Murray,
which he attributes to the Neapolitan school of the 14th century.
AND IN THE NEIGHBOURING REGIONS.
345
Fig. 212. The Lord, saints and symbols of the Evangelists, fresco of the
second half of the 14th century. S. Giovanni, Ravello.
Photo Alinari.
right shows the Virgin enthroned and a saint with a book, while
on a projecting part of the wall we find the Holy Women and an
angel at the Empty Sepulchre, from which the Saviour is depicted
walking away. This series of frescoes is very fragmentary ; it is
346 TRECENTO PAINTING IN NAPLES
the production of a provincial artist whose style derives from the
Sienese school.
To the north of Naples the apse of the old church of Sta. Maria
della Grazia di Campiglione at Caivano, around which a larger
one has been built, preserves its original decoration. It represents
the Madonna between the Twelve Apostles and shows a long
inscription with the date 1419, which is doubtless that of the
execution, although the painting looks a good deal older, espec-
ially the figure of the Madonna. It is said that in 1483 the Virgin
performed the miracle of detaching her head from the original
level and placing it slightly in relief as it is still seen at the present
day. The work is one of the better productions of this region.
In Schulz's day the church of S. Felice at Nola contained some
frescoes which he ascribes to the 15th century and earlier, and
that of Sta. Maria Maggiore at Capua, an ancient crucifix, of which
he does not give the date. There is no trace of it to be found now-
adays and the only 14th century painting in this town is a some-
what Gothic-looking Madonna holding a rose, in the third chapel
to the left in the Cathedral. This picture looks Venetian, it dates
from about 1370 or 1380 and not from the 13th century, to which
period it has frequently been ascribed.
Two altars towards the apse, one to the right hand side, the
other to the left, in the church of S. Giovanni at Sessa Aurunca,
are both decorated with a fresco representing a saint ; the origin-
als date probably from the 14th century, but they are entirely
repainted. A crucifix on the high altar in which the figure of
the Saviour is markedly contorted, recalls the art of the latest
followers of Duccio's tradition, but it is a work of the last years
of the 14th century.
A chapel to the right in the church of Montecassino, contains
a similar crucifix, dating from about 1400.
Count Erbach von Fiirstenau has grouped together an impor-
tant number of miniatures, which demonstrate, that Naples pos-
sessed a school of miniature painting, showing fairly pronounced
characteristics (M.
As early as 1282 we find the name of a miniaturist in Naples:
I1) Erbach von Fiirstenau, op. cit.
AND IN TI IE NEIGi IBOURING REGIONS. 347
Giovanni di Niellis ('), but the Cava monastery has the oldest
specimen of this art. It is a Speculum Hystoriale, written for
Phvlippus de Xaya, who was prior of the abbey in 1320. The
Statutes of the Order of the Holy Ghost, executed between 1353
and 1362, now in the Paris National Library, a Bible in three
volumes in the Vatican Library (Cod. lat. 3550), dating from
1362, a missal, prior to 1368, in the Public Library of Avignon
and several other manuscripts, among them the Hamilton Bible
in the Kupferstich Kabinet, Berlin, a Missale Romanum and a
Golden Legend from the Rossiana of Vienna, now in the Vatican
Library, dating from the middle of the 14th century, all belong
to this group (-)•
That these manuscripts, several of which Count Erbach von
Furstenau ascribes to the same hand, are really ofNeapolitan
origin, seems highly probable, although I should not say
absolutely certain.
The foundation of the art of this group of miniaturists is again
Sienese, but they do not succeed in attaining the grace and nicety
of the genuine Sienese masters, and the proportions are some-
times rather heavy. On the other hand we notice little refinement
in the contours of the figures, in the plasticity and in the chiaro-
scuro effects, which are depicted with that strength that we found
characterized the miniatures of the Bolognese school. Conse-
quently the Neapolitan school of miniature painting can be des-
cribed as an intermingling of the Sienese style, rendered in a
somewhat provincial manner, with technical details borrowed
from Bolo°na.
i1) Schnlz, op. cit., Ill, p. 148.
(2) H. Tietze, Die illuminierten Handschriften der Rossiana; Beschrei-
bendes Verzeichnisder 111. Hss. in Osterreich,V, Leipzig, 1911, pp. 78 and 82.
CHAPTER V.
FOURTEENTH CENTURY PAINTING IN LAZIO, THE
ABRUZZI, APULIA AND SICILY.
With the exception of Naples, we find in the regions to the
south of The Marches, Umbria and Tuscan}7, no centre of pictorial
art of any importance in the 14th century.
With regard to painting of this period, Southern Italy has been
little explored; moreover the productions that have been publish-
ed up to the present are not of a nature to encourage a more
profound investigation.
In this vast region of Italy, almost equal in size to that part
to whose painting in the Trecento I have now devoted four
volumes, pictorial works are rare and of a very mediocre quality.
For the greater number of these provinces, literature on the
subject is also lacking, doubtless on account of the utter impossi-
bility of giving a review, no matter how general, of the pictorial
movement of this period. My own travels in these regions have
enabled me, however, to give, I venture to say, a fairly complete
account of the works which still exist in this part of Italy.
This scarctiy of painting in Southern Italy in the 14th century
is all the more remarkable when we think that the works pro-
duced in the previous centuries were fairly numerous and some-
times of considerable importance. It is evident that Rome, once
the popes had deserted it, was no longer a source of artistic
inspiration, and Southern Italy was so isolated from the flourish-
ing centres of painting, that only a very faint reflection of their
glory penetrated so far. It is true, there was Naples ; but this town
was not really a centre of art, for it was only the Anjou in their
sumptuousness who desired the presence at their court of the
FOURTEENTH CENTURY PAINTING IN LAZIO, ETC. 349
greatest masters of the day, the dissemination of whose art,
however, was very limited and of short duration.
Ldzio. Although much nearer Umbria and Tuscany, there is
not more evidence of pictorial activity in Lazio than we shall
find further south. A considerable importance, however, can be
attached to the manifestations of the persistence of the school
of Cavallini, which are to be found in the neighbourhood of
Yiterbo.
In Yiterbo itself these works are rare; in fact there is but one
example that can be associated with the Roman school of Caval-
lini's time ; it is a fresco in an altar niche on the right wall of Sta.
Maria Nuova and represents the Lord on the Cross between the
Virgin and St. John with two angels above. The figures of St.
Barbara and a holy bishop at the sides were entirely repainted
in the 14th century, but the date 1293 remains visible below(1).
This fresco, however, is more Byzantine in style than the works
of Cavallini's real followers.
A fairly large number of frescoes belonging to Cavallini's
school have been preserved at Toscanella, now called Tuscania,
about fifteen miles to the west of Viterbo.
In the town itself the only real Cavallinesque work is a fresco,
representing the tree of St. Bonaventura on the entrance wall of
the church of S. Silvestro. Besides the Lord crucified on the mys-
tical tree between the Yirgin and St. John, we see here two an-
gels and two prophets above and St. Agnes and another repre-
sentation of the Madonna at the sides with a bust of a prophet
above either figure. The painting is obviously a provincial pro-
duction, but the Cavallinesque inspiration is very evident.
An important fresco of the Last Judgment on the chancel arch
of Sta. Maria Maggiore, a church on the outskirts of the town,
belongs to the same school, but is of a much finer quality (fig.
213). In the centre, above, the Saviour is represented, according
to the Byzantine tradition, with one half of His chest bare; the
mandorla which encircles Him, is carried by angels. Six Apostles
are seated in a row to either side. Below the Saviour, the em-
(') Munoz, Bolletino cfArte del Ministero della Pubbl. Istr., 1916, p. 131.
R. van Marie, La peinture romaine an Moyen Age, Strasbourg, 1921, p. 184.
350 FOURTEENTH CENTURY PAINTING IN LAZIO,
blems of the Passion are depicted while close by kneels a little
figure whose name, u Secundianus" , is inscribed. Behind him
several rows of the Saved are seen in Paradise while below,
others are represented arising from their tombs ; to the other
side, Hell, in which an enormous Satan forms the principal
figure, is depicted.
The composition is grandiose and the painting executed with
considerable skill and technical knowledge. An intermingling of
Sienese elements with the Cavallinesque style forms the basis of
the artist's manner. A very beautiful blue is the predominating
colour in the painting.
On the walls to the sides of the arch some other frescoes are
from the same hand. To the right they represent the Annuncia-
tion in which the Madonna is seen kneeling, the Nativity which
takes place in a grotto, and a fragment of a bearded saint. The
left wall shows a fresco of the Assumption in which St. Thomas
is depicted receiving the Holy Girdle.
Cavalcaselle mentions some fragments of an altar-piece in the
Cathedral of Tuscania, which he ascribes to the same hand as the
foregoing fresco!1), but nowadays there is no trace of any such
picture.
In the same church there are still several other frescoes which,
if not directly inspired by Cavallini, belong all the same to the
Roman school of the beginning of the 14th century. About the
middle of the right wall we find a Madonna enthroned with four
angels, one of which is now missing, hovering above, and a frag-
mentary figure of St. Catherine, which obviously belong to this
artistic movement. A partly flayed figure of St. Bartholomew I?)
on the opposite wall, as well as some representations of saints on
the pillars, is executed in the same style (2).
A Roman influence is also noticeable in a fresco representing
three high civil officials — perhaps senators — in the crypt of the
church of S. Pietro, a short distance from the town.
To continue the description of paintings of the Roman school
in this region, we must now turn to Montefiascone, ten miles to
(') Crowe and Cavalcaselle, op. cit., Ill, p. 222.
( -) M. G. Zimmermann, Giotto u. die Kunst Italiens im Mittelalter, Leipzig, .
1899, p. 309 note 1. R. van Marie, op. cit., p. 203.
THE ABRUZZI AI'U.IA AND SICILY
35'
Fig. 213. The Last Judgment. Ist half of the 14th century.
Sta. Maria Maggiore, Toseanella.
Photo Anderson.
the north of Viterbo. Just outside the walls of this town, is situa-
ted the church of S. Flaviano, concerning the date of which I
think a great mistake in the history of mediaeval architecture,
has been made. On the strength of an inscription, which until
recently ornamented the facade of the church, but is now preserv-
352 FOURTEENTH CENTURY PAINTING IN LAZIO,
ed in the interior, Rivoira dated the church from 1032 (1). This
inscription begins: "Awn's Miijllis curegib. (currentibus) atq.
triceu. Bin is" etc. and further informs us that the church was
re-built at this date. The error arises from the fact that the date has
been read as 1032 instead of 1302, the historian having completed
the word "trtcen" as "triceni" rather than "trecentesimo" . Fur-
ther it is obvious from the Gothic form of the letters that the
inscription cannot date from any period but towards 1300 (2).
This question of the date is of great interest to us because I am
almost certain that the frescoes, adorning the interior, must have
been executed on the occasion of the reconstruction of 1302.
They comprise one of the most important series of 14th century
paintings in Lazio. According to what I have been told, part of
it was discovered only a few years ago and doubtless this is the
reason wiry no serious study has as yet been dedicated to this
mural decoration (3j.
All these frescoes adorn the lower church and on close examin-
ation it will be found that three painters of different tempera-
ment and working after a different style, executed, in all proba-
bility simultaneously, the principal part.
Two of them derive directly from Cavallini whose colouring,
morphological types, round heads and plastic effects they imitate.
In the treatment of the draper)' one of them is frequently more
Byzantine than Cavallini.
The third, on the other hand, belongs to the Tuscan school of
(M G.J.Rivoira,Le origini della architettura lombarda, Milan, 1908, p. 259.
I1') For as far as I know this misinterpretation of the inscription has
never been corrected, although other writers have remarked that the church
cannot possibly date from as early a period as that accepted by Rivoira, v. for
example A. Kingsley Porter, Lombard Architecture, II, Newhaven, U.S.A.,
London and Oxford. 1917. p. 63.
(:i) F. Hermanin, in P. Egidi, G. Giovannoni e F. Hermanin, I Monasteri di
Subiaco, I, Rome, 1904, p. 515, says that the facade and right wall of the
church are decorated with frescoes which date from the time of Urban V
(1362—70) and which are reminiscent of Lorenzetti's school, an opinion with
which, as will be seen, I do not at all agree. Brief mention is made of these
paintings in L. Salotti e L. Codini, Montefiascone nella storia e nell' arte,
Grotte di Castro (1909). Signor Antonelli, honorar}' inspector of Fine Arts
for Montefiascone, published a short treatise on some of these paintings in
the Cosmos Catolico. Before long I mean to publish a detailed and illustrated
account of them.
TI IE ABRUZZI. APULIA AND SICILY.
353
the 14th century. I Ee is not a real Giottesque artist but must
certainly have seen Giotto's painting. There are but few elements
of [3th century art in his work and as we are here in a little country
town, where innovations did not penetrate at once after their
invention, it seems likely that a few years must all the same have
elapsed between the reconstruction of the church and the ex-
ecution of the mural decoration, which dates probably from
about 1310.
One of the two Cavallinesque artists approaches much more
closely the master himself. He was a finer draughtsman and
produces well-drawn, graceful forms. As a colourist too he is
superior. We shall call him the principal Cavallinesque.
The other, though also obviously inspired by Cavallini shows
the master's influence almost exclusively in the features. His
drawing and the shapes of his figures are much more Byzantine
and his light and shade effects very abrupt and spotty. We shall
call him the Byzantine-Cavallinesque painter.
To the former of these two should be ascribed the paintings on
the central part of the entrance wall, where, above the window, we
see to either side the lateral figures of an important representation,
the centre of which is missing. The subject must have been the
Death of the Virgin for not only are the angels descending towards
the centre, and the Apostles at the sides elements of this compo-
sition, but also the Virgin seen standing to the right, before whom
kneels an angel holding a branch, is obviously a representation
of the Annunciation of the Virgin's Death. Lower down at either
side stands a crowned figure, perhaps from the Old Testament.
Another fresco by the same artist is preserved on the left
wall; it represents the Triumph of Death, but unfortunately the
lower part has been sacrificed to make an entrance to a lateral
chapel. We can still see, however, a holy hermit, pointing to two
skeletons who seem to converse with three dismounted knights,
behind whom are represented their horses. Finally we still
owe to the principal Cavallinesque artist two frescoes, the one in
the chancel arch, the other in that to the right. The former is
adorned with five medallions enclosing busts of the Virgin, angels
and saints, while in the intervening spaces we see candlesticks,
a very old Roman decorative motif, which is found in the mosaics
of the c/h century around the apsidal arch in Sta. Prassede. The
v 23
354 FOURTEENTH CENTURY PAINTING IN LAZIO,
other arch is adorned with a representation of the Lord's Baptism.
We shall now turn our attention to the Byzantine-Cavallin-
esque painter. He executed the frescoes to the right and left on the
entrance wall. Turning to the right we find on the upper part of
the wall an Annunciation by the Tuscan master, but the rest is
by theByzantine-Cavallinesque. He represented the Nativity and
the Adoration of the Magi on the second and third row, under
the Annunciation.
He also executed the frescoes in an adjacent niche, where
above we find the Saviour between SS. Peter and James and
lower down four figures of saints, while still lower to the right
are two adoring bishops, doubtless the donors, one of whom is
accompanied by a coat of arms ; the painting to the left at this level
has disappeared.
Again we find his hand in the lowest row of frescoes decora-
ting the right wall, where he executed one group of four saints and
another of three, and the last scene of a small series of representa-
tions from the legend of St. Nicholas: the saint preventing the
execution of the unjustly condemned.
The other paintings here are by the Tuscan painter. The fres-
coes on the entrance wall which we find on entering to the left
are by the same artist.
Here we see above the Crucifixion and several scenes from
the legend of St. Catherine; they show the disputation, the saint
in prison, teaching the wife of the emperor, the miracle of the
wheel, the saint's breasts cut off, her decapitation, and the
angels burying her on Mount Sinai.
In the embrasure of a window, which separates two of these
scenes from the four others, we see a figure dressed in red, hold-
ing a sword.
As I have already said, the Tuscan painter executed most of
the frescoes of the first division of the right wall, where above
the Crucifixion is shown and below three scenes from the
legend of St. Nicholas : his gift to three poor girls, restoring to
the family the son who had to serve as slave to a pagan king and
rescuing sailors at sea. The two former scenes closely resemble
in composition those that a direct follower of Giotto made of
the same subjects in the Lower Church, Assisi (1).
f1) v. Vol. Ill, p. 230.
TI IE ABRUZZI, APULIA AND SICILY. 355
The Byzantine-Cavallinesque painter, as we saw, continued this
series on the row below, while on the entrance wall we found that
above a Nativity and Adoration by this artist the Tuscan master
painted an Annunciation in which the servant is represented
eaves-dropping, an iconographical detail that we have frequently
met with in older examples. This intermingling of frescoes by
these two artists shows us that they shared the decoration and
worked simultaneously. We have no proof that the third painter
was active at the some moment, but it seems all the same probable.
The Tuscan and the Cavallinesque painters also made borders
and frames of different types. The former painted the frames with
medallions containing half-length figures, like those of Giotto and
his followers, while the others surrounded their paintings with
wreathes, adorned with putti, coming out of vases which remind
us of the decoration of the vaults of the Upper Church, Assisi.
We find still some other paintings of the early 14th century in
the same church.
In the second division of the right wall we see a Madonna
enthroned between saints, remains of a Crucifixion and some
fragmentary figures of saints; they seem to be by a follower,
or assistant of the Tuscan master.
A composition of a very old tradition is seen in the apse
where the Saviour is represented standing between SS. Peter
and Paul, flanked by two trees ; a similar arrangement, for exam-
ple, will be found in the mosaic of the old basilica of St. Peter and
in that which still adorns one of the apsides in Sta. Costanza in
Rome. The fresco is framed by ornamental borders; below
there is a fragmentary figure of a holy knight on horseback, no
doubt St. George.
Now we should again return to Viterbo to investigate what
other manners of painting were current in this region. Traces of
the existence of a fairly important group of painters in Yiterbo
can be discovered i1). It will not be forgotten that one of Simone
Martini's principal followers and the artist who directed the
works that were undertaken in the Palace of the Popes at Avig-
non (1343— 1366) was Matteo Gianetti da Viterbo. and among
his assistants there was still a certain Pietro da Viterbo (2).
1 ' 1 R. van Marie, Simone Martini, p. 180.
C2) v. Vol. II, p. 311.
356 FOURTEENTH CENTURY PAINTING IN LAZIO,
The art of painting in Viterbo seems to have been partly domi-
nated by Simone Martini's tradition and from the fact that artists
from this town followed Simone to France we can infer that
there must have been some point of contact between the painters
of this city and the famous Sienese.
The only painter of Viterbo that we know, with the exception
of those who worked at Avignon, is Prete Ilario da Viterbo who,
in 1393, signed the altar-piece for the Porziuncola in Sta. Maria
degli Angeli, near Assisi I1). The central figures of this picture
can be considered a free copy of Simone's Annunciation, now in
the Uffizi (fig. 214) ; above we see the Saviour and the Virgin in
glory in the midst of angels. To the sides are represented : St.
Francis tempted by demons, two angels accompanying St.
Francis to the Porziuncola, the confirmation of his rules and St.
Francis proclaiming the indulgence. The five little scenes that
comprise the predella cannot all be recognized but seem to bear
reference to miracles that occurred after the saint's death. Many
little figures adorn the frame. Although not of very fine quality,
it is none the less a pleasing picture, in which the influence of
Simone's art is very evident.
The only other production that I think we might ascribe to
this artist is a little panel in the Gallery of Viterbo, representing
the Virgin and Child. It belongs to the same tradition and although
the execution is rather coarse, the picture is not without charm.
We find evidence of the continuation of Simone's influence in
Viterbo in a repainted fresco in the left apse of the Cathedral,
depicting the Virgin with the Child and two angels between the
figures of SS. Peter and Paul; the latter date from about the
year 1300.
In the Gallery, which has been formed in the ex-church of Sta.
Maria della Verita, we can divine the Simonesque inspiration
under the more modern layer of paint that has been applied to
a fairly large half-length figure of the Madonna, previously in the
church of S. Agostino.
An important painting of the Madonna in the left transept
(no. 112) belongs to the very last years of the 14th century and
i1) B. M. Mac sarin, II dipinto di Prete Ilario nella sacra Porziuncola,
L'Oriente serafico, 1916— 19 17.
THE ABRUZZI, APULIA AND SICILY.
35/
i
shows the persistence of Simone's artistic principles under a
provincial aspect. A detached fresco (no. 1 14) representing the
Virgin, seated on an inlaid marble throne, holding the Child Who
Fig. 214. Ilario da Viterbo, the Annunciation, 1393.
Sta. Maria degli Angeli, Assisi.
plays with a pigeon, and a miniature figure of the donor, dates
from about the same period but it is of finer quality and still more
directly inspired by reminiscences of Simone's art.
In the choir of S. Francesco there are some sad remains of
what once must have been a beautiful Maesta bv a Yiterban fol-
358 FOURTEENTH CENTURY PAINTING IN LAZIO,
lower of Simone. The Madonna was depicted enthroned with
angels above and two saints, one of whom was St. Louis of Tou-
louse, to either side. The technique of the painting must have
been particularly fine.
In a sort of lumber-room, near the entrance to the church of
S. Andrea, a large Madonna nursing the Child, although consi-
derably repainted and very mouldy, still clearly shows its der-
ivation from Simone's art, as does also a fragmentary fresco re-
presenting a saint and angels in the same wall.
The painter, Antonio da Viterbo, who was active in 1402 and
with whom we shall deal when describing the late international
Gothic style in this region, still shows elements borrowed from
Simone who had a strong and lasting influence on the produc-
tions of the town of Viterbo.
Besides these paintings which show such a marked and per-
sistent influence of the great Sienese master, that his presence at
one time in the city of Viterbo seems highly probable, we still
find in and around Viterbo numerous productions of a more
provincial aspect. In part they bear some resemblance to the
works of that portion of the Umbrian school of painting which
derives from the manner of Pietro Lorenzetti.
Several examples of this style are preserved in the church of
Sta. Maria Nuova in Viterbo; in an altar niche to the right we
see a fresco of the Crucifixion with the Virgin, SS. Ambrosius,
Antony and two female saints ; it is very provincial in appearance,
the drawing is harder but otherwise the painting shows little
difference to the works we find in Umbria. A fresco of the same
subject on the first altar to the left is of much better quality. The
figures of the Virgin, SS. John, Mary Magdalene, John the Baptist
and James are depicted near the Crucified ; the Lord in the
midst of six figures is represented in a medallion above, while
lower to either side an apparition of Christ is shown.
In the same church, a niche in the left wall is adorned with
some figures of saints of no artistic importance.
Numerous frescoes of the 14th century are preserved in the
church ofS. Pietro atTuscania. Some of them, such for example
as the curious little paintings which decorate part of the pillars
to the right of the choir, show no connection with the Umbrian
school. Still clearly visible are the Noli me tangere with two
THE ABRUZZI, APULIA AND SICILY. 359
saints below, and an enthroned Madonna with a small female
adorer; they are all local productions of the first years of the
I4111 century.
Dating from the same period but of finer quality and more
Byzantine in style are the frescoes of the Lord between two holy
bishops and the Baptism of Christ with two angels and two pro-
phets which adorn the small lateral apsides.
Of Sienese derivation, but without showing special connection
with Simone or with Umbrian painting are some fragments on
the entrance and right walls and a figure of the Baptist under a
small baldaquin. Several other frescoes are executed in the same
style; among them might be mentioned the beautiful Madonna
del Soccorso in the left lateral arch leading to the choir, a framed
figure of an old, bearded Apostle on the left wall which is of a
fairly early date and doubtless belonged to a series of the Twelve
Apostles, scattered on the walls of the church — an arrangement
of which still earlier examples have come down tousPjand, over
the stairs leading to the crypt, a fine figure of an archangel and a
representation of the Holy Trinity.
Some frescoes on the entrance wall depicting a fairly large
Crucifixion with the Virgin, St. John and two angels and close
by the figure of St. Bartholomew show a close connection with
the Umbrian school and date probably from about 1370.
Of a slightly later date is the important figure of St. Peter as
Pope which adorns the centre of the apse below the much older
frescoes of the vault; while the standing figure of the Madonna
to the left was executed by an artist who was much more directly
inspired by the Lorenzetti than most of the Umbrian painters.
This figure dates probably from the middle of the 14th century
or slightly later. Quite after the Umbrian manner are the figures
of a Madonna nursing the Child, a St. Antony, a fragment of an
archangel and some other remains on the left wall of the choir.
On the left wall near the choir in the church of Sta. Maria Mag-
giore we find some fragments of an archangel slaying a dragon,
a Madonna enthroned, a Madonna Orante on whose head two
angels place a crown, and two small adorers, all of which are
local productions of little importance. Some figures in a niche are
I'M e.g. at S. Bevignate outside Perugia; v. Vol. I, p. 489.
360 FOURTEENTH CENTURY PAINTING IN LAZIO,
executed in the same style ; they represent the Madonna, the
Baptist and a holy bishop. A little chapel near the entrance to the
left contains fragments of a Crucifixion and of scenes from the
story of a saint, while the second pillar to the left is decorated
with a figure of the Madonna.
The centre of the altar of the church of Sta.RosainTuscania is
adorned with a fresco, showing the Virgin and Child and St. Peter.
All these paintings are poor productions which derive trom
the Sienese school. They do not all bear a marked resemblance
to the works of Lorenzetti's Umbrian followers but without ex-
ception are reminiscent of paintings found in Umbria.
Cavalcaselle speaks of frescoes in Sta. Maria di Castello at
Corneto I1), now also called Tarquinia, about fifteen miles to the
west of Tuscania, but there is no longer any trace of paintings in
this church.
Sta. Maria at Vetralla, also to the west of Viterbo, but more in
its immediate neighbourhood, contains in the upper part of the
nave a series of small frescoes, separately framed, which in their
present state look as if they dated from the 1 7th century, but from
their size and arrangement we can conjecture that the originals
were executed in the 14th century.
The altar of the church of Sta. Maria delle Grazie nearMonte-
fiascone is adorned with a fresco, showing a half-length figure of
the Virgin with the Child; the Mother is depicted tenderly grasp-
ing the foot of her little son. The work is considerably repainted
but dates probably from the first half of the 14th century and is
the outcome of the Sienese school, showing even a faint connec-
tion with Duccio's manner.
Further north we come to Bolsena where the church of Sta.
Cristina contains some frescoes of the 14th century. On the left
wall of the chapel to the right of the choir, we find some impor-
tant fragments of mural decoration, representing the enthroned
Madonna to whom St. John the Baptist presents a devotee.
Another fresco might have represented the Ascension while
below, we see the kneeling figure of a female saint I ')• They are
good productions of the second half of the 14th century, executed
(l) Signor Hermanin, loc. cit., briefR' mentions only this last figure. He
is of opinion that it illustrates the apparition of the Saviour to Mary
Magdalene.
THE ABRUZZI, APULIA AND SICILY. 36r
more or less in the Umbro-Sienese manner with reminiscences
of the school of Orvieto, which city is not far distant.
In a cupboard in the sacrist)' of the same church, a local little
master has left a painting of the Madonna and Child with a saint,
probably St. Cristina, which dates from about the year 1400.
Going towards Rome the works of the Trecento are of very
inferior quality.
Some extremely poor paintings of no artistic value are found,
for example, in the church of Sta. Maria del Parto at Sutri ; here
many of the votive frescoes represent the enthroned Virgin, ac-
companied by saints or other figures; one of them, however,
illustrates the legend of a hunter. All these paintings are mani-
festations of a thoroughly worthless form of art and are scarcely,
if any, superior to the productions of the dark ages.
In the basilica of S. Elia atNepi where we found some beautiful
nth century paintings in the apse and transepts, the walls of the
nave are decorated with later frescoes; they belong for the greater
part to the 15th century, but some of these feeble works might
date from the later years of the 14th .
In the cemetery of Montebuono in Sabine, the church of S.
Pietro contains, apart from the paintings by Jacopo di Roccan-
tica and others of the 15th century, some belonging to the 14^
which are not much superior to the foregoing (1).
Some other examples of this form of art only help to prove
that there was no artistic dissemination from Rome at this period.
The Sienese influence, which penetrated as far as Viterbo, docs
not seem to have been felt in the environs of Rome, where, almost
at the gates of the city, we find examples of this decadent form
of art in the church of S. Agnese in the via Nomentana and in
the priest's house hard by, where frescoes of different periods,
some of the 14th century, have been discovered under the root
(fig. 215). Paintings of this epoch in Rome itself are incredibly
few. It is true that this impoverishment of artistic activity can
be almost entirely explained by the departure of the pontifical
court which was established at Avignon in 1309. Still, that the
absence of the pope should transform the city of Rome, whose
splendid school of the end of the 13th century culminated in
(M M.Guardabassi, [ndice-guida dei monumenti pagani e cristiani etc.
nella prov. dell' Umbria, Perugia, 1872, p. 1 16.
362 FOURTEENTH CENTURY PAINTING IN LAZIO,
Giotto's painting, into a mere desert, artistically speaking, seems
almost fabulous. None the less it is true. The decadence in Rome
during the absence of the Holy See passes all imagination (')
and the result in the field of art was that after Giotto's activity
we do not find one pictorial work of an}^ importance executed in
Rome during the 14th century.
We can, however, be certain that the few paintings, made
in Rome during this time, were executed by Sienese masters.
Duccio's school is represented by a Madonna at Rocca-di-Papa (2);
according to Vasari Pietro Lorenzetti worked in the church of
S. Pietro (3) ; Lippo Vanni executed in 1358 a triptych originally
in the church of Sta. Aurea and now in that of SS. Sisto e
Domenico (4) and perhaps still another for Sta. Aurea (5). There
was a painting, in all probability of Sienese origin, in the Grotte
Vaticane (,;) while a fragment of mural decoration that was dis-
covered in the Biblioteca Angelica derives also from the Sienese
tradition.
Certain Florentine elements intermingle with those of Sienese
origin in some frescoes that have been discovered in the church
of the Madonna del Buon Consiglio (7), in that ofS. Sisto Vecchio
and in the house of Cardinal Bessarione in the via di S. Sebas-
tiano (8). It is true that when in 1369 Pope Urban V returned for
a short time to Rome, he employed a great number of painters,
who were far from being exclusively Sienese (9); in fact there
was only one, Bartolommeo Bulgarini, from Siena, others came
from different parts of Italy and one was of German nationality.
As for Roman painters we find the names of three only : Nicolaus
and Magister Laurentius de Urbe and Jacobellus Janneccie de
(') F. Gregorovius, Geschichte der Stadt Rom im Mittelalter, 5e auflage,
VI Stuttgart, 1908, p. 425.
(-) v. Vol. II, p.971.
(3) Idem, p. 323,
(4) Idem, p. 456.
(5) Idcm,p 463.
(6) Reprod. in Rosim, near p. 150.
(7) A. Muhoz in Bolletino d'Arte del Minist. della Pubbl. Istr., 1912, p. 388.
The Same, Roma di Dante, Rome, 192 1, p. 390.
Is) A. Muhos, Roma di Dante, p. 39,
(') The documents which were discovered by E. Mi'intz are given by Crowe
and Cavalcaselle, II, p. 187.
TIIK ABRl'ZZI, APULIA AND SIC ILY.
363
Fig. 215. The Adoration of the Magi and four saints, fresco of the 2nd half of
the 14th century. St. Agnese, Rome.
Photo Alinari.
Roma, which proves how poorly provided the city was with
painters of its own.
Of the artists who were employed at this occasion, one came
364 FOURTEENTH CENTURY PAINTING IN LAZIO,
from Venice, another from Perugia and two from Cesano, while we
find active also a certain Paolo da Verona, Giovanni da Milano,
Giovanni di Taddeo Gaddi and his more famous brother Agnolo,
Giotto di Maestro Stefano and a Jannuccius and Johannes de
Florencia, so that the Florentine group was the more important,
even if we include a Johannes and a Vanne from Montepulciano
as members of the Sienese school. Bulgarini, as I have remarked
elsewhere P), was active also in Tivoli.
The most important series of frescoes of the Trecento in the
region around Rome is certainly that in the Sacro Speco at Su-
biaco which, as we have seen, is an example of the Umbrian
school of painting and more particularly of that of the Perugian
artist Meo da Siena (-). Some fragmentary frescoes in S. Silvestro
in Capite, Rome, which Signor Hermanin associates with the
school of Barna da Siena (3) seem to me also sooner of Umbrian
origin.
Yet another Roman painter whose name has come down to
us is Jacopo di Francesco, probably the son of Francesco da
Volterra, who worked in the Campo Santo of Pisa, (4) and is
sometimes called "da Volterra" and sometimes "da Roma".
To the south of Rome we find that Velletri must have posses-
sed a painter of the name of Andrea, since Lanzi informs us that
he saw a triptych, representing the Madonna and saints, showing
the signature, "Andrea da Velletri" and the date 1334, in the
Borgia Museum (5) ; he was of opinion that the work bore a close
resemblance to productions of the Sienese school. Rosini ((;)
believed that a second triptych in this museum, dating from 1336
and reproduced by d'Agincourt ("), belonged to the same school,
but the painting in question is none other than Taddeo Gaddi's
triptych, now in the Gallery of Naples. (8).
In this part of Italy works of the beginning of the 15th century
I1) v. Vol.11, p. 5r4.
(2) v. pp. 36-44.
(A) Hermanin, op. cit.. p. 515.
(4) v. p. 264.
(5) L. Lanzi, op. cit., p. 333.
(fi) Rosini, op. cit., II, p. 151.
(7) (fAgincourt, Pittura, pi. CXXIV.
(s) v. Vol. III., p. 317.
THE ABRUZZI, APULIA AND SICILY. 365
are not rare, and have frequently an archaic appearance which
causes them to be antedated. Such paintings are found at Cori,
Piperno, Roccantica etc. ( ' ).
In that part of Lazio near the Abruzzi we find stillsome paintings
of a certain importance. Firstly in the old monastery of Sta. Sco-
lastica, near Subiaco, some frescoes are preserved in the second
cloister; two of these representations seem to have formed part
of a series of illustrations from the life of the saint. Also in the
"Cosmatesque" cloister there are some fragments of decoration;
they depict the monasteries depending on this one and in the
vaults the symbols of two of the Evangelists ; the execution of
this decoration dates very probably still from the end of the r4t'1
century.
In the Sacro Speco there are also some frescoes by other
artists than the adherent of the school of Meo da Siena, who
painted the principal decoration in the upper and lower churches
and in the Scala Santa. One of these painters adorned the walls of
the second part of the upper church with scenes from the life of
St. Benedict — those on the left-hand side have almost entirely
disappeared -- and painted, as well, the figure of St. Benedict in
majesty in the midst of two saints and four devotees on the arch
and above the four Fathers of the Church. To another artist we
owe a figure of the Madonna with two saints in the third part of
the church while it might very well have been the same painter
who executed the Lord on the Cross and some figures of saints
and in the vault the Fathers of the Church, all in the chapel to the
left of the high altar.
They are paintings of the end of the 14th century, of no great
importance and sooner an outcome of the Sienese tradition.
At Agnani some important manifestations of the influence of
Cavallini's art are found in a corridor which leads to the side
entrance of the Cathedral. At the beginning of this passage we
see a beautiful fresco of the Saviour enthroned between St. Luke
and the holy bishop Cataldus, while at the end of the corridor
some medallions around the door of the church contain the
Madonna amidst saints and some half-length figures of saints-.
(') v. with regard to this the important article by A. Bertini Calossi,Le
origini della pittura del Quattrocento attorno a Roma, Bolletino d'Arte del
Minist. della Pubbl. Istr., T920, pp. 97 and 185.
366 FOURTEENTH CENTURY PAINTING IN LAZIO,
The latter decoration, which in part is repainted, is of later
date and not so characteristic of Cavallini's school but the for-
mer is of considerable interest and clearly reveals a knowledge
of the Roman master's works.
In a disused chapel to which access is gained by passing
through the treasury of which it nowadays forms part, is preserv-
ed the most beautiful 14th century painting that I found inLazio.
It represents the Madonna enthroned with a small devotee
kneeling at her feet. The technique of the panel, which shows the
date 1325, reveals a profound knowledge of Cavallini's manner
and of the Roman school ; it is to a certain extent reminiscent
of the art of the 13th century.
On the entrance wall of Sta. Maria Maggiore at Ferentino a
fresco of the Virgin, although hard of line and very provincial
in appearance has also been executed under a Sienese inspiration.
Among the frescoes in Sta. Maria a Fiume at Ceccano which
for the greater part are worthless productions of a later period,
we find a few that date still from the 14th century I1).
At Terracina there are some paintings of a slightly better
quality; this is the case particularly for a panel in a chapel to the
right hand side in the Cathedral, showing on one side the Saviour
and two little angels above, and on the other side the Madonna
holding the Child in the centre of her lap; this position and the
fact that both figures are seen in full face, are somewhat archaic
features ; two little angels support the Virgin's crown. Although
a feeble work, it is not displeasing (fig. 216).
In the church of S. Antonio there are some fragments of mural
decoration of a very mediocre quality; a long series of saints, all
represented in full face, is particularly ugly. It is clearly notice-
able, however, that the style of painting derives from the Sienese
school (2). Besides these figures we find a Crucifixion and some
scenes from the legend of the titular saint.
The choir of S. Domenico is adorned with frescoes of a much
better quality but they date probably from the beginning of the
15th century.
C1) A. Muhoz, La chiesa di S. Maria a Fiume in Ceccano e le sue pitture,
Rassegna d'Arte, 1911, p. 121.
(2) A. Rossi, Terracina e la Palude Pontina, Bergamo, 1912, pp. 114, 115.
THE ABRUZZ1. APULIA AND SICILY.
367
The Abruzzi. On
account of its
situation, the
Abruzzi was the
province that re-
mained in closest
contact with the
regions where the
art of painting"
flourished; more-
over the docu-
ments furnish us
with a consider-
able number of
names of painters
who were active in
this province (1).
As we do not
possess a single
production which
might give us an
idea of the manner
in which these
(*) Bind/, Artist i
abruzzesi, Naples.
1883. Filangieri,lr\dice
degli artefici delle arte
maggiori e minori,
Docum.perla stor.
le arti e le indus., VI,
Naples, 1891. P.
Piccirilli, L Arte. 1903,
p. 216. The Same,
Artisti abruzzesi,
Leonardo da Teramo
etc., Rivista abruz-
ze s e, 1905, fasc. 1,
V. Balzono, L'Arte
abruzzese, Bergamo,
19 lo, p. 56.
Fig. 216. Madonna, end of the 14th century.
Cathedral, Terracina.
I'h. .r,, [stit. [tal. <li Arti Grafiche.
368 FOURTEENTH CENTURY PAINTING IN LAZIO,
painters worked, it would be useless to dwell on their names;
let us sooner discuss the works that have been preserved.
Bindi's work P) would have been a useful guide to the Abruzzi,
had the dating of the paintings been more correct; but in this
respect it is full of mistakes and sometimes very serious ones, there
being several centuries between the actual and ascribed dates.
I have already mentioned in Volume I some frescoes in this
region and although the)' were executed probably in the 13th
century, they will be a good starting point.
These paintings adorn the three apses of the subterranean
church of S. Giovanni in Venere, near Lanciano (2), and represent,
in the centre, the enthroned Virgin between an archangel and St.
Nicholas, and in each of the lateral conchae, the Saviour enthron-
ed between four saints ; of the latter frescoes one is in a very
ruinous state, two of the escorting saints having disappeared ; the
other, however, is intact (fig. 217). It is interesting to observe that
here, as in other regions in Italy, an increase ofltalian elements
foreshadows 14th century painting, but in this instance the By-
zantine style still predominates while at the same time we notice
elements reminiscent of the Roman school. The technique is too
fine for the work to be the production of a provincial artist.
At Aquila, only a short distance from Umbria, we find some
fairly interesting paintings. A panel in the sacrist)' of the church
of Sta. Maria Paganica shows a representation of what might be
called the tree of St. Bonaventura. The Virgin, seen in half-length
figure, supports a pedestal from which springs the tree on which
Christ is crucified; the branches take the form of scrolls. A monk,
evidently the donor, kneels in adoration at the foot (fig. 218). The
style of this work is somewhat reminiscent of Simone Martini's
tradition as it was interpreted by the painters of Orvieto. The
church of S. Silvestro, formerly dedicated to St. Sebastian, is
adorned with a fresco of the half-length figure of the dead Saviour,
which dates probably from about 1400.
In the Gallery of Aquila there is a panel (no. 217), divided into
six compartments, illustrating the life of St. Catherine (fig. 219).
P) V. Bindi, Monumenti storici ed artistici degli Abruzzi, Naples, 1889.
('-') E. Bertaux, L'art dans l'ltalie meridionale, I, Paris, 1904, p. 285. V.
Zecca, La Basilica di S. Giovanni in Venere, Pescara, 1910, p. 115. v. Vol.
I, p. 450.
TI IE ABRUZZI, APULIA AND SICILY.
369
Fig. 217. The Lord enthroned between four saints, fresco of about 1300.
S. Giovanni in Venere, near Lanciano.
Phot.' Mi 31 ii mi.
24
370 FOURTEENTH CENTURY PAINTING IN EAZIO,
The artist might be classified as a provincial follower of the
Master of the St. Cecily altar-piece; even the proportions and
colouring show some connection with this Florentine's style;
but the painting is obviously of later date for the backgrounds of
architecture show a more advanced stage of development. I think
this painting should, all the same, be placed in the first half of the
14th century. For quite unknown reasons this panel is attributed
to Giovanni da Sulmona whose painting of 1435 from Ortucchio,
now in the Gallery of Sulmona, bears no resemblance to this
picture. I have mentioned in a previous chapter, the painter of
the name of Bartolommeo d'Aquila who worked in 1328 in the
church of Sta. Chiara in Naples.
Quite near Aquila we find several 14th century paintings, some
of which are of considerable importance. This is not so, however,
of the frescoes of this period that are preserved in the church
of Sta. Giusta atBazzano(]) where a "Mater Omnium" on the
entrance wall is executed in a manner reminiscent of the tradition
current in Umbria about 1370 or 1380. Some scenes from the
legend of the titular saint which adorn the left wall near the
choir are painted in the same style.
Below the latter work we find some remains of a fresco of finer
quality and more Sienese in inspiration of which a holy bishop, a
female saint and a few fragments of other figures are still visible.
The church of Sta. Maria in Cryptas, at Fossa, a few miles
distant from here, possesses a very important series of fres-
coes (2j. These paintings, which for the greater part decorate the
left wall, are arranged in two rows. Above we see the Annun-
ciation, the Nativity which takes place in an open shed, together
with the Child's first bath, the Apostles called to bid farewell to
the Virgin, the funeral of the Virgin, Joachim refused entrance
to the Temple and the angel appearing to Joachim in his retreat
with the shepherds. On the lower row are represented the angel
announcing the Virgin's death (so little remains of this fresco
that I cannot be certain of the accuracy of its identification), the
Apostles' farewell to the Virgin, the Entombment of the Virgin
and over the tomb the Madonna and the Saviour seated in
(1) I have mentioned in Vol. I, p. 562, the unimportant frescoes of the 13th-
century that are found in this church.
(2) For the 13th century paintings v. Vol. I, p. 447.
TI IK ABKUZZI, APULIA AND SICILY.
majesty. The two fol-
lowing frescoes have
been destroyed by the
construction o f a
shrine to protect a
panel of the Madonna,
probably of very early
date, but entirely
repainted.
This series of fres-
coes is of great import-
ance, particularly for
this region of Italy.
The artist combined
a Giottesque con-
ciseness with mor-
phological types of
Sienese origin. The
iconography of
the Nativity is also
Giottesque but the soft
clear colours, the ex-
m
Jltcr ccce
films tmic^
«
i
jf
pression and grace of ^ntfl^Tfotnm h
the figures, the profus
ion of ornamental
details and the
architecture are all
characteristic of the
Sienese school. The
style of the painting is
vaguely reminiscent of
Barna da Siena's, but
in spite of the artist's
qualities we cannot fail
to notice his short-
comings, in the draw-
ing in particular,
which mark him as a
provincial artist, no
Silt***
TO£«ruce
Fig. 218. The Lord crucified, the Virgin and an
adorer, Abruzzese School, first half of the 14th
century. Sta. Maria Paganica. Aquila.
Photo Carli.
372 FOURTEENTH CENTURY PAINTING IN LAZIO.
doubt from the Abruzzi. The date of the execution of this decora-
tion is probably about 1350—1360.
I have been informed that 14th century frescoes are preserved
in the church of S. Spirito about two miles from Fossa, but a
hermit who lives at some considerable distance from the building;
and who, as well, seems very elusive, keeps the key and so far I
have never succeeded in my attempts to have the church opened.
To the other side of Aquila we find some frescoes in the parish
church of S. Yittorino where the real apse, which is situated be-
hind the present one, shows a painting of the Saviour in a man-
dorla supported on the right by three angels; SS. Peter and
John the Baptist are depicted on the same side ; the figures to the
left have disappeared.lt is a work of inferior quality, deriving
from the Sienese style, and dates from about 1370 (a graffito of
1392 provides us with a date post quern non); it bears a resembl-
ance to Umbrian paintings of the same period.
Some fragments of 14th century mural decoration have been
found in the subterranean part of this church. The most important
is that representing the Virgin between SS. John the Baptist and
James and although the lower part is missing, we can still see
very clearly that the painter worked under the influence of Luca
di Tomme. This is very significant considering the short distance
between here and Rieti where an important polyptych by this
master is preserved (2).
The most important 14th century fresco in the Abruzzi is that
representing the Last Judgment in the church of Sta. Maria in
Piano, near Loreto Aprutino.
It is of grandiose proportions but unfortunately the portion to
the right hand side has for the greater part been effaced. Above,
we see the Saviour seated within a mandorla in the midst of
angels ; immediately below Him the instruments of the Passion
are depicted on an altar which divides the saved into two groups
and before which kneel three monks ; lower down the souls, in
the form of little naked figures, are shown crossing a bridge to
enter Paradise but several fall into the river that runs below.
Paradise is represented as a beautiful park with a tower where
all kinds of riches are found. Angelic musicians are seen above
Vol. II, p. 469.
THE ABRUZZI, APULIA AND SICILY.
373
This fresco,
which dates pro-
bably from the last
years of the 14th
century, announ-
ces in Italy that
form of interna-
tional Gothic art
of which Nelli was
one of the inter-
preters. The ugly
but individual
faces, the costumes
and coiffures, the
marked anima-
tion of expression
and gesture are all
characteristic of
this special group
of paintings, some
other examples of
which are found in
this region, but be-
longing, however,
to the 15th century.
Most o f t h e
frescoes that we
find on this wall
and in a chapel to
the right seem to
be from the same
hand, although at
first sight this can
hardly be perceiv-
ed on account of
the difference of
colour. While the
fresco of the Last
Judgment is mel-
Fig.219. Six scenes from the history ofSt. Catherine,
Abruzzese School, first half of the 14th century.
Gallery, Aquila. ph t (
374 FOURTEENTH CENTURY PAINTING IN LAZIO, ETC.
lowed with age and executed in very warm tints, the other paint-
ings are hard and show almost white faces in which the features
are very sharply outlined.
A few of the votive paintings, however, as well as the frag-
ments on the left wall, part of which is still covered with white-
wash, seem to be the work of another artist. Some other votive
paintings can be ascribed to the same hand, while cycles of more
importance adorn the second division of the wall and the last
chapel to the right. The first of these series shows above the
Saviour in majesty with scenes of the Resurrection, the Ascen-
sion, Pentecost, the Coronation of the Virgin over the empty
tomb, and the Adoration of the Magi. Many other paintings that
belonged to this series, have disappeared.
The cycle in the chapel was composed originally of about
twelve scenes from the life of St. Thomas (?) ; the execution is so
elementary that one might almost believe that the decoration has
been left unfinished. There are many elements also in these
paintings foreshadowing Nelli's art.
To the south of Loreto we find a few unimportant fragments
of painting on a pillar in the church of Sta. Maria in Lago, at
Moscuffo, slightly reminiscent of the Orvietan school.
Some late 14th century paintings in the lateral apsides of S.
Angelo at Pianella, as well as a fresco of the Madonna nursing the
Child, on one of the pillars, are more directly inspired by the Sie-
nese school. A representation of the Madonna del Soccorso is of
later date. A modern inscription informs us that these frescoes
are by Corregio !
In the Cathedral of Atri, a little further north, a considerable
number of 14th century frescoes is preserved. The entrance
wall shows the Lord on the Mount of Olives, the Saviour in a
mandorla surrounded by the instruments of the Passion and the
figures of the Madonna, the Baptist, St. Matthew, a donor in
adoration and the archangel Gabriel; on another row we see St.
Ursula, the Madonna enthroned, some female saints, the Virgin
nursing the Child and St. Dominic. All these frescoes are from
the hand of a provincial painter of the later 14th century who
was influenced above all by the Sienese school and who produced
a form of art very similar to that current in Umbria. The right
wall was adorned with numerous 14th century paintings but with
Fig. 220. The Lord and the Virgin, Abrnzzrsc School, first half of the
14th century. Cathedral, Atri.
I Moscioni.
376 FOURTEENTH CENTURY PAINTING IN LAZIO,
the exception of one or two, only a few fragments have been pre-
served; fairly important parts of a Madonna enthroned between
four saints remain visible as well as the figures of the Lord and
the Virgin of a considerably earlier period than the rest of the
decoration, dating probably from the beginning of the 14th cent-
ury (fig. 220). I should still like to mention the figures of a Ma-
donna, standing, to whom the Baptist offers a little bird, St. John
the Evangelist and a holy bishop. These frescoes are not all from
the same hand, for some of them show sooner the influence of
the school of The Marches, than that of Siena or Umbria. We
also notice a certain resemblance to the work of the painter whom
we found active at Offida, which town, besides, is not far distant.
A number of votive frescoes adorn the pillars, some figures of
saints are seen to the left of the choir while to the right the Ma-
donna, nursing the Child, is represented between St. George and
a female martyr. This last painting might date from the begin-
ning of the 15th century.
Among the frescoes which decorate the subterranean church
there are several of the 14th century. The most important are
some figures of saints, a Crucifixion between SS. Peter and Paul
and the Lord enthroned. These paintings are of finer quality
than those ..in the church above; they show most connection
with the art of Siena but are also reminiscent of the frescoes
at Offida.
On the whole the frescoes at Atri reveal the existence of a
fairly important group of painters, but as there are no connecting
links between the various works which are very different from
one another we can hardly speak of a local school. According to
Schulz(1), who wrote before i860, there were some 14th century
frescoes in the church of S. Antonio which no longer exists, and
in that of S. Francesco but they have disappeared unless the
writer, as he frequently does, has mistaken the date.
Bindi mentions two paintings which he saw on the walls of the
shops around the Cathedral of Teramo; formerly they bore the
date 1381 and one of them perhaps represented the investiture
of King William (-). Nothing remains of these paintings. The
(') Schuls, op. cit., II, p. 15.
(-) Bindi, op. cit., p. 20.
THE ABRUZZI, APULIA AND SICILY. 377
works that are at present being undertaken in the old apse of the
Cathedral have revealed some frescoes of the 14th century.
At Campli, to the north of Teramo, I found in the tribune of
the abandoned church of S. Francesco which is falling in ruins,
a crucifix of the Giottesque type with the Virgin and St. John
at the sides and the pelican above. Unfortunately the cross has
been repainted in the 15th century. Towards the south of the
eastern part of the Abruzzi or to the south west of Chieti three
frescoes of the 14th century adorn the choir of Sta. Maria of
Arabona. We see to the left a saint with an adorer, in the centre
the Saviour on the Cross between the Virgin and St. John and
to the right a painting of the Madonna. The first of these is of no
importance; the second is curious on account of the marked
individuality of the little artist and the hard and exaggerated
outline of the features while the third work shows the signature :
"A. D. MCCCLXXI1I Anton dc Andria fecit". The artist's
origin would justify our placing this fresco among Apulian
works, but if the painter came from Andria, his art, which might
be called rustic Gothic deriving from Siena, is more typical of
the Abruzzi and this fresco is better classified among the pro-
ductions of this region.
Near Pentima, to the north west of Sulmona, the beautiful
church of S. Pellino preserves on its left wall a fresco of the Cru-
cifixion and some other figures of about 1370 or 1380, which in
style approach the works of the Orvietan school. In the disused
church of S. Alessandro which is attached to S. Pellino and
has been converted into a museum, the apse is adorned with
some 14th century paintings showing four saints, the holy Pope
Alexander with two angels and two adorers and a detached
fresco of Christ, bestowing a blessing, which might be from the
same hand as the Crucifixion in the church. The fresco of the
Pope dates from about 1400 and that of the four figures of saints
belongs to a slightly earlier period, but both reveal a fairly
marked Sienese influence.
The earthquake of January 1915 destroyed practically every-
thing in that part of the Abruzzi around the dried-up lake of
Fucino. At Avezzano in the church of Sta. Maria in Vico there
existed a rather pleasing picture representing the Virgin and
Child, doubtless the work of a local artist who was influenced
378 FOURTEENTH CENTURY PAINTING IN LAZIO,
by the Sienese style (J). At Alba Fucense, the church of S.Pietro
contained several fragmentary frescoes, some of which probably
date back to the 14th century, but there is always a risk of ante-
dating" the productions of local little masters, far from important
artistic centres. Nevertheless a fresco of the Saviour on the Cross
between figures of saints, enclosed in a Gothic frame, belonged in
all likelihood to the 14th century ; I feel less certain about a
representation of the Coronation of the Virgin.
There is nothing left of the church which Schulz mentions on
the road between Avezzano and Celano and which, according
to him, contained frescoes of the 14th century (-)•
Bindi describes paintings, dating from 1344 (3), showing the
Madonna and Child, the four Evangelists and other saints, which
he found on the end wall of Sta. Maria delle Grazie at Rosciolo,
but the wall has fallen in and the entire decoration has completely
disappeared. There is a figure of the Madonna over the main
entrance but it is of a much later date. At some distance from
Rosciolo the church of Sta. Maria in Valle Porclaneta still exists
and contains some figures of saints, painted in the first half of
the 14th century.
A panel painting of the Madonna once adorned the altar of the
church of Sta. Maria delle Grazie at Le Cese. Further west,
where less has been destroyed, a niche in the church of Sta.
Maria in Cellis, near Cassoli, is decorated with a figure of the
Virgin, carrying on her knee the Child Christ, Who, according to
popular tradition, is a portrait of a king of the house of Anjou (4).
Some unimportant remains of fresco painting are preserved on
the facade and on one of the pillars of the abbey church of
Rocca di Botte.
In the church of S. Eustachio at Campo di Giove there were
formerly two panels showing sixteen scenes from the legend of
the titular saint. These paintings, which were stolen prior to
1903 (5) and which since then belonged to a private collection in
I1) E. Agostinoni, II Fucino, Bergamo, 1908, p. 147.
(-) Schulz, op. cit., II, p. 85.
(:i) Bindi, op. cit., p. 899.
(4J P. Piccirilli, La Marsica monumentale, L'Arte, 1909, p. 329.
(3) P. Piccirilli, LArte, T903, p. 213.
THE ABRUZZI, APULIA AND SICILY. 379
Florence, bear, in arrangement as well as in style, a resemblance
to the St. Catherine panel in the Gallery of Aquila; here too
the connection with certain Florentine productions is obvious,
but these pictures are of a later date than that of Aquila.
Miniatures of the 14th century in the Abruzzi are not completely
lacking. Fairly important examples of this art are preserved at
Sulmona, Guardiagrele and Atri. Certain miniaturists are re-
corded ; among them are Agostino di Leonardo da Teramo who
was active in 1290, Merolo di Bucchianico and Berardo d'Ofena
who worked in 1321 for the Cathedral of Sulmona and some
others (')•
The regions of Gargano, Molisse and Basilicate are exceed-
ingly poor in paintings. Some works of the Byzantine school
have been mentioned in the first of these districts, while Schulz
again furnishes us with wrong information regarding Giottesque
frescoes of the Crucifixion and the Lord enthroned in the apse of
S. Pietro at Monte San Angelo(-).
The same writer speaks of some mediaeval frescoes in the
tower of the Cathedral of Accerenza, to the north of Potenza,
but I failed to find any trace of them (3). The left apse of the
Cathedral of Muro is adorned with a painting of the Madonna in
the midst of figures, among them being Queen Joan of Naples and
the anti-pope Clement VII, which dates from the first years of
the 17th century, but Schulz is of opinion that it is contemporary
with the personages depicted, and consequently dates it from
about 1380 (4).
Some 14111 century paintings, however, are found in the church
of Sta. Trinita at Venosa, where Roberto Oderisi has left us
evidence of his activity. To the left of the entrance we see the
figures of SS. Blasius and Quiricus - - the latter has been given
the appearance of a woman -- and to the right that of St. Paul.
A Madonna, nursing the Child, and a female saint are preserved
I l) Balzctuo, op. cit., pp. 62-66.
(-) Schulz, op. cit., I, p. 253.
(:;j Schulz, op. cit., I, p. 318.
( ') Schulz, op. cit., I, p. 315 and III, p. 174.
380 FOURTEENTH CENTURY PAINTING IN LAZIO,
in a chapel to the right while on a pillar of the wall opposite the
entrance another Madonna is represented. These are all very
provincial works of the second half of the 14th century and do
not show close connection with any of the more important con-
temporary schools.
Apulia i1). In studying" the painting of Apulia, we can divide
its productions into two very distinct groups, one of which is
composed of the works which are an outcome of the persistence
of Byzantine or Basilian art, many examples of which, prior to
the 14th century, have been cited in the first volume of this work,
while the other group of paintings is of a pure Italian style.
Although there is no question of any particular local group or
Apulian school, there is an equally great number of these paint-
ings but when pictures of a non-Byzantine appearance were
desired, artists from other provinces may sometimes have been
called to execute them.
I do not really include Byzantine painting in the subject matter
of my work ; besides, this branch of painting has been frequently
dealt with in the numerous books on Byzantine art and archaeo-
logy, but very often the descriptions are limited to the frescoes
in the grottoes, and even to the more important examples only
of this sort of pictorial decoration (-)•
Grottoes adorned with frescoes are of a far greater number
than is often imagined. They are particularly numerous around
Matera. I have visited some of them, but the local authorities
speak of ''hundreds" of which quantity I dare not confirm the
existence. According to what I was told on the spot, much un-
known material is still to be found in the grottoes around Mas-
safra and Palagianello.
Judging from those that I have seen, the greater number of
these paintings date from the 14th century and often from an even
later period. Several dated Basilian works, however, have been
(/) M. Salmi, Appunti per la storia della pittura in Puglie, L'Arte. 1919,
p. 149.
(2) C/i. Diehl, L'art byzantin dans l'ltalie meridionale, Paris, no date. O. M.
Da/ton, Byzantine Art and Archaeology, Oxford, 191 1. p. 308.
TI IE ABRUZZI, APULIA AND SICILY
381
Fig. 221. St. Nicholas, Basilian fresco of the 14th century.
Sta. Lucia, Brindisi.
Phot* Minist. del. Pubbl. Istr.
382 FOURTEENTH CENTURY PAINTING IN LAZIO,
preserved in Apulia. The frescoes in the little church of S. Stefano
at Soleto, to the south of Lecce, are of the year 1347 ; those in
the SS. Stefani Grotto, near Vaste, still further south, are of
1376, while the date of 1392 was once visible in theGravina of the
Grottaglie, in the region of Taranto. These dated works allow
us to ascribe also to the 14th century some other frescoes, such
for example as those in the grotto of S. Biagio and in the crypt of
Sta. Lucia, near Brindisi (fig. 221) and some fragmentary paint-
ings that are still preserved in Sta. Maria di Idris at Matera(1),
S. Michele a Gravina and in the grotto of Sta. Maria degli
Miracoli, a short distance from Andria.
A point of difference between Basilian painting of the 14th cent-
ury and that of previous centuries is, that in this later period it is
not only limited to the decoration of grottoes, but gradually takes
a more and more important part in the adornment of churches.
Thus, for instance, in the church of Sta.Maria di Giano at Bisceglie,
there is a painting of the Death of the Virgin and a figure of the
holy pilgrim Nicholas, of a purely Byzantine technique and,
apart from the addition of some angels in medallions in the upper
part of the former fresco, of the usual composition.
In Brindisi we find outside the grottoes, some unimportant
remains of Basilian painting of the 14th century in the churches
of S. Giovanni in Sepolcro, Sta. Anna and in the cloister of S.
Benedetto. A Byzantine painting of St. Nicholas (?) adorns a lu-
nette over the lateral entrance to the church of SS. Niccolo e
Cataldo, Lecce. On the outside wall of the Cathedral of Soleto
we see some figures of saints executed in the same style. They
represent SS. John the Evangelist, Stephen and Nicholas and
were painted probably in 1397 when the Count of Soleto, Raimon-
dello del Balso, had the campanile built (-)•
Churches, showing an entire decoration in the Byzantine style,
no longer exist ; Sta. Maria di Cerrate, near Squinzano, now con-
tains only few frescoes intact of what originally must have been
a fairly important series of paintings, dating probably from the
(1) I have been told that in the subterranean part of the Cathedral
of Matera, now walled up and inaccessible, there are still some Basilian
paintings.
(2) Diehl, op. cit, p. 94.
THE ABRUZZI, APULIA AND SICILY. 383
end of the 14th century; the most important represent the Death
of the Virgin and St. George slaying the dragon I ')• The frescoes
of S. Stefano at Soleto with which we shall deal presently, are
of a style considerably altered by an intermingling of the Italian
manner. Schuiz(-) speaks of a church dedicated to St. Stephen
at Barletta covered with Greek frescoes, which he describes in
detail without, however, giving any date, but I was unable to
discover any trace of this church and think that it must have been
demolished. Further he makes some vague references to frescoes
with Greek inscriptions in a church, called S. Mauro(3) on the
road between Gallipoli and Nardo, but considering the amount
of inexact information with which his book provides us, and the
fact that no one else mentions the existence of this building, I did
not go in search of it.
Very significant of the persisting taste in Southern Italy for the
Byzantine style is the extant number of large panels, belonging
to this school, frequently they are miraculous Madonnas, which
a popular tradition ascribes to St. Luke. Similar pictures to
which this legend is attached are also found elsewhere in Italy.
The Madonna at Sta. Maria del Casale, near Brindisi, seems
to date from the 13th century and I have already mentioned it as
such(4). The panel to the left of the altar in the Cathedral of
Canosa has also the appearance of a very early work, but the
example in Sta. Maria at Siponto is less archaic.
Some others are preserved at Barletta. In a chapel to the left
in the church of S. Sepolcro a repainted panel shows the Virgin,
nursing the Child, a feature which does not belong to the Byzan-
tine tradition, although the picture in other respects is thoroughly
Oriental. A Byzantine Madonna will be found in the church of
Sta. Maria dell' Assunzione or Maggiore of the same town while in
that of S.Giacomo a beautiful panel, representing on one side the
Redeemer and on the other the Virgin and Child, reveals an inter-
mingling of Italian elements — one might even say a certain
Sienese sweetness — and Byzantine artistic principles. This panel
(') Reprod. in G. Gigli, II Talone d'ltalia, Bergamo, 191 1. p. 69.
(2) Schith, op. cit, I p. 141, III, p. 178.
(3) Schuls, op. cit., I. p. 273.
(*) v. Vol. I, p. 563.
384 FOURTEENTH CENTURY PAINTING IN LAZIO,
was.no doubt, executed in Italy towards the end of the 14th cent-
ury (figs. 222 and 223) (1).
A famous picture of the Virgin adored in the crypt of the
church of S.Niccolo atBari is but a very ordinary painting of the
1 5th century. On the other hand a beautiful triptych to which
apparently little importance is attached is kept in a small room
behind the sacristy. It represents the Virgin with the Child, Who
looks back at an angel, holding the instruments of the Passion,
between the figures of SS. Nicholas and Gregory. The icono-
graphy of this panel, as well as the technique is purely Byzantine
and in all probability it is a work imported from the Orient (2).
In another room we find a large panel of the Madonna enthroned
with adorers ; it is very much repainted but the type is suffic-
iently archaic for us to ascribe it to the 14th century. A beautiful
and important Madonna of a more evolved style and very prob-
ably belonging to the 15th century is preserved in the Museum
which is found in the church of S. Giovanni in Sepolcro, in
Brindisi.
It is not only the Madonna, however, that was represented in
this st3Tle. In the chapel of the relics in S. Niccolo, Bari, there is
an enormous panel of St. Nicholas, bestowing a blessing, with
the half-length figures of the Annunciation above, while below,
the figures, represent the Servian King, Urosius and his wife,
who in 1319 offered this panel, now for the greater part covered
with votive medallions, to the basilica (3).
A panel of considerable importance is preserved in the crypt
of the Cathedral of Trani. It represents the holy pilgrim Nicholas
of the town of Trani, who should not be confounded with the
saintly bishop of Bari. The arrangement of the panel in which
the principal figure is surrounded by scenes from his legend, is
reminiscent of certain Tuscan paintings of the 13th century.
Here we find eight scenes to either side. The decorative motifs
and the warm clear colours as well as the architecture and gene-
ral composition of the small scenes, all strongly remind us of
(*) M. Salmi, op. cit.. thinks that an Arabo-Catalan influence is manifest
in this panel.
-'1 Reprod. in F. Carabellese, Bari, Bergamo, 1909, p. 132.
(:!) Reprod. in F. Carabellese, op. cit., p. 131.
11 IE ABRUZZI, APULIA AND SICILY.
38;
Fig. 222. The Saviour, Apulian School of the end of the i^'1 century.
S. Giacomo, Barletta.
Photo Minist. del. Pubbl. Istr.
386 FOURTEENTH CENTURY PAINTING IN LAZIO,
Tuscan art of the Duecento. Although the inscription is in Latin,
the technique of the painting is influenced by contemporary
Byzantine art - - that is to say of the beginning of the 14th cen-
tury - and not by the Italo-Byzantine school of the previous
century. This is particularly evident in the central figure.
Besides certain elements in the style, the inscription and the
subject make it evident that we are here dealing with a work
executed in Italy.
Panels of Byzantine style are exceedingly numerous in Italy
and many of them, no doubt, originate from Apulia, but it is rare
to find a painting in this st}Tle prior to the 15th century.
The most important monument of Italo-Byzantine painting of
the 14th century in Apulia is preserved in the little church of
S. Stefano at Soleto, to the south of Lecce (1). Let me say at
once, however, that the production in question contains as many,
if not more, Italian elements than Byzantine.
For a very long time, even until the 16th century, Soleto was
a centre of Greek civilization in Southern Italy(2). Older frescoes
obviously covered the walls before the execution of the fairly
extensive series of paintings that we see now-a-days. Not only
do we find here and there, where the chalk has fallen, traces ot
what appear to be 13th century frescoes, but on the end wall and
in a niche at the end. of the left wall Greek paintings of a fairly
archaic appearance have been preserved. The first of these
frescoes shows above the Holy Trinity, below which we see
God the Father with the Saviour and on a still lower level a
representation of Pentecost and four saints. M. Diehl mentions
only this fresco which he dates from the 12th century, but in my
opinion it seems to belong to a somewhat later period. The niche
to the left is adorned with a figure of a saint which was no doubt
executed at the same time.
A Greek inscription dates the frescoes, which cover the other
walls, from the year 1347 and this is rather surprising since the
style of the works bears a much closer resemblance to Italian
painting of at least half a century later. Here the combination of
Byzantine and Italian elements is presented in a very unusual
form. I am not absolutely convinced that the date, which M. Diehl
(1) Ch. Diehl, op. cit., p. 93.
(2) Ch. Diehl, loc. cit.
II IK ABRUZZI, APULIA AND SICILY.
387
Fig. 223. The Madonna, Apulian School of the end of the 14th century.
S. Giacomo, Barletta.
Photo Minist. del. Pubbl. Istr.
388 FOURTEENTH CENTURY PAINTING IN LAZIO,
deciphered only with considerable difficult}', is not a copy of
an older inscription, one which bore reference to frescoes in all
probability covered by the present decoration which, judging
from its appearance, was much more likely executed towards
the year 1400 by a fairly Italianised artist.
The inscription of each fresco is in Greek. On the left wall the
paintings are arranged in three rows, each of which is composed
of six or seven scenes; they illustrate the history of Christ, begin-
ning with the Massacre of the Innocents and Flight into Egypt
and finishing with the Resurrection (fig. 224). The wall opposite
is adorned with two rows of scenes from the life of St. Stephen.
On either side the lowest row is composed of large figures ol
saints, each one framed separately ; on the right wall we find as
well a second representation of the Crucifixion. We cannot as-
cribe all the figures of saints to the same hand; some of them
seem to have been painted — or repainted by Francesco d'Arezzo,
who at the beginning of the 15th century executed so man)'
frescoes in the church of Sta. Caterina at Galatina at a distance
of only a few miles from Soleto.
The most important fresco is that adorning the wall over the
entrance; it represents the Last Judgment (fig. 225) (1j. The
painter must have been active about the year 1400; in style and
temperament he resembles the artist who executed some fres-
coes, among them a Last Judgment, at Loreto Aprutino and
whose manner pre-announces Nelli and international Gothic
painting. Many of the details of the fresco at Soleto correspond
with the representation of this subject that Rinaldo da Tarento
executed in the church of Sta. Maria del Casale, nearBrindisi,
with which we shall deal presently.
The figure of the Saviour and those of the Virgin and St. John
are depicted in the embrasure of the window ; on the wall to
either side we see the Twelve Apostles. Lower down the centre
is occupied by the instruments of the Passion between Adam and
Eve, while laterally angels blow blasts on trumpets to awaken
the dead whom the earth and sea give up; even those who
have been devoured by wild beasts are resuscitated. A large
archangel in armour, holding a sword, weighs the souls in the
i1) G De Giorgi, II Giudizio universale dipinto a fresco nella cappella di
S. Stefano in Soleto, Rassegna pugliese, 1884, p. 81.
II IK ABRUZZI, APULIA AND SICILY.
389
Fig. 224 Scenes from the Life of the Lord and saints. Italo-Byzantine
School, end of the 14th century. S. Stefano, Soleto.
Photo Moscioni
centre ; to his left an angel with a pitch-fork thrusts the Damned
towards a large Satan while to the right St. Peter leads the Saved
to the gate of Paradise which is represented by the three patri-
archs, holding the Good in their laps.
The frescoes in the little church of Soleto provide us with a
link between Byzantine painting and purely Italian art, exam-
ples of which are not lacking in this region. It is rare, however,
390 FOURTEENTH CENTURY PAINTING IN LAZIO,
to find paintings which have the appearance of local productions;
for the greater part the}' are the work of artists from distant
towns, at least they are more easily classified with the produc-
tions of other schools.
As local works of Italian style - - that is to say showing
neither Byzantine elements nor sufficient resemblance to paint-
ings of other schools for us to suppose a direct influence - - we
might mention the rather unpleasing frescoes in the Magdalene
chapel nearManfredonia where we find among other paintings a
Pieta in a frame which has the appearance of a filled-in window.
Adjacent to this we see a somewhat curious representation of
the Virgin, holding the Child and a crucifix, to whom an old saint
presents the donor; another saint is depicted carrying the model
of the church (1). In spite of their archaic aspect we can infer
from the very inferior quality of the painting, that this decoration
was executed at the end of the 14th century.
It may be said that the unskilled artist, who was active here,
was perhaps more familiar with the Sienese manner than with
that of any other school.
Some fairly important frescoes are preserved in the lower
part of the Cathedral of Trani. At the end to the right a painting
of the Virgin between St. James and an old saint is executed in
clear colours and dates from the 14th century. It adorns a tomb
and covers the original decoration of the 13th century. The
figures of the four Evangelists in the vault are from the hand of
a more capable artist and date from about 1400 (-).
A rather grandiose fresco of St. George on a white horse,
slaying the dragon, on the left wall is of an earlier date. An old
bearded saint near by is by a different artist.
Near Andria, in the church of Sta. Croce, which formerly must
have been an excellent "sampler" of Apulian painting of the 14th
centur}', we still find a certain number of important frescoes.
Those of about the year 1300 have been mentioned elsewhere (3).
A large Crucifixion adorns the wall near the entrance ; the same
( *) Reprod. in A. Beltramelti, II Gargano, Bergamo, 1907, pp. 44, 48, and 49.
(3) Sc/iu/s, op. cit., I p. 1 14, is mistaken in his identification of the saints and
speaks of an influence of Giotto. He does not mention the other frescoes here.
(3) v. Vol. I, p. 452, also A. Vinaccia, I monumenti medioevale di Terre di
BariJ, Bari, 1915^.47.
THE ABRUZZI, APULIA AND SICILY.
39 1
Fig. 225. The Last Judgment, fresco of about J 400. S. Stefano, Soleto.
Photo Moscioni.
subject with St. Andrew and a holy bishop is again represented
in the right apse while the wall to the right shows a series of
scenes from the legend of the Cross; The first of these paintings
reveals a faint influence of the Sienese school but the others, char-
392 FOURTEENTH CENTURY PAINTING IN LAZIO,
acterized by their somewhat clumsy drawing and sturdy, rather
ungraceful proportions, are executed in a style peculiarly their
own. It is, however, a naive infantine art. The chancel arch was
adorned with scenes from the Passion but only a few small frag-
ments remain visible. A painting of the beginning of the 14th cen-
tury decorates the left apse; it shows the Saviour between SS.
Peter and Paul. The figures of the four Fathers of the Church in
a vault to the right date from the later 14th century and are again
vaguely reminiscent of the Sienese school. I shall not mention
the numerous unimportant fragments of mural painting that are
still to be found in this church.
In the left apse of the crypt of the Cathedral ofBari the figures
of the Madonna, St. Ursula and her companions, St. Onuphrius,
another saint and St. Peter the Martyr are local productions of
the early years of the 14th century ( ').
Some other [4th century paintings, probably by a local artist,
are preserved in the church of Sta. Maria delCasale, near Brindisi.
On the left wall of the right transept we find a Crucifixion, an
Annunciation, the figures of which are separated, SS. Michael,
Stephen, Lawrence and the martyrdom of the last-mentioned
saint, all paintings of the first half of the 14th century, of rather
an original appearance. In the angle between this transept and
the choir we see a figure of St. Catherine with four scenes from
her legend to either side (fig. 226), which might very well be
from the same hand as the scenes from the history of the Cross
in the church of Sta. Croce near Andria. At a lower level are
representations of the Madonna, St. Nicholas enthroned, Mary
Magdalene and an adorer, while on the adjacent wall of the same
angle we find the figures of the Annunciation (fig. 227) and
traces of a Crucifixion. These last mentioned frescoes are by yet
another artist whose style once more bears some resemblance
to the Sienese school. They all date from the first half of the 14th
century.
Some mural paintings of local production are preserved in the
church of Sta. Caterina at Galatina which for the greater part is
i1) A certain Giovanni da Taranto was active in 1304 in the church ot
S. Michele, in Bari ; A. Filangieri di Candida, Notizie e documenti per ]a
storia dell' arte nel Napoletano, V, Naples, 1899, p. 325.
THE ABRUZZI, APULIA AND SICILY.
393
Fig. 226. St. Catherine and scenes from her history, Apulian School, first
half of the 14th century. Sta. Maria del Casale, near Brindisi.
Photo Minist. del. Pubbl. I>tr.
adorned with frescoes of the beginning of the 15th centur}' from
the hand of Francesco d'Arezzo. In that part of the church, be-
tween the central and left lateral nave, there is, among others,
a fresco of the holy knight Salomon, with a female adorer; it
394 FOURTEENTH CENTURY PAINTING IN LAZIO,
dates from the second half of the 14th century and is of a pleasing-
decorative effect.
To this list of paintings of local production some fragments of
no importance might still be added, such for example as the
damaged fresco of the Saviour, bestowing a blessing, in the sub-
terranean part of the Cathedral of Andria, some remnants of
mural decoration in the right transept of the Cathedral of Ruvo
(near frescoes of the beginning of the 15th century), and perhaps
one of the Madonnas - the one in green - - in the church of
Sta. Maria di Idris at Matera.
Several of the great schools of Central Italy had their repre-
sentatives in this region, but these painters can hardly be said to
belong to these schools although they were strongly influenced
by them. Thus Rinaldo di Tarento, the artist who left his signa-
ture in the church of Sta. Maria del Casale, near Brindisi, deserves
a place among the followers of Cavallini. It is recorded that this
church was built by Philip I of Tarento and his son Charles II of
Anjou to replace an ancient chapel that contained a miraculous
Madonna. Consequently the frescoes should date probably from
1332— 1346P). This tradition, in as far as I can trace it, dates
back to Andrea del Mona's "Memoria historica etc. di Brindisi"
(Lecce, 1674). However it has also been stated that in i3iothe
lawsuit against the Templars of Sicily was heard here and a
small chapel could hardry have been a suitable place for such an
event.
Some of the frescoes might lead us to believe that they had
been executed before the second quarter of the 14th century, but
considering that they show Cavallinesque elements which pro-
bably did not penetrate into Southern Italy much before this
period and because we cannot consider Byzantine characteristics
a guarantee of an earl}' date in a region which remained for such
a long time under a Byzantine domination, it might just be
possible that they do actually date from the second quarter of
the 14th century.
Above the door the signature : "Hoc opus pincxit (Ri)naldus
de Taranto" , is clearly visible and certainly refers to the fresco
of the Last Judgment, which is immediately over it.
1 ') Di Giorgi, Arte e Storia, 1899, P- 97-
THE ABRUZZI, APULIA AND SICILY.
395
Fig. 227. The Annunciation, Apulian School, first half of the 14th century.
Sta. Maria del Casale, near Brindisi.
Photo Minist. Pubbl. Istr.
The upper half of the Saviour's figure has been destroyed by
the addition of a window; a row of Apostles is placed at either
side. Lower down angels blow blasts on trumpets to awaken the
dead whom the earth and the sea give up in a very concrete
manner. Below this, Abraham. Isaac and Jacob, separated from
one another by small trees, are represented with the souls of the
Saved in their laps while St. Peter leads a figure, carrying a cross
396 FOURTEENTH CENTURY PAINTING IN LAZIO,
to the gate of heaven. To the left skeletons and figures of the
Damned are represented in Hell, inn-keepers being specially men-
tioned. The devils are not shown in the usual frightful manner,
but are here seen as dark red angels.
A considerably damaged fresco of the tree of St.Bonaventura,
on which Christ is crucified, adorns the left wall and seems to be
from the same hand.
On the same and opposite walls, as well as elsewhere in the
church, we find other frescoes, some of which have already been
mentioned as local productions while others, which are more
Tuscan in appearance, will be dealt with presently.
A faint influence of Cavallini's art will be detected also in the
fragments that remain of a series of scenes from the Life of
Christ in the choir. We can still distinguish on the left wall the
Descent from the Cross, the Entombment and the Hoi}' Women
at the Empty Sepulchre, while on the right wall, which is much
more damaged, some apparitions of Christ after His death may
have been represented.
The Byzantine influence is much more marked in these paint-
ings than in the works of Cavallini or those of his real school,
but they in no way resemble Basilian art. The morphological
types, shape of the faces and the shading of Rinaldo da Taranto's
figures in particular are reminiscent of Cavallini's manner and
we are obviously dealing with the work of an important and
fairly individual artist, but the other frescoes too, though less
significant, are also of interest because they do not belong to the
Basilian Byzantine style. Iconographically Rinaldo da Taranto's
Last Judgment shows, as I said before, some connection with
the painting we found at Soleto.
Another representation of the Last Judgment and a tree ot
St. Bonaventura form part of an important series of frescoes
which decorates the choir of the church of S. Leonardo, on the
outskirts of the town of Bitonto(1).
On the left wall below the tree of St. Bonaventura on which
Christ is crucified, we see the figures of St. Benedict, four other
founders of important monastic orders, the Virgin and St. John.
i l) M. Salmi, op. cit., has already remarked on the resemblance they bear
to the works of Cavallini and Conxolus and has proposed as date tor them,
that to which I ascribe them.
THE ABRUZZI, APULIA AND SICILY. 397
Prophets and angels separately framed as well as a series of
figures (prophets?) in borders showing a lozenge-shaped motif,
are represented on the same wall. Of the Last Judgment on the
end wall, Christ in a mandorla is still visible. To either side two
scenes, one above the other, possibly illustrate the story of the
Wise and Foolish Virgins. The paintings on this wall are consid-
erably damaged and in part covered by a 15th century decora-
tion. The right wall shows, above, the four Evangelists, their
symbols in frames of a lozenge-shaped design and at a lower
level some very large figures of saints, the one on the extreme
right being St. Catherine of Alexandria, near whom is depicted
a small representation of her burial on Mount Sinai.
All these frescoes are by the same artist who must have been
active here about 1320 or 1330. The inspiration ofCavallini's art
is evident in the types, forms, faces and method of portraying
plasticity. The pale colours, the elongated proportions and the
folds of the garments retain many elements of the art of the pre-
vious century.
Of another and almost contemporary artistic movement, we
find examples again in the church of Sta. Maria del Casale, near
Brindisi, where paintings of another tendency have just been
described. We have here an art that has developed out of Tuscan
painting of the 13th century, without, however, showing any in-
fluence of the Giottesque tradition.
A subject that is repeated a great many times is that of the
Virgin adored by knights in varying number, who are sometimes
followed by their mounts or even depicted on horse-back. These
paintings which are always accompanied by coats of arms,
decorate the left wall as well as the right but those on the former
seem to be of a slightly earlier date. In the frame of one of the
paintings on this wall we read the date 1338.
It is highly probable that all these paintings were executed in
connection with some knightly order and as it was apparently in
this building that proceedings were taken against the Knights
Templars in 1310, in all likelihood the church belonged to this
order, whose members had themselves represented on its walls.
There are besides a few other frescoes; one on the right wall
shows a large figure of the Redeemer while another on the left
wall represents the Annunciation.
398 FOURTEENTH CENTURY PAINTING IN LAZIO,
As in other parts of Italy , a certain number of paintings in
this region belongs to the Sienese school ; this style reached
Apulia perhaps through Naples, and although we do not find
any examples of great importance there are all the same several
works which prove that the art of this Tuscan centre penetrated
into Apulia.
A Madonna, in an extremely poor state of preservation, in the
sacristy of the church of S. Andrea at Barletta. has obviously
been executed under a Sienese influence; this is again manifest
in a fairly fine painting of St. James with four scenes from his
legend to either side, in Sta. Maria di Giano, near Bisceglie.
In the little museum of the Cathedral of Bari a fresco which
has been detached from the right wall of the church belongs to
the same tradition, while a fresco in the Cathedral of Con-
versano, representing the Virgin enthroned between two angels,
two saints and the donor - - a bishop - - with God the Father
amidst angels above, not only shows a Sienese influence but,
as Dr. Salmi remarks, a certain knowledge of the art of Simone
Martini.
It should not be forgotten that a work by Paolo Serafini da
Modena is preserved in the Metropolitana at Barletta (]), so that
even the Modenese school, which was not one of the more im-
portant, is represented in Apulia.
Considering that Apulia does not provide us with either
artistic personalities, dates or local schools, we are forced to
limit our description of its pictorial productions to a very sum-
mary classification which, however, demonstrates the persist-
ence of the Byzantine school alongside a thoroughly Italian
artistic activity which produced, probably, local works of little
importance but which, no doubt, explains the presence in this
district of artists whose style reveals a knowledge of some of the
great centres. It is all the same curious that the Florentine school
is not represented in Apulian painting of the Trecento, examples
of which, as has been seen, are fairly numerous.
Sicily (2). Works of the 14th century are very scarce also in
f1) v. Vol. IV, p. 388.
('-') G. Di Marso, Delle belle arte in Sicilia, II, Palermo, 1859, p. 159. The
same, La pittura in Palermo nel Rinascimento, Palermo, 1899, pp. 3 and 28.
THE ABRUZZI, APULIA AND SICILY
399
Sicily. Di Marzo, who wrote towards the
end of the fifties, records a considerable
number of paintings which have since
entirely disappeared!1). The explanation
of the importation of works of art from
towns easily accessible by sea, such for
example as Pisa and Genoa which were
not artistic centres of any great import-
ance, must lie in the almost complete lack
of native Sicilian painters at this period.
We have no proof, however, that such
artists as Turino Vanni, Bartolommeo
da Camogli and Antonio Veneziano went
in person to Sicily, whither there was no
difficulty in sending their works by sea.
Mosaics were executed in Sicily still in
the 14th century. Frederic II of Aragon
and the Archbishop Guidotto ordered
some in 1330 for the Cathedral of Messina,
in which, besides their own portraits and
those of other royal personages, the
Redeemer, the Virgin and some saints
were represented. The mosaics of the
Palatine chapel in Palermo were restored
by order of the Queen Elizabeth (-).
An important 14th century decoration
adorns the ceiling of the large hall in the
Chiaramonte Palace, Palermo, also known
as Hosterium and called by the people
Lo Steril3). This ornamentation illustrates
the social life of noblemen, comprising
hunting scenes and tourneys (fig. 228).
Di Marzo thought that they represented
(x) Di Marzo, Delle belle arte etc., pp. 181 — 187.
(-) Di Marzo, op. cit., 159.
(;i) E.Levi, L'Epopea mediaevale nelle pitture
del palazzo Chiaramonte a Palermo: La storia
di Elena, Dedalo, 1924, p. 133.
400 FOURTEENTH CENTURY PAINTING IN LAZIO, ETC.
events in which the noble families, whose coats of arms are
depicted, were active, but a great many of the scenes remain
unexplained. An inscription, however, informs us that some of
them illustrate the legends of Charlemagne, Guarnerius, Helen
and Roger. It adds to the interest of these paintings that the
names of the artists are inscribed between the beams. The}7
are: "Mastru Simuni pinturi di Curiglu" and "Mastro Chicu
pinturi di Naro". Further a long inscription tells us that this
work was ordered by Manfredo de Chiaramonte in 1377 and
that it was finished in T380. It is obvious from the names of
the artists that they were both Sicilian, for the word "Curi-
glu'' is but a local form of Corleone. As Di Marzo remarks,
Manfredo Chiaramonte, who at this moment ranked as the
greatest seigneur in Palermo, would certainly not have employed
any but the best artists of the town, so that in this decora-
tion we have a good example of the Palermitan school of the
Trecento.
Another painter's signature has recently been discovered
here; it is that of Giovanni da Yaladolid who is recorded in 1410
and in other documents of later date. He must have been a
person of considerable importance at the court of Sicily, since
the king appointed him the guardian of his children after his
death (1).
I think that this decoration bears some resemblance to other
works in Southern Italy; the strongly-built, rather clumsy, forms
and the vivacious gestures reminiscent of Florentine art recall
certain frescoes in Sta. Maria del Casale, near Brindisi. On the
whole the decoration displays a Gothicism and a pronounced
sense of popular narration, sooner of northern origin, in which
I think we can discover a connection with German art.
Another painting in the same palace, representing the three-
quarter-length figure of the Virgin with the Child between those
of SS. John the Baptist and Peter the Martyr, belongs to quite a
different tradition, one in which Byzantine and Tuscan features
intermingle (2). Although the work is extremely archaic in ap-
p) I owe this information to the courtesy of Professor Levi of Palermo.
(2) Reprod. in Rosini, op. cit., Ill, near p. 104.
Fig. 229. The Ascension, Sicilian School, 2nd half of the 14th century.
Gallery, Palermo. Photo Minist. Pubbi. istr.
<v 26
402 FOURTEENTH CENTURY PAINTING IN LAZIO,
pearance, it dates probably from the last years of the 14 th
century.
Another Sicilian painter whose identity we have been able
to establish is Jacopello d' Antonio, possibly the grand-father of
Antonello da Messina. He lived at the end of the 14th century
and the beginning of the 15th. A painting of St.Thomas Aquinas
existed in the church of S. Domenico, Messina, which was des-
troyed by fire in 1849, while a Madonna by him formerly in the
church of S. Bartolommeo of the same town was sent to Calatro
in Calabria (*).
Niccolo di Magio di Siena, in spite of the inferiority of his
work, which is known to us by a triptych of 1402 in the Gallery
of Palermo was, according to the documents, a much sought
after artist in Sicily. He really belongs to the 15th century and
is mentioned between 1399 and 1430. He was a very conser-
vative painter and continued the style of the 14th century well
into the 15th. Other panels in Palermo, dating from 1418 and
1420 show that he was not the only one to do so.
As for dated works of the 14th century, we find one in the
Gallery of Palermo (no. 388) which belongs in type to the same
category of paintings as that executed by Antonio Veneziano in
1388 (2), since here too, a long list of names is inscribed. On this
occasion the names of the nuns of the Martorana are recorded
in three columns, divided from one another by two rows of half-
length figures of saints. In the triangular apex we see a bust
of the dead Saviour between four kneeling flagellants. The
inscription at the top of the panel gives the date of execution as
1396. The technique, particularly that of the half-length figures,,
is rather fine; a Byzantine influence is very noticeable.
Byzantine characteristics are present in almost every Sicilian
production of the 14th century. This will be confirmed by a
glance at the paintings in the Gallery of Palermo.
It is most marked in two panels (no. 5) the upper part of each
of which is semi-circular; one represents the Resurrection of
Lazarus, and the other in the upper part the Entombment and in
the lower the Descent into Hell. They are almost purely Byzantine
i1) Di Marzo, Delle belle arte etc., p. 190.
(2) v. Vol. Ill, p. 449.
THE ABRUZZI, APULIA AND SICILY.
403
works and I do not think of a later date than the end of the
14th century.
Byzantine elements are also very evident in a panel showing
Fig. 230. Coronation of the Virgin and saints, Sicilian School, end of the
14th century. Gallery, Palermo.
Photo Minist. PubL>l. Istr.
the Ascension (no. 83, fig. 229) in which the Virgin stands in the
midst of the Apostles who gesticulate in much the same manner
as in early mediaeval representations of this subject. A Tuscan
influence, that of Siena in particular, mingles with the Byzantine
features which latter, however, pre-dominate.
404 FOURTEENTH CENTURY PAINTING IN LAZIO, ETC.
The same Gallery possesses two fairly important triptychs.
One (no. 79) which originates from the church of S. Pietro la
Bagnara, shows in the centre the Coronation of the Virgin with
groups of angelic musicians ; SS. Peter and Paul are depicted in
the lateral panels while three little figures of saints adorn the
pilasters of the frame. In the predella we see the Entombment
between the figures of SS. Peter and Paul in the central part;
those below the lateral panels contain each three figures of
Apostles (1), while to the extreme right and left is the figure of
an Evangelist (?) (fig. 230). Form and feeling are both of Tuscan
origin but the hardness of the drawing is thoroughly Byzantine
while the linear effects seem to derive from the art of mosaic.
Consequently I do not agree with Di Marzo who classifies this
painting as a Tuscan or Pisan work (2). At the end of the inscrip-
tion which names the church for which the panel was executed
we see only the beginning of the date: "MCCC ", which
has been wrongly supposed to be 1400 (3).
Another triptych from the same church, now in the Gallery
of Palermo (no. 82), is larger and more important, since, apart
from the principal panels and the predella which show the same
representations as were found in the foregoing work, the pin-
nacles are adorned with the figures of the Holy Trinity. The
style of painting is very similar to that of the other triptych but
the technique is coarser.
A half-length figure of the dead Saviour, painted on slate,
which was found in the 17th century in the ground under the
church of S. Giovanni dei Tartari, together with a painting ot
the Virgin which has been lost sight of, is preserved in the
Gallery of Palermo. It is one of the few works in which the
Byzantine influence is very faint (4).
f1) Di Marzo, La pittura a Palermo, p. 45, makes a mistake in describing
the Twelve Apostles.
(-) This attribution by Di Marzo is repeated by S. Agati, II cicerone per la
Sicilia, Palermo, 1910, p. 84.
(3) Di Marzo, op. cit., p. 45.
(4) Di Marzo, op. cit., p. 36. Z)/71^e7r^o,Dellebelle arte etc., p. 192, mentions
also the existence of Sicilian miniatures of the i4,h century.
SUPPLEMENTARY NOTES AND ILLUSTRATIONS
SUPPLEMENTARY NOTES AND ILLUSTRATIONS
As the study of primitive painting, particularly that prior to
the i-i-th century, is as yet only at its commencement, it is but
natural that more material is continually being added to the sub-
ject. Thus, during the few years that have passed between the
appearance of the first volume of this work and the printing of
the fifth a certain number of paintings have come to my know-
ledge. Besides that, I have been able to obtain a considerable
number of photographs of pictures that I have mentioned in the
text but am only now able to reproduce.
Lastly this supplement gives me the opportunity of explaining
or rectifying certain passages which I have since found to be a
little ambiguous or incorrect.
i&"
VOLUME I
p. i. It is hardly just towards Professor Strzygowski, still
always to accredit him with the opinion that the entire Christian
art finds its origin in Alexandria. Although several of the archae-
ologists of his school still maintain this hypothesis, he himself in
his last synthetic volume, "Ursprung der Christliche Kunst"
(Leipzig, 1920), propounds much broader ideas on the sub-
ject. He no longer considers the large centres, such as Alexan-
dria and Antioch as anything but mere mediums through which
the art of the interior of the countries is transmitted to the rest
of the Christian world. Now-a-days Professor Strzygowski gives
Rome, where Christian art manifested itself at a somewhat later
date, a much more important place than he did formerly.
The theory that the so-called Pompeian painting was produc-
ed in Syria and Mesopotamia before it was known in Rome and
might have been imported from these eastern countries to the
west, has, I think, been considerably shaken by the recent dis-
cover}' at Dura, to the north of the Syrian desert, of frescoes
408 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I).
dating from about the year 80 A. D. (x). These frescoes which
are the only paintings of such an early period and of a reliable
date ever found in these parts, show most obvious eastern char-
acteristics.
The way in which the figures are represented in full face, the
rigidity of the draping, the realistic but lifeless features are all
elements which are utterly foreign to Pompeian painting but
which unquestionably herald that art which flourished at a
later age in Byzantium and from there was transmitted to Italy.
p. 22. It is my opinion, and not that of Professor Wickhoff, that
the miniatures of the Genesis of Vienna have been executed by
two different artists and consequently do not agree with Profes
sor Wickhoff, who differentiates five different miniaturists.
p. 176. Some isolated figures of saints in the Tempietto of
Cividale might date from the 9th or 10th century.
Several heads of saint in medallions which decorate the in-
trados of the principal arch in the church ofS. Vittorino, about
three miles from Aquila, are of a slightly later date.
To the productions of the Byzantine style of the nth century
might be added the important decoration of the apse of the basi-
lica of Aquileia, dating in all probability from shortly after the
foundation of the church which took place in 1031. These
paintings have recently been completely brought to light and
restored (2).
The principal fresco shows the Madonna with the Child in a
mandorla which is surrounded by the symbols of the Evangelists;
although it is considerably damaged we can still distinguish the
fairly free attitude of the Child Jesus. Lower down we see two
groups of figures ; to the right they are probably SS. Hermagoras,
Fortunatus and Euphemia with the much smaller figures of Prince
Henry, the emperor Conrad I (1024-1039) and his wife Gisela
(fig. 231) ; while to the left they depict SS. Tazianus,Hilariusand
Marcus with the patriarch Popponus (T019-1042) and five other
P) J. H. Breasted, Oriental Forerunners of Byzantine Painting, Chicago
(i924)-
(2) Lanckoronski, Niemann, Swoboda, Der Dom von Aquileia, Vienna,
1906. A. Morassi, II restauro dell' abside della basilica di Aquileia, Bolletino
d'Arte del Minist. della Pubbl. Istr., 1923, p. 75.
SI IPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I). 409
Fig. 231. Three saints and three members of the imperial family, circa 1030.
Basilica of Aqilileia. Photo Uff. Belle Art!, Trieste.
figures. They are all represented in a flowering field. A row of
white medallions, encircling heads, probably those of the Apostles,
is intersected by dark medallions, containing peacocks. Lower
4io SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL I).
mmmsf mm -
Fig. 232. The Madonna, angels and Apostles, end of the 11th centur}'.
Ancient Cathedral of Foro Claudio, now Episcopio, near Ventaroli,
v. Vol. I, p. 149.
Photo Minist. della Pubbl. Istr.
down there were eight very elongated figures of martyrs, two of
which have been replaced by windows.
This decoration, which fortunately has been well restored, is
one of the mostimportant pictorial monuments of the 1 Ith century.
Some fragmentary frescoes in the left nave of this church and
SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I). 411
Fig. 233. Detail of fig. 232.
1 Minist. della Pubbl. Istr.
412 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I).
'i
■
Fig. 234. Fragment of a crucifix, 2nd half of the 12th century.
S. Paolo-a-1'Orto, Pisa, v. vol. I, p. 213.
Photo Brogi.
in that of S. Martino at Terzo might be even of an earlier date(L).
p. 221. Among Romanesque paintings to the south of Naples,
(x) A. Morassi, Bolletino d'Arte del Minist. della Pubbl. Istr., T921, p. 419.
SUPPLEMENT. NOTES AND ILLUSTRATIONS (V( )L. I ). 413
we might still cite
the remains of the
d eco ra t ion of S.
Giovanni d e g 1 i
Eremiti in Palermo
whe re we find a
Madonna between
SS. James Major
and John the Evan-
gelist, which might
date from thefound-
ation of the church,
namely about 1 150.
p. 248. The "Ca-
mera di Ruggero"
which is decorated
with mosaics is in
the royal palace and
not in that of the
Zisa.
p. 251. Before the
earthquake two
beautiful Sicilian
mosaics of the 12th
centur}' were pre-
served in the church
of S. Gregorio in
Messina; they
originated from an
older church, dedi-
cated to the same
saint. The one
represented the
Madonna enthron-
ed with the Child in
the centre of her
lap and a small
kneeling figure of a
Fig. 235. An archangel, mosaic of the 2" > half of
the 12th century. S. Gregorio, Messina.
V. Vol. I, p. 251. Photo Brogi.
414 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I).
Fig. 236. The Saviour and the Annunciation, Basilian fresco, 959. Grotto of
Cai'pignano, V. Vol. I, p. 252. Photo Minist. Pubbl. Istr.
SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I). 415
Fig. 237. Madonna, Basilian fresco, 12th century. Sta. Lucia, Brindisi,
V. Vol. I, p. 252. Photo Minist. Pubbl. Istr.
devotee to whom the Virgin offers a phylactery in Latin. The
other depicted an archangel (fig. 235).
An important mosaic of a later period, dating from 1260, adorns
the right apse of the CathedralofSalerno.lt shows the large
figure of St. Matthew enthroned between those of SS. Fortunatus,
4i6 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I).
Fig. 238. A saint, Basilian fresco, 12th century. S. Giovanni in Sepolcro,
Brindisi. v. Vol. I, p. 253.
Photo Minist. Pubbl. Istr.
SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I). 417
John the Disciple, James and Lawrence with an archangel above.
In spite of the extensive restoration, this mosaic still retains a
pronounced Byzantine character.
p. 256. Interesting examples of the intermingling of Greek and
Italian elements which characterizes certain productions of Basi-
Fig. 239. The Temptation of St. Antony (?), end of the 13th century.
S. Sepolcro, Barletta, v. Vol. I, p. 256.
Photo Minist. Pubbl. Istr.
lian art at the end of the 13th century are preserved in the tribune
of the church of S. Sepolcro at Barletta where to the right hand
side we see a representation, probably of the temptation of St. An-
tony (fig. 239), a saint with a cross, the Annunciation and St. An-
ton)', surrounded by scenes from his legend.
p. 260. Among the Florentine painters of the 13th century we
v 27
418 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL I).
might still mention a certain Bartolommeo who is recorded in
1240 and 1286, v. Jrasari-Milanesi, I, pp. 264 and 542 ; Thieme-
Becker, Kiinstler Lexikon, II, p. 560. The following painters are
found active in Lucca: Uberto di Lucca in 11 14; Benedetto in
1 199, Lotario and Bonuccio in 1228, v. Crowe and Cavalcaselle,
ed. Langton Douglas, III, p. 164.
p. 281. A fairly marked resemblance can be noticed between
the mosaics, executed probably shortly after 1271, in the Bap-
tistery of Florence and two panels in the Museum of Berlin, repre-
senting the Visitation, the birth of St. John (?), Zacharias writing
the name of his son, the angelic message to Zacharias, St. John
preaching in the desert and the Last Judgment. These pictures
have been attributed to the Umbrian school by O. WulffiQahrb.
der K. Preus. Kunstsamml, 1916) and to Deodato Orlandi by
O. Siren (Toskanische Maler im XIII Jahrh., Berlin, 1922, p. 127.}
p. 286. A panel of the Madonna, recently acquired by the Fogg
Art Museum, Cambridge, U.SA., shows sufficient resemblance
to the large picture of the Virgin and Child with small lateral
scenes, which I reproduce as fig. 141, for us to ascribe it also to
the Pisan school of the end of the 13th century (fig. 240).
p. 302. A fine Florentine Madonna, somewhat reminiscent of
that at Mosciano but of a more archaic and more Byzantine tech-
nique, belongs to Mr. Arthur Acton, Florence (fig. 242).
p. 307. A half-length figure of the Madonna against a red back-
ground with two little angels flying above, which, at the begin-
ning of 1924 was for sale in Rome, obviously belongs to the
school of Deodato Orlandi.
p. 328. Showing a distant connection with the art of the Ber-
linghieri is a panel representing St. Zenobius with four scenes
from his life, between SS. Eugenius and Crescentius which ori-
ginally was preserved in the Cathedral of Florence but between
1487 and 149 1 it was given to the Confraternity of St. Zenobius.
Since then it has passed through various hands and now belongs
to the Gallery of Parma. G. Siren, Toskanische Maler, p. 112,
attributes it to Barone Berlinghiere, v. also G. Poggi, La tavola
SUPPLEMENT. NOTES AND IL LI 'STRATIONS (VOL. I). 419
Fig. 240. Madonna, Pisan School, end of the 13th century.
Fogg Art Museum, Cambridge, U.S.A., v. Vol. I. p. 286.
42o SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. 1).
di S. Zenobio, Rivista d'Arte, 1907, p. 1 12 and the same, II Duomo
di Firenze, Berlin, 1909, p. c.
p. 329. A small panel showing the Lord on the Cross between
the Virgin and St. John with a low wall in the background, in
Fig. 241. Manfredino d'Alberto of Pistoia, the Meal at Bethany. Accademia
Ligustica, Genoa, v. Vol. I, p. 298.
Photo Brogi.
the Acton collection, Florence, is executed after the manner of
Enrico di Tedice.
p. 335. A panel of St. Francis by Margaritone has recently been
SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. 1). 421
discovered in the church of S. Francesco at Montepulciano and
has been transferred to the store-room of the library of this town.
The background and the signature were entirely repainted in the
17th century. Among the numerous portraits that Margaritone
executed of the saint this is one of the ugliest
Fig 242. Detail of an enthroned Madonna, Florentine School, later years of
the 13th century. Acton Collection, Florence, v. Vol. I, p. 302.
p. 337 note 1. I wrongly contradict Professor Thode's affirma-
tion of the existence in the Vatican Gallery of a panel of St. Fran-
cis similar to that in the sacristy of the Lower Church, Assisi.
Since then I have discovered this panel in the store-room of the
Gallery; the gold background is modern and before the picture
is thoroughly cleaned, I shall not venture to pronounce my
opinion with regard to its age.
422 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I).
p. 355. The Acton collection possesses a fine Florentine Ma-
donna of the Romanesque tradition. The Virgin who is depicted
Fig. 243. Detail of a crucifix, first half of the 13th century. Bandini Museum,
Fiesole, V. Vol. I, p. 291. Photo Reali.
in half-length figure, is dressed in a pale blue robe and holds the
Child affectionately against her (fig. 252).
p. 358 A Madonna, dating probably from the middle of the
13th century, in the Acton collection (fig. 256) bears a close
resemblance to the Virgin depicted in full face which I mention
as belonging to the Hamilton collection.
p. 358. A fine Madonna ol the Romanesque tradition, pre-
SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I). 423
viously in the Stroganoff collection, Rome, now the property of
J. N. Brown Esqi'. has been loaned to the Fogg Art Museum,
Cambridge, U.S.A. ( fig. 257). It is more archaic in form and design
than most of the Tuscan Madonnas and to a certain extent is
Fig. 244. Enrico di Tedice, detail of a crucifix. S. Martino, Pisa,
v. Vol. I, fig. 172.
reminiscent of Spanish Romanesque art. On account of its
resemblance to an enthroned Madonna and Annunciation in Sta.
Maria in Via, Camerino, - - which I mention here for the first
time — , it might possibly be a Marchigian production, of the
middle of the 13th century.
p. 362. Two late productions of the Tuscan school of the end
of the 13th century are a Madonna standing, holding the Child,
with a small figure of an adoring monk in the Home Museum
(no. 67) and a large detached fresco representing St. Christopher,
424 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I).
Fig. 245. Enrico di Tedice, detail of a crucifix. S. Martino, Pisa,
v. Vol. I, fig. 172.
Photo Brogi.
SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I). 425
carrying the
Child Jesus on
his s h o u 1 d e r,
which was for
sale in Florence
in 1923 and 1924.
p. 363 note 1.
A very fine cruci-
fix of the second
half of the 13th
century, origin-
ating probably
from Tuscany,
was for sale in
Florence in the
spring of 1924.
A peculiar feat-
ure of this cross
is the presence of
two angels, in-
stead of the usual
figures of the
Virgin and St.
John, in the
lateral terminals.
p. 370. The
frescoes of 1242
in the Town Hall
of San Gimig-
nano were attrib-
uted by J. Carlyle
Graham (Bur-
lington Maga-
zine, VI, 1904-5,
p. 491) to Ven-
tura, a painter of
Siena who is
mentioned at San
Fig. 246. Margaritone d'Arezzo, St Francis.
Vatican Gallery, v. Vol. I, p. 335.
426 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL.
Fig. 247. Detail of a panel of St. Francis, Florentine School. 2nd half of the
13th century. Sta. Croce, Florence, v. Vol. I, fig. 180.
Photo Brogi.
Gimignano in 127 1 and 1273 and who was active in Siena in 1262
and 1267. These dates, however, do not coincide with that of
1242 which remains clearly legible and which J. Carl vie Graham
does not even mention.
p. 378. To a rather early and personal follower of Guido da
SUPPLEMENT. N( >TES AND ILLUSTRATK >NS I VOL. I). 427
Fig. 248. Detail of a panel of St. Francis. 2nd half of the 13th century.
S. Francesco, Pisa. v. Vol. I, fig. 182. Photo Brogi.
Siena I attribute an Annunciation in the Stibbert Museum,
Florence, and a Nativity recently acquired by the Fogg Art
Museum, Harvard University, Cambridge, U.S.A.
p. 383. A half-length figure by Yigoroso da Siena was for sale
in Rome in January 1924.
428 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I).
Fig. 249. Detail of a panel of St. Francis, 2nd half of the 13th century.
S. Francesco, Pisa, v. Vol. I, fig. 182. Photo Brogi.
p. 385. Very likely of Sienese workmanship and dating from
about 1270 — 1280 is a small panel, which was for sale in Siena in
April 1924, showing the Lord on the Cross against a background
of architecture with the fainting Virgin supported by a compan-
ion, St. John and a female saint.
SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I). 429
Fig. 250. The Ascension of St. Mary Magdalene, detail of the Magdalene
panel, Florentine School, circa 1270 - 1280. Accademia, Florence,
V. Vol. I fig. 185. Photo Brogi.
430 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL.1).
p. 398. By that immediate follower of the master of St.
Francis to whom I attribute a crucifix painted on both sides, in the
Gallery of Perugia (reprod. Vol. I, fig. 225) is a crucifix with St.
Francis kneeling at the feet of the Saviour, in the Acton col-
lection, Florence (fig. 258). The figures in part are cut out from
the panel, but this seems to have been done at a later period.
Fig. 251. The Entombment, detail of a crucifix. Tuscan School, 2nd half of
the 13th century. Accademia, Florence, v. Vol. I, fig- 186. Photo Brogu
p. 402. Although the forms are less refined I think that a panel
of the Lord on the Cross between the Virgin and St. John, with
angels above in the St. Thomas chapel of the S. Domenico
church of Naples is by that follower of the Master of St. Francis
who executed the crucifix in the sacristy of the Lower Church of
S. Francesco in Assisi and the figures of the Virgin and St. John
in a private collection in Stockholm.
p. 405. A fine crucifix of about the middle of the 13th century
and probably a production oftheUmbrian school originally in the
SUPPLEMENT. NOTES AND ILLUSTRATIONS ( VOL. 1). 43 r
Fig 252. Madonna, Florentine School, middle of the 13th century. Acton
Collection, Florence, v. Vol. I, p. 355.
432 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I).
Fig. 253. Madonna, Florentine School, 2nd half of the 13th century.
Formerly in the Loeser Collection, now in the Acton Collection,
Florence, mentioned Vol. I, p. 358.
SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I). 433
Fig. 254. Madonna, Florentine School, end of the 13th century. Museum,
Worcester, U. S. A., mentioned Vol. I. p. 358.
church of S. Sisto, Rome, is now preserved in the convent of SS.
Domenico e Sisto. It shows the figures of the Virgin and St.John
— the latter repainted - on the broad part of the cross, two
angels on the lateral terminals and a half-length figure of the
v 28
434 SUPPLEMENT NOTES AND ILLUSTRATIONS (VOL. I).
Fig
255. Madonna, Tuscan School, middle of the 13th century.
Cathedral, Fiesole, mentioned Vol. I, p. 358. Photo Brogi.
SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I). 435
Fig. 256 Madonna. Tuscan School, middle of the 13th century,
Acton Collection, Florence, v. Vol. I, p. 358.
436 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I).
Fig. 257. Madonna, Marchigian School?, middle of the
13th century. On loan to the Fogg Art Museum.
Cambridge, U.S.A.. v. Vol. I. p. 358-
Redeemer in a
medallion be-
tween two angels
above. It is re-
produced in O.
Berthicr Chroni-
que du monas-
tere de San Sisto
et de San Domi-
nico e Sisto a
Rome, II, Levant.
1920, p. 13.
p. 407. In the
parish church of
PievePagliaccia,
in the neighbour-
hood of Perugia,
we find a fresco
of the last years
of the 13th cent-
ury represent-
ing the Lord on
the cross, the Vir-
gin, St. John and
two angels. It is a
somewhat crude
painting without
any charm.
p.407.InAssisi
parts of an im-
portant mural
decoration, in-
cluding a beau-
tiful figure of an
armoured knight
on horseback,
have quite re-
cently been dis-
SUPPLEMENT. NOTES AND ILLUSTRATIONS (V( >L. J ). 437
Fig. 258. Follower of the Master of St. Francis, crucifix. Acton Collection,
Florence, v. Vol. I. p. 398.
covered in the building" of the Savings Bank(Cassa di Risparmio),
adjacent to the temple on the principal piazza of the town.
438 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I).
p. 407. Two of the frescoes, those showing the Last Supper
and the Crucifixion, which I reported as having disappeared from
the church of Sta. Maria-inter- Angelos, near Spoleto, have been
acquired by the Museum of Worcester, U.S.A.
p. 414. On the panel of the Lord in majesty between saints and
prophets with scenes from the martyrdom of S. Felice - and
not from that of St. Lawrence although they bear a close resem-
blance which was brought from the church of S. Felice at
Giano, near Montefalco, to the Gallery of Perugia, the signature,
which seems to be"Pescius", has quite recently been discovered
on the sword of St. Paul. This is the earliest example I know of
an artist signing his work in this manner (fig. 259).
p. 433. Apart from the important decoration of the 13th century
in the crypt of the Cathedral of Anagni, some fragments of mural
painting are preserved in the apse of the chapel to which access
is gained through the treasury. They show the Lord enthroned
between two saints. Judging from the small pieces that are seen
here and there some frescoes, probably of a later date, are still
covered by white-wash. In the church itself a fine Madonna ot
the second half of the 13th century is visible on one of the last
pillars to the left.
p. 451. The identification of Luca di Palestro with the painter
who was active in S. Giovanni-in-Venere, near Lanciano, is the
result of a mistaken interpretation of the record, furnished by the
18th century historian, Bishop Luigi Antinori, that the lower
church was decorated in 1 190 by Luca di Pollutro (not Palestro) (x).
As the frescoes in question date from the end of the 13th cen-
tury, one might even say from about 1300, this statement cannot
bear any reference to these paintings.
p. 451. In the left apse of the Cathedral of Atri an important
fresco of the Triumph of Death has been preserved.
Below the figure of a saint we see two skeletons to whom a
person presents a knight wearing gauntlets and a sword; he is
accompanied by another knight and followed by several pages
I1) H. IV. Sc/utls, Denkmaeler der Kunst des Mittelalters in Unterltalien,
II, Dresden, i860, p. 47.
SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I). 439
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440 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I).
who hold the horses. All the figures are depicted in a flowery
field and the entire fresco is surrounded by a beautiful ornament-
al border. The painting is of a finer quality than most of the
Abruzzese works but it is all the same rather archaic and dates
probably from shortly after the middle of the 13th century.
p. 452. There are a few Apulian paintings of the 13th century
which I should still like to mention. A large Madonna of the Italo-
Byzantine type adorns the tribune on the left hand side in the
church of S. Sepolcro at Barletta. Some figures of saints, among
them SS. John the Apostle and Donato, are preserved in the
church of Sta. Maria di Giano at Biscegle. At Balsignano, near
Bari, in one of two beautiful little Romanesque churches which
are going to ruin, there was formerly, besides the extant frescoes
mentioned on p. 452, an important representation of the Last
Judgment of which an aquarelle is kept in the Museum of Bari
but I could find no trace of the original.
In the left apse of the Cathedral of Bari important fragments
of a decoration of the later years of the 13th century have been
discovered; they show the Lord enthroned between four saints
with the figure of a bishop in adoration and higher up a represent-
ation of the Crucifixion. A Madonna and a figure of St. Nicholas
of Bari of the same period are seen on the right wall while also
in the right apse traces of decoration are still visible.
On the first altar to the left in the Cathedral of Matera a fine
fresco of the 13th century, representing the Madonna, recalls
certain Tuscan works and is even slightly reminiscent of Cimabue.
p. 473 note 1. To the bibliography on Cimbue should now be
added: A. Chiappelli, Nuovi studi su Cimabue e la sua opera
pittorica, Nuova Antologia, 16th June 1924.
p. 481. Mr. Siren recently attributed to Cimabue a half-length
figure of the Madonna in the collection of Lord Lee, London
(Burlington Magazine, November 1923). I have not yet seen the
original and know the picture only from the coloured repro-
duction and a photograph which the owner kindly sent me, but I
do not think that the attribution can be correct. lam of opinion
that it is a Florentine work, executed by an artist who must have
known the Rucellai Madonna because there are decided Sienese
SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I). 44 1
elements, particularly in the figure of the Child, which connect
these two paintings.
A polyptych consisting of the five half-length figures of tin-
Virgin, St. Nicholas, the Baptist, an archangel and St. Dionysius,
in the Acton collection, Florence, reveals a knowledge of Cima-
bue's art (fig. 263).
Fig. 260. Cimabue, detail of the Madonna in the Uffizi, Florence, v. Vol. I,
Photo Brogi
fig. 262.
A Florentine painter of the first years of the 14th century,
who must have been familiar with Cimabue's work, executed a
triptych which was for sale in Rome in the spring of 1924. It
represents the half-length figure of the Virgin, affectionately
holding the Child between those of two male saints, one holding
a scroll, the other the palm of martyrdom ; the half-length fig-
ures of the Lord and of the angel and Virgin of the Annunciation
adorn the terminals.
An oblong panel dating from about 1300, which was for sale
442 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I).
Fig. 261. Follower of Cimabue, Madonna and angels. Louvre, Paris,
V. Vol. I. p. 474. Photo Alinari.
SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I). 443
Fig. 262. Follower of Cimabue, the Saviour between SS. Peter and
James. Hamilton Collection, New York, v. Vol. I. p. 476.
444 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I).
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SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I). 445
Fig. 264. Five saints, fresco of the early 13th century. Tempietto, Cividale,
V. Vol. I, p. 554. Photo Minist. Pubbl. Istr.
in Paris in 1922, is the work of a provincial painter of a much
lower standard. It shows the half-length figure of the Madonna
between those of St. John the Evangelist and a holy bishop
446 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. I).
with little angels in the spandrels. Here only the morphological
types reveal a knowledge of Cimabue's art.
p. 503. A fresco which in type corresponds with the commem-
orative mosaics of the Cosmati group, adorns the tomb of
some of the members of the Gaetani family in a chapel to the left
of the nave in the Cathedral of Anagni.
The fresco was entirely repainted in the 17th century but it
is obviously a work contemporary with the inscription below,
which shows the date 1294. It depicts the Virgin enthroned in
the centre while to either side a saint presents a kneeling de-
votee, one of whom is dressed in the red garments of a high civic
official (senator?).
p. 527. Besides the Madonna of the Umbrian school in the
church of S. Angelo; Perugia which I mention on pp. 49 — 50 of
this volume, Signor Hermanin in his lectures delivered in Peru-
gia in the autumn of 1923, in his article "II Maestro romano di
Giotto", Almanacco di Roma, 1924, p. 160, and in another in the
Corriere d'ltalia, 13th Dec. 1923, attributes to Cavallini also the
Assumption of the Virgin with St. Thomas receiving the holy
girdle in the church of SS. Giovanni e Paolo, Spoleto, which I
reproduce in Vol. I, fig. 320, as an Umbrian fresco of the end of
the 13th century.
p. 546. I managed to discern in the curious fragments that
remain of the damaged part of the fresco at Poggi Mirtete three
skeletons in their coffins, so that with the king on horseback, the
composition was that of the Triumph of Death.
p. 555. Recent restoration has brought to light an important
fresco of the Crucifixion in the Cappella Torreani in the basilica
of AquileiaO). The painting belongs to the Italo-Byzantine style
and might date from the earlier years of the 13th century. Be-
sides the figures of the Virgin and St. John and two angels above,
we see to the sides two holy bishops.
p. 561. Comparing my notes made several years ago on the
paintings existing in the church of S. Vittorio at Ascoli Piceno
with those of the 13th century which are found there now, I
f1) A. Morassi, Bolletino d'Arte del Minist. della Pubbl. Istr., 1924, p. 423.
SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. 1). 447
imagine that the works which are at present still being carried
out in this church, have brought to light a good many of them.
We now find on the central wall two Madonnas of the 13th cent-
ury and remnants of a Last Judgment. On the right wall there
was an extensive series of scenes in three rows, one above the
other, from the Life of Christ, of which I mention only the Saviour
mounting on the Cross and the faithful mourning over His body,
but the following scenes are also recognizable: the Last Supper,
the Annunciation, St. Anna teaching the Virgin to read, the
Nativity, Pilate washing his hands and the Calvary. In some
parts frescoes of the 14111 century cover the older decoration.
On the back of a pillar in this part of the church we see a 13 t]l
century painting of the Madonna between two saints and adorers
which on account of the elaborate draping, is of rather an extra-
ordinary appearance. Further on the same wall there are four
figures of saints : SS. Peter, Nicholas, Francis I?) and Victor (?).
Some important fragments of fresco painting are preserved on a
pillar to the left; they represent the Lord mounting on the Cross,
the Crucifixion, St. Catherine and another saint. They might be
by the artist who adorned the entry wall; he is more Byzantine
and more refined than the rather rough provincial painter who
executed the frescoes on the right wall.
Many remains of mural painting are found also in the church
of S. Giacomo in Ascoli Piceno. On the second pillar to the left a
damaged fresco of the Virgin and Child, with a devotee and
another small figure below bears the date 1298.
VOLUME II.
pp. 92 and no. The reproductions 56 and 69 should be revers-
ed but the titles remain as they are.
p. 95. The figure of an angel belonging to the school of Duccio,
which I reproduce as fig. 59, has migrated from Berlin to the Art
Museum ofWellesley College, Massachusetts, U.S.A., to which
gallery it has been presented by Mrs Hill.
p. 97. Some works of Duccio's school which are not included
in the list I give on p. 97 note 1 are: a small Madonna, formerly
in the Seminary at Nocera Umbra (Umbria) and now in the Galle-
ry of Perugia; a crucifix in the Home Museum, Florence (no. 58);
a beautiful Madonna recently acquired by Dr. Bastianelli, Rome;
three equally fine busts of saints - SS. John the Evangelist,
Peter and Paul — which can be considered productions of the
master's workshop and which were also presented by Mrs Hill
to the Museum ofWellesley College, Massachusetts, U.S.A.;
and an enthroned Madonna with four saints in the Reyerson
coll., Chicago, Art in America, 1913, p. 112.
p. 108. In the spring of 1924 two panels by Ugolino, showing
the half-length figures of SS. Peter and John the Baptist were for
sale in Florence,
p. 125. For Ugolino Lorenzetti v. additions to p. 333.
p. 140. To the list of Segna di Buonaventura's works might be
added a half-length figure of the Madonna depicted on a panel
which now has a round shape, in the Museum of TivolU1) a
small picture of the Virgin enthroned in the midst of saints for
sale in Florence in 1924, and a half-length figure of the Madonna
for sale in January 1925.
p. 151. The artist who executed the Madonna, Annunciation
and Nativity in the Metropolitan Museum, New York (fig. 102)
I1) Rassegna d'Arte, 1916, p. 98.
SUPPLEMENT. NOTES AND ILLUSTRATIONS ( VOL. II). 449
.1- ■
r
Fig. 265. Duccio (?), Angel from the Rucellai Madonna. Sta. Maria Novella,
Florence, v. Vol. II, fig. 1. Photo Brogi.
painted also a half-length figure of the Virgin with the Child, which
was for sale in Rome in the autumn of 1923.
p 226. A small replica of Donato's Madonna of Humility in the
Museum of Berlin which I reproduce as fig. 153, exists in a private
collection in Rome ; it is very likely from the hand of the master
v 29
45o SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. II).
as is also a picture of the same subject in the Stoclet collection,
Brussels.
p. 274 note 3. To the list of Lippo Memmi's works should still
be added a half-length figure of the Madonna and Child, which was
.•* .: -*• -•
Fig 266. Duccio (?). medallion from the frame of the Rucellai Madonna.
Sta. Maria Novella, Florence, v. Vol. II. fig. 1. Photo Brogi.
for sale in Siena in 1923 and 1924 and a large bust of the Virgin
with the Child, Who bestows a blessing and holds a scroll, sitting
very erect on her arm, while a bishop kneels below and two
angels adorn the upper corners. This picture which seems to be
quite unknown is found on the altar of the chapel of the sacristy
of the Cathedral at Ravello, and is called Sta. Maria Vetrana. It
is considerably repainted, and little but the Virgin's face remains
of the original work, but this suffices to show that the picture is
hard of design 'and not one of Lippo's best productions. The
SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. II). 451
existence of the panel in this region, not far from Naples, however,
is fairly significant not only in connection with Simone Martini's
probable presence in this city but because it might lead us to
Fig. 267. Duccio (?), medallion from the frame of the Rucellai Madonna.
Sta Maria Novella, Florence, v. Vol. II, fig. 1. Photo Brogi.
believe that Lippo accompanied his future brother-in-law to
Naples, as he did to several other towns.
p. 275. Mr. Berenson, Gazette des Beaux Arts, 1924, p. 276 note
1, mentions in the collection of Mr. Andrew Gow at Eaton a re-
plica of the painting of St. Ansanus which I reproduce as fig. 182.
but the figure in this instance is depicted holding a sword, v.
also note on p. 463.
452 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. II ).
p. 300. Of late some other works which should be added to
the output of Barna da Siena have come to light. Professor Edgell
has recently attributed to this master a panel representing the
mystical marriage of St. Catherine, in the Gallery of Siena (no.
Fig. 268. Donato (?), SS. Louis of Toulouse and Francis, Gallery, Siena.
mentioned Vol. II, p. 225. photo Lombardi.
108), as well as four small panels in the same collection (nos. 85,
86, 93 and 94) showing the Baptist, SS. Catherine, Paul and John
the Evangelist, all having once obviously belonged to the same
altar-piece (1). I have classified all these paintings (p. 248 note 1)
(') E. H. Edgell, The Boston mystic Marriage of St. Catherine and five
more panels by Barna Senese, Art in America, 1924, p. 49.
SUPPLEMENT. NOTES AND ILLUSTRATIONS ( VOL. II ). 453
Fig. 269. Donate ?), Madonna. Strauss Collection, New York,
mentioned Vol. II, pp. 226 and 607.
454 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. II).
Fig. 270. Barna da Siena, Virgin and Child, half of a diptych.
Home Museum, Florence, mentioned Vol. II, p. 297.
Photo of the Uffizi.
as the work of a particular pupil of Lippo Memmi's to whom I
ascribe also a Madonna in the Home Museum, but I am convinced
that Mr. Edgell's attribution is right, for Barna was a more
changeable painter than most of the Sienese artists of this period.
The figure of St. Catherine in the Gallery of Siena which I
have just mentioned shows a striking resemblance to those in
SUPPLEMENT. NOTES AND ILLUSTRATIONS (V( >L. II). 455
•*.»-a<»b» .iwni^-t^r-
Fig. 271. Barna da Siena, the dead Saviour, half of a dip-
tych. Home Museum, Florence, mentioned Vol. II, p. 297.
Photo of the Ulifizi.
the mystical marriage in the Boston Museum and to the picture
of a saint — possibly St. Ansanus which I reproduce as
fig. 193 and which formerly belonged to the Enrich Galleries,
New York, but was acquired by the Gallery of Copenhagen and
not that of Stockholm as I was at first informed v. p. 608.
In the same manner Barna executed a half-length figure of
456 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. II).
St. Agnes, now in the Museum of Worcester, U.S.A.; in the Bul-
letin of the Museum of April 1924 it was published as a work
by Lippo Memmi and I believe I am the first to correct this
attribution.
It is no doubt the same picture which formerly belonged to the
collector, Monsieur Henri Chalandon, Parcieux (near Trevoux)
and which Mr. Berenson in his "Central Italian Painters" (2nd ed.,
1909, p. 202) included in his list of Lippo Memmi's works.
p. 330. The panel of St. Gregory by Pietro Lorenzetti in the
Gallery of Siena (no. 59) does not represent a half-length figure
as I state, but the entire figure of the saint.
p. 330. To the early works of Pietro Lorenzetti can still be
added an important polyptych whose actual owner is unkwown
to me but which originally belonged to the Toscanelli collection in
Pisa and is reproduced in the album of this collection on plate
XXI. It shows the half-length figure of the Virgin between those
of St. Francis, the Baptist, St. Nicholas(?) and Mary Magdalene,
the four Apostles and a prophet being represented in the pinna-
cles. The figure of the Magdalene bears a strong resemblance
to the painting of this saint in the Sterbini collection which I re-
produce as fig. 214.
A small panel of the Crucifixion which for some time was for
sale but has recently been acquired by Professor Mather oi
Princeton University is also an early work by Pietro Lorenzetti.
Of somewhat later date is a fine half-length figure of St.
Catherine (?) in the Metropolitan Museum, New York (Museum
Bulletin, 1914, p. 99).
P- 333- When Volume III appeared I knew E. IV. Deivald's
article "The Master of the Ovile Madonna", Art Studies, edited
by the Harvard and Princeton Universities, 1923, only from a
short criticism and made reference to it in the additional notes
on p. 608.
Since reading the article itself, I see that the author has made
even bigger mistakes and more reckless attributions than I at
first believed. He includes several of Pietro Lorenzetti's early
productions among the works of the Ovile master, such lor
example as the Assumption of the Madonna in the Gallery of
SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. II). 457
Fig. 272. Pietro Lorenzetti, Madonna. Johnson Collection, Philadelphia,
mentioned Vol. II, p. 608.
458 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL II).
Siena (no. 61), the Madonna in S. Pietro Ovile in Siena, the Ma-
donnas (nos. 76 and 80) in the Gallery of Siena and the figure of
St. Gregory in the same collection (no. 59), the Madonna in the
Cathedral ofGrosetto and another, until now unknown to me,
the property of Durlacher Brothers, which shows the upper part
of an enthroned Madonna, looking into the eyes of the Child Jesus,
and two angels behind the throne. It is obviously a painting
executed by Pietro Lorenzetti in the earlier part of his career,
although probably at a slightly later date than the Madonnas
which I reproduce as figs. 217 — 221.
To the same group Mr. Dewald adds some works very
characteristic of the painter whom Mr. Berenson has baptised
Ugolino Lorenzetti. The polyptych, published by Mr. Berenson,
once in S. Agostino, San Gimignano and since lost sight of, but
now, as Mr. Dewald has discovered, in the Chiaramonte Bordo-
naro collection, Palermo, the Nativity in the Fogg Museum, the
little Madonna in the Gardner collection, the Annunciation and
saints in the Johnson collection, Philadelphia, the saints in the
Pisa Gallery and the Crucifixion in the Louvre are all works
which, in agreement with Mr. Berenson, I ascribe to Ugolino
Lorenzetti, and imagine that Mr. Dewald's theory is the result of
an imperfect knowledge of the early Sienese school in general
and those slight variations which differentiate one artist from
another, in particular. The same reason no doubt accounts for
his attribution to the same hand as these much finer and earlier
paintings of a Coronation of the Virgin surrounded by angels -
an inferior work of the later 14th century — in the Gallery of
Montepulciano (not in the Misericordia as he states).
p. 456. Lippo Vanni's triptych in SS. Sisto e Domenico, Rome,
originates, according to the nuns, from the church of St. Aurea, at
Ostia, but P. Berthier, Chroniques du monastere de San Sisto et
de San Domenico e Sisto a Rome, I, Levant, 1919, p. 270, tells
us that in T348 this picture was ordered for an altar, by Agnese
Piccini, the wife of the Count of Anguillara.
A closer examination of this painting, permission to visit which
is very difficult to obtain, shows us Lippo under a particularly
favourable aspect. None of his other works comes up to the stand-
ard of this extremely beautiful painting, the small panels of
SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. II). 459
Fig. 273. Lippo Vanni, Madonna. Gallery, Le Mans, mentioned
Vol. II, p. 458.
Photo Bulloz.
460 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. II).
which in particular are proof of the ability of the artist, who at
this moment, however, was still working after the technique of
miniature painting. It may be that when he transferred his abili-
ties to panel and fresco painting, he lost some of his qualities.
p. 463. An important addition to the output of Lippo Vanni
was recently made by Mr. Berenson who discovered in the
collection of Mr. Walter V. R. Berry, Paris, an antiphonary with
numerous and characteristic miniatures from the hand of this
artist C1)-
Mr. Berenson has taken this opportunity of attributing several
other works to Lippo Vanni. The painting of the Death of the
Virgin in the Altenburg Gallery might really be by Lippo
although it is not one of his most characteristic works. He also
ascribes to Lippo Vanni, but not without a certain reserve, the
triptych in the Lehman collection which I reproduce (fig. 211)
as the work of a transitional artist between Duccio and Pietro
Lorenzetti, as well as a Nativity in the Gallery of Berlin (1094 a)
which I include among the productions of Pietro Lorenzetti's
school (p. 121 note 2), and a little Madonna between SS. Peter
and Paul and two angels in the Michael Friedsam collection,
New York, which was unknown to me, but which is certainly
from Lippo's hand.
It is not without a certain satisfaction that I observe that Mr.
Berenson, who wrote this article as it seems before the second
volume of this work appeared, found the same difficulty as I
did, of accepting as a production of Lippo Vanni's the Madonna
and saints in the Lehman and Blumenthal collections of which I
reproduce two panels (figs. 181 and 182). Although Mr. Berenson
attributes them to Lippo he realises perfectly that they were
painted under Simone Martini's direct influence for which reason
he proposes the very outset of Lippo's career as the most likely
period of execution and at least ten years prior to the miniatures
of 1345 which reveal him as a follower of Pietro Lorenzetti.
However we have no proof that Lippo, who was still active in
1375, painted as early as 1335. He started his career probably as
(') B. Berenson, Un Antiphonaire avec miniatures par Lippo Vanni,
Gazette des Beaux Arts, 1924, p. 257.
SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. II). 461
a miniaturist
and as such
is mentioned
between 134T
and 1 345.
Besides, as I
said before,
there i s n o
reason to
believe that
Lippo, who
shows himself
in his minia-
tures of 1345
already e n-
tirely under
the influence
of Pietro Lo-
renzetti, was
atanymoment
in his career
such a close
f o 1 1 o w e r o f
Simone Mar-
tini while, last-
ly,theLehman
and Blumen-
thal panels are
certainly not
the work of a
very young
artist so that
I am still con-
vinced of the
theory which
I expounded
in Vol. II, pp.
275-277 that
these pictures
Fig. 274. Paolo di Giovanni Fei, Madonna and saints.
Gallery, Dresden, v. Vol. II, p. 536 note 1.
Photo Hanfstaengl.
462 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. II).
are from the hand of quite a different artist, one who was a
direct follower of Simone Martini.
p. 481. To the list of works by Luca di Tomme might still
be added a polyptych in the Collegiata of Rapolano and a Ma-
donna - the centre of a polyptych and reminiscent of that
in the Gallery of Rieti (fig. 306) — which for some time has
been for sale in Rome. In the catalogue of the Home Museum,
Florence, a figure of St. Catherine (no. 71) is hesiatingly
attributed to Luca di Tomme from whose hand it might very
well be.
p. 504 note 1. To the list of Bartolo di Fredi's works should be
added a beautiful and very characteristic half-length figure of
the Madonna which some years ago was given by the Superin-
tendence of Fine Arts to adorn the altar of Sta. Maria Nuova of
Viterbo where it has now been placed.
p. 518. A panel representing above, the Crucifixion with the
Virgin, St. John, the Magdalene and two small devotees and
below, the Annunciation, which a short time ago was acquired
by the Boston Museum and there attributed to Taddeo di Bar-
tolo, is strongly reminiscent of Niccolo di Buonaccorso's earlier
manner.
p. 536 note 1. To the list of Fei's works should still be added a
small panel of the Madonna enthroned between a crowned fe-
male martyr and St. Mary Magdalene, with a medallion con-
taining the Saviour above — obviously the centre of a triptych—
in the Gallery of Dresden (no 32, fig. 274), and a large panel
- one of the few big pictures executed by Fei — of the Madonna
enthroned between SS. Francis and Louis of Toulouse with two
angels behind the throne, in a private collection.
p. 542 note 2. To the list of works of the school of Fei should
still be added : a triptych in the Fogg Art Museum, Harvard
University, in which the Virgin suckling the Child is represented
in the midst of four saints with a saint in each wing and the
Saviour and figures of the Annunciation in the terminals; this
picture is executed in the immediate surroundings of Fei; two
SUPPLEMENT. NOTES AND ILLUSTRATK )NS (VOL. II). 463
wings of a triptych showing the figures of SS. Antony, Francis,
Paul and Nicholas in the storeroom of the Vatican Gallery
(no. 102) and the centre of a triptych which in 1923 was for sale
in Rome ; it represents the Virgin enthroned between two saints,
two angels supporting a curtain at the back of the throne and
the Trinity above, and is a work executed under the direct
influence of Fei.
On the triptych in the Prepositura of Torrita, which I mention
on p. 542 note 2, I have since found the date 1444 and as the
picture is obviously inspired by Fei, it proves how long the in-
fluence of this master lasted ; it can, no doubt, be explained by the
great number of works executed by the painter himself or in
his workshop.
p. 568. L. Da mi, Taddeo di Bartolo a Volterra, Bolletino d'Arte
del Minist. della Pubbl. Istr., 1924, p. 20, attributes to Taddeo di
Bartolo a Madonna in the church of S. Agostino in Volterra,
which shows the date 1400 and which Senator Ricci previously
ascribed to this painter's school. The picture is not in a good
state of preservation and has been considerably restored ; it can-
not be considered one of the artist's characteristic works. Signor
Dami is the first to publish a Madonna by Taddeo in the Semi-
nary of Volterra which until now was quite unknown. It dates
from very soon after 1400.
To the list of works by Taddeo di Bartolo should still
be added a badly damaged crucifix in the Gallery of Siena,
similar to that which I reproduce on fig. 351. In the ex-Sterbini
collection, three panels showing the Virgin, St. Apollonia with
St. Lucy and St. Michael with a holy martyr, might be from the
hand of Taddeo although both the style and execution are of a
somewhat poorer quality (1). In 1923 a fine Madonna, reminiscent
of that in the polyptych of Perugia, was for sale in Rome. In 1924
I saw in the same city a fine early half-length figure of the Ma-
donna and a small St. Barbara by this artist. The collection of
Cav. L. de Spiridon, Rome, contains a predella panel, showing
the Resurrection of Christ, by the same master.
(') A. Venturi, La Galleria Sterbini in Roma, Rome, 1906, nos. 14, 15
and 16.
464 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. II).
p. 592. To the output of Martino di Bartolommeo might still
be added an Annunciation, very characteristic of this master, in
the Fitzwilliam Museum, Cambridge (England) (no. 553) and a
small Madonna on the altar to the left in the church of S. Bene-
detto at Settimo, in the neighbourhood of Cascina.
VOLUMK III.
p. i note i. A new addition to the bibliography on Giotto is:
E. Rosenthal, Giotto u. der Mittelalterlichen Geistesentwicke-
lung, Augsburg, 1924.
p. 49 note 1. A certain amount of controversy has taken place
between Dr. A. Moschetti, director oftheMuseoCivico of Padua,
Professor Supino of the University of Bologna and Signor A.
Belloni with regard to the dates of the different activities of
Giotto in Padua (x). As I said before (Vol. Ill, p. 491) I am not of
the opinion that the consecration of the chapel which we know
took place in 1305, can be held as proof that the frescoes already
existed at that time, but I must say that the mention of Giotto's
works at Padua in Riccobaldo's chronological compilation be-
tween 1305 and the end of 1307 is a fairly positive argument
that the)' can not be of a much later date. Dr. Moschetti also
demonstrates that this record cannot refer to the frescoes which
Giotto executed in the "Salone" of Padua which he began
towards the end of 1307 and not, as Professor Supino believes,
in the years 1312 — 1313. As Dr. Moschetti further remarks the
almost certainty we have now that Riccobaldo went to live
in Padua in 1308, makes his information regarding Giotto's
activities there a few years" earlier, very trustworthy.
p. 117. It was very possibly the immediate follower of Giotto's
who executed the medallions on the ceiling of the Arena chapel,
who painted the tondo with a figure of the Saviour from the
Graham collection and afterwards in that of Lady Jekyll. It
was published by R. Fry in the Burlington Magazine, XX
1911 — 12, p. 66 and attributed to Giotto at the exhibition of
Old Masters held in 191 1 at the Grafton Galleries, London (no. 3 ).
(') A. Moschetti. Questioni cronologiche giottesche e dantesche, Atti e
mem. della R. Ac. di Scien. Lett, ed Arti inPadova, 1921. Idem, Dinuovo
su "Questioni cronol. giottesche, idem, 1924. B. Supino, Giotto a Padova,,
Rendiconti dell Ac. di Scien. di Bologna, 192 1. A. Belloni, Nuove osser-
vazione sulla demora di Dante in Padova, Nuov. Arch. Venet., 1921^.49.
v 30
466 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. III).
p. 126. The recent discover}' of a fragment of a fresco in the
Chapter Room of the monastery of S. Antonio in Padua, has
drawn public attention to the poor remains of frescoes which
adorn the walls of this hall and which are generally treated with
great indifference, of which I, too, have been guilty. The twelve
figures of saints visible on two opposite walls, and among which
we can recognize SS. Francis, Clare and Antony, are certainly
not by Giotto and not even by one of his very close followers.
The painter who adorned the lunettes, however, must have been
more intimately associated with Giotto. In one he represented
the stigmatization of St. Francis in a compositon very similar to
that depicted by Giotto in his two frescoes of this scene, partic-
ularly to the one in Florence, and to the portrayal of this subject
in the Giottesque panel in the Louvre. The other painting which
is more clearly seen, depicts the martyrdom of the Franciscan
monks at Ceuta. The fresco has at present a cusped form but it
must have been altered at a later date, because half the figure of
the oriental prince who presides at the cruel act has been cut
away.
In the spandrels of the fresco which are placed at a lower level
we see the minute figures of the Annunciation.
The proportions are too elongated and the drawing too weak
for us to accept the frequently expressed belief that these fres-
coes are from Giotto's own hand.
Some time ago a group of three bearded men — no doubt a
fragment of a Crucifixion -- was discovered on a wall near a
cupboard which perhaps hides other figures. It seems to me to
be unquestionably a production - - even a very fine one — by
Giotto himself. The period of execution must certainly have
been that of the frescoes in the Arena chapel; this circumstantial
hypothesis is confirmed by the style of the painting, besides the
church of S. Antonio seems to have been terminated in 1307.
Consequently it is just possible that the monks of this monastery
and not Enrico Scrovegni were the first to summon Giotto to
Padua.
Other fragments of mural painting are visible in this hall, one of
the walls of which, however, has been entirely renewed. Michele
Savonarola, Ghiberti, and the Anonimo Morelliano all seem to
refer to the frescoes in this hall as the work of Giotto. Indeed the
SUPPLEMENT. NOTES AND ILLUSTRATIONS ( VOL. III). 467
Fig. 275. Giotto, detail of the Madonna. Uffizi, Florence, v. Vol. III. fig. 98.
Photo Brogi.
last-mentioned writer is very precise and says that Giotto paint-
ed scenes from the Passion in the Chapter Room.
p. 157. A. Moschctti, La distrutta iconostasi della cappella
Scrovegni, Atti e Mem. della R. Ac. di Scien. Lett, ed Arti in
468 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. III).
Padova, 1923, points out the probability that Giotto's crucifix,
now preserved in the sacristy of the Scro vegni chapel, was origin-
ally placed on an iconostasis, traces of which he found in the arch
of the chapel of the choir. Similar ornamentations of iconostases
are seen in the frescoes of the miracle at Greccio and of the
verification of the stigmata of St. Francis in the series in the
Upper Church, Assisi.
• '-Si •
Fig. 276. Giotto, detail of the Madonna. Uffizi, Florence, v. Vol. Ill, fig. 98.
Photo Brogi.
p. 245. It seems possible to me that four panels representing
half-length figures of the two SS. John, the Virgin without the
Child and St. Francis, the property of Mr. C. W. Mori, Paris,
are works of Pacino di Buonaguida, while a half-length figure of
the Virgin and Child in the Museum of Bergen, Norway, is a
production of his school. All these paintings were attributed to
Maestro Stefano, the painter who executed the frescoes in the
St. Nicholas chapel of the Lower Church, Assisi, by O. Siren,
Some paintings by a Follower of Giotto, Burlington Magazine,
XLIII, 1923, p. 259.
SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. III). 469
A fine Madonna with the Child enthroned between the smaller
figures of the Baptist and a female saint, which belongs to the
group in which Pacino di Buonaguida was the principal artist,
was for sale in Paris at the end of 1923.
Fig. 277. Predecessor of Pacino di Buonaguida, detail of the "tree of
Bonaventura". Accademia, Florence, v. Vol. Ill, fig. 143.
I'll m Brosri
p. 267. A fragment of a crucifix — the head, the upper part of
the bod}T and part of the arms — probably by the artist who
executed the cross in the church of S. Marco, Florence (repro-
duced as fig. 148), belongs to Mi'. Acton, Florence.
p. 293. O. Siren. An altar-panel by the Cecilia master, Bur-
470 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. III).
lington Magazine, 1924, p. 271, publishes a panel, privately
owned in Paris, showing the full-length figure of St. Catherine
in the centre and six scenes from her legend to either side, which
he attributes to this important contemporary of Giotto's. Judging
from the reproductions, it seems to me just possible that,
notwithstanding the forms which are more graceful than we
are accustomed to see in this artist's works, the painting is
really from this master's hand. Mr. Siren who formerly attributed
to this painter a Madonna once in the Alphonse Khan collection,
Paris, at present in that of M. A. Stoclet, Brussels, is now of
opinion that it is not a work by this artist. I had quite independ-
ently come to the same conclusion (v. p. 293). O. Sir en, TheBuffal-
maco Hypothesis, Burlington Magazine, XXXVII, 1920, p. 177,
attributes to Buffalmacco, whom he identifies with the master
of the St. Cecily panel, remains of frescoes showing scenes from
the legend of St. James and four prophets and the four Evange-
lists in the vault, in the Badia of Settimo, near Florence; an
inscription dates the decoration from 13 15. These frescoes which
already Ghiberti thought to be by Buffalmacco really show a
strong resemblance to the works generally attributed to the St.
Cecily master. Mr. Siren ascribes to the same painter still the
figure of a Dominican saint in the church of S. Stefano, near the
Ponte Vecchio and thinks it possible that the Madonna in the
Gallery of Pescia is also from his hand. I was not aware ol Mr.
Siren's opinion when I ascribed this Madonna to the St. Cecily
master.
A repainted panel of the Madonna enthroned in the midst of
six angels and the Annunciation in the spandrels in the convent
della Maddalena in Pian del Magnone, near Florence, is possibly
by the master of the St. Cecily altar-piece.
294. M. Sa/nii, Nuove attribuzione a Jacopo di Casentino,
Belvedere, March 1924, attributes to Jacopo del Casentino two
wings of a triptych in the Malaspina Museum at Pavia, the one
showing St. Francis receiving the stigmata with the figures of
SS. Andrew and James below, the other the Crucifixion. Another
work he ascribes to the same painter is a panel of curious com-
position in the Hospital of Arezzo representing above the Virgin,
the Lord in majesty and a second figure of Christ with upraised
SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. III). 471
Fig. 278. Predecessor of Pacino di Buonaguida, crucifix Sta. Felicita,
Florence, mentioned Vol. Ill, p. 245.
Photo Brogi.
arms and below the Adoration of the Magi, the Pieta under the
Cross and the Annunciation. He accredits Jacopo also with a Ma-
donna in Brussels which Mr. Offner had previously attributed to
472 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. Ill)
Fig. 279. School of Giotto, Crucifixion, Nativity and
Annunciation. Johnson Collection, Philadelphia,
mentioned Vol. Ill, p. 274.
the same master
while I person-
all}' had describ-
ed it as a picture
of later date,
i n s p i r e d by
Segna di Buona-
ventura (v. Vol.
II, p. 156-). The
triptych in the
Bondi collection
in Vienna which
Mr. Offner attri-
buted to Jacopo
del Casentino,
was ascribed to
the same artist
byHerr Suida in
the Belvedere,
1923, p. 24. An
article by Mr.
Siren in the Bur-
lington Maga-
zine, 1914— 15,
p. 78, on early
Italian pictures
in the University
Museum, Got-
tingen, had es-
caped my attent-
ion. Here he also
attributes to
Jacopo a panel
in this Gallery
showing the
meeting of the
quick and the
dead, as well as
a painting of the
SUPPLEMENT. NOTES AND ILLUSTRATIONS (V( >L. III). 473
Madonna between SS. John the Baptist and John the Evangelist
bearing the date 1333, in the store-room of the Uffm.
A female saint holding a book in the same gallery, and several
Fig. 280. Jacopo del Casentino, detail of the Madonna and angels.
Palazzo delP Arte della Lana, Florence, mentioned Vol. III. p. 296.
1 hot - Brogi.
other pictures which he mentions should, I think, be classified as
works of the school of Daddi.
p. 304. Recently I discovered the existence of a work by
Taddeo Gaddi showing a date prior to all the others that we
possess regarding this artist. It is a Presentation in the Temple
474 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. III).
in a private collection in Milan. The composition is somewhat
different from that of the series in the Accademia in Florence,
but in both cases the event takes place under a baladaquin which
in the picture in question imitates the roof of a church, resting
on columns, supported by a low wall, all inlaid with mosaics.
The Madonna approaches from the left, and is followed by
Joseph carrying two pigeons and Anna. The priest who
stands to the right is in the act of taking the Child from His
Mother's arms ; two other figures are placed behind him. Christ
in the midst of cherubim is represented in the apex of the panel.
The date 1330 is very clearly visible on the lower part of the
frame. So far I have not had an opportunity of examining the
incription but there is no reason to doubt its authenticity. Besides,
the style of the painting points to this early period of the artist's
activity and although the execution is superior, the picture obvi-
ously belongs to the same stage in the painter's career as the
series of panels from the lives of the Lord and St. Francis in the
Accademia of Florence.
p. 321 — 323. By mistake I attribute the predella in the Louvre
(no. 1302) first to Taddeo Gaddi, and on p. 551 to Agnolo Gaddi.
The origin of this error lies in the fact, that this painting is the
result of a collaboration of father and son. Herod's feast (fig. 186)
is by Taddeo and the crucifixion (fig. 307) and scenes from the
life of St. James by Agnolo. This collaboration explains also,
why this panel has been attributed as well to the one as to the
other; v. L.Pilion, Bulletin des Musees, 1908, p. 181 ; Schubring,
Zeitschr. f. Christliche Kunst, 1901, p. 365; O. Siren, L'Arte,
1906, p. 327.
p. 325. A drawing in the Louvre depicting the Presentation of
the Madonna in the Temple (fig. 281) bears a close resemblance
to Taddeo Gaddi's fresco of this subject in Sta. Croce, Florence,
and might have been the artist's sketch for this painting.
p. 388. Mr. Grenville L. Winthrophas presented the Madonna
by Bernardo Daddi which he had in his possession, to the Fogg-
Art Museum, Harvard University.
An early work by Bernardo Daddi in which the Madonna
resembles the figure of the Virgin in the Annunciation in the
SUPPLEMENT. NOTES AND ILLUSTRATIONS (V< )L. III). 475
Fig. 281. Taddeo Gaddi (?), the Presentation of the Virgin in the Temple,
drawing. Louvre, Paris, v. Vol. Ill, p. 325.
Photo Alinari.
Louvre, is a fragment of a Nativity, doubtless having formed
part of a triptych in the Wallace collection, London (M.
A half-length figure of the Madonna with the Child in the collec-
(\) D. S. MacColl. Burlington Magazine. XLIV, 1924, p. 228.
476 SUPPLEMENT . NOTES AND ILLUSTRATIONS (VOL. III).
Fig. 282. Andrea Orcagna, SS. Michael and Catherine,
detail of the altar-piece. Sta- Maria Novella, Florence,
V. Vol. Ill, pi, IX. Photo Brogi.
tion of Prince
Fabrizi o
Massim o,
Rome, b e-
longs to a
later period
in D a d d i ' s
career. Still
an enthroned
Madonna sur-
rounded by
six angels in
the collection
of the Histo-
rical Society,
New York,
has been
rightly ascrib-
ed to Daddi by
I O. Siren, Art
in America,
1914, p. 264.
p. 408.T0 Ber-
nardo Daddi's
school should
still be attri-
buted a Cruci-
fixion with
the Virgin and
St. John in the
H. Harris col-
lection, Lon-
don. R. Fry,
Burlington
Magazine,
XXXV, 1919,
p. 3, ascribes it
to the master
SUPPLEMENT. NOTES AND ILLUSTRATIONS (V< >L. III). 477
h i m s e 1 f. To the
list of works of the
school of Bernardo
Daddi might still be
added a panel of the
Crucifixion in the
Bandini Museum,
Fiesole. It is depicted
in a crowded com-
position with soldiers
on horseback and
others gambling for
the Lord's cloak.
p. 469. A picture of
the two SS. John in the
Lehman collection,
New York, seems to be
alsoaproductionofthe
later years of Andrea
Orcagna's activity.
p. 517 note 1. To the
list of works of the
school of the Orcagna
should still be added a
rather unrefined half-
length figure of the
Madonna carrying the
Child, depicted on a
round panel in the Cer-
tosa, outside Florence.
An important polyp-
tych of the school of
Orcagna, showing a
particular connection
to the works of the
"Compagno dell' Or-
cagna", but of a some-
what inferior quality
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478 SUPPLEMENT. NOTES AND ILLUSTRATIONS | VOL. Ill >.
belonged to the Toscanelli collection in Pisa and is reproduced
as plate IV in the album of the collection. It represents in the
centre St. Paul enthroned with four angelic musicians and the
full-length figures of the Baptist, St. Peter, St. Antony Abbot and
St. John the Evangelist. The pinnacles are adorned with eight
Apostles and the spandrels and medallions with the figures of
the Annunciation and angels.
More after the manner of Nardo di Cione is the figure of the
Lord crowned in a mandorla which is supported by angels while
other angels form two groups below; this picture is reproduced
in the same album as plate V.
p. 534 R. Offncr, Niccolo di Tommaso, Art in America, Dec.
1924, p. 21, ascribes several other works to this painter.The most
acceptable of his attributions seems to me that of the two panels
showing SS. Paul and John the Evangelist in the Home Museum,
Florence, which I described (Vol IV, p. 238-) as the outcome of
the joint influence of Giovanni da Milano and Andrea da Firenze.
I think it just possible that the same painter might have exe-
cuted a half-length figure of the Lord in the Maitland F. Griggs
collection, New York, a Coronation of the Virgin in the Acca-
demia, Florence, and a triptych with the same subject on the
central panel in the Walters collection, Baltimore, although these
pictures more closely approach the works of Giovanni da Mi-
lano to whom moreover all three have been attributed. I certainly
do not agree with the attribution to Niccolo di Tommaso of the
frescoes in the convent del T, in Pistoia, which show very
different proportions and a pronounced provincial appearance
which makes me believe that they are local productions and as
such I have mentioned them in this volume (V, p. 307).
p. 551. v. Addition to p. 321.
p. 556. Stamina's sojourn in Spain is an absolutely certain fact.
In 1380 "Gerardojaume Florentus" was active for King Juan I
of Castilla and although he was in Florence in 1387, he must
have returned to Spain because in 1398 he was working at an
altar-piece for the church of St. Augustine and at frescoes in the
Franciscan church of Valencia, where he is mentioned still in
1402. Other works that are associated with Stamina's name are
SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL III). 4-9
Fig. 284. Andrea Orcagna, Madonna of Humility. Lehman
Collection, New York, mentioned Vol. Ill p. 468.
480 SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. III).
twelve frescoes from the Life of Christ in the chapel of St. Blaise
in the Cathedral of Toledo, frescoes in the chapel of St. Jerome
in the Concepcion-Francisca convent in Toledo, including a
representation of the mass of St. Gregory and an Annunciation,
and some damaged mural paintings in another chapel of the
same convent, the most important of which is that showing the
mourning over the Lord's body (1). For as far as I can remember
these works, however, there is no reason to attribute them
directly to Stamina although they resemble Florentine produc-
tions of the latter part of the 14th century.
p. 573. To the list of works by Stamina should still be added a
small figure of St. Paul, which perhaps formed the lateral part
of a crucifix, in the Johnson collection, Philadelphia (Art in
America, 1913^. 179). and a predella panel with two scenes from
the legend of St. Michael in the d'Hendecourt collection, London
( T. Borenius, An unpublished Florentine predella, Burlington
Magazine XXXIX, 1921, p. 154). I do not think that a half-length
figure of the Madonna in the Kerr Lawson collection should be
attributed to the same master ( T. Borenius, A Madonna by the
Compagno d'Agnolo, Burlington Magazine, XL, 1922, p. 233).
p. 624 note 1. T. Borenius. A Florentine mystical picture, Bur-
lington Magazine, XLI, 1922, p. 156, publishes a processional ban-
ner in the collection of Lord Crawford at Haigh Hall, Wigam,
representing the kneeling figures of the Saviour and the Virgin
who recommend to the Eternal, Who appears above, a group of
small figures kneeling between them. Mr. Borenius has rightly
attributed this picture to Niccolo di Pietro Gerini but I think that
there are too many reminiscences of Gaddi's art to place it, as this
writer does, in the later period of the artist's career.
p. 643 note 1. To the list of Lorenzo di Niccolo's works might,
I think, be added a rather poor triptych, executed in his early
manner, on the altar of the church of S. Giuseppe in Florence;
it shows the half-length figure of the Madonna between those of
(') E. Formo, Gherardo Stamina en Esparia, Bolet. de la Soc. Esp. de
Excurs., 191 1, p. 82. A. L. Mayer, Geschichte der Spanischen Malerei, I,
I9I3» P- 53- E- Bertaux, Histoire de l'art, directed by A. Michel, III, 2, p. 753.
SUPPLEMENT. NOTES AND ILLUSTRATIONS I \< >L. III). 481
St. Matthew the Evangelist and the archangel Michael. A Ma-
donna seated with the Child, which was for sale in Rome in 1923,
can be ascribed to the same artist but, on account of the Gothi-
cism which is evident in this picture, it must be considered a pro-
duction of his later years.
p. 643 note 3. The following works by Lorenzo di Niccolo
Gerini are still mentioned by O. Siren, Lorenzo di Niccolo, Bur-
lington Magazine. XXXVI, 1920, p. 72: Munich, ex-coll, of
Jacques Rosenthal, Madonna and four saints, large triptych ;
Worcester, U.S.A., Raymond Wyer coll.. S. Giovanni Gual-
berto and his enemy before the crucifix in S. Miniato, from the
collection of Lady Bateman.
A Madonna of Humility with adorers in the Refectory of Sta.
Croce, Florence (no. 33) and a similar representation in the
Town Hall of Chianciano are poor works executed after the
manner of the same master.
31
VOLUME IV.
p. 64. To Caterino should still be ascribed a triptych — the
Virgin adoring the Child, SS. Benedict and Francis — in the
store-room of the Vatican Gallery. A Madonna of Humility by
the same artist, signed Caterinus pinxit has been quite lately
acquired by the Art Museum of Worcester, U.S.A. (v. Museum
Bulletin, January 1925).
p. 117. A. Moschetti, Guariento pittorepadovanodelsec.XIV,
Atti e Mem. della R. Ac. di Scien. Lett, ed Arti, 1924, publishes
still some important information about Guariento. In 1352 — 1354
it is mentioned that he buys land and a house and in 1365 before '
leaving for Venice he puts his affairs in order and nominates a
representative. He was buried in the church of S. Bernardino.
For the chronology of his works Signor Moschetti proposes:
1338 for the frescoes in the Eremitani church, 1348 for those in
the chapel of the Carrara family and 1350 those in S. Agostino.
Vasari, following Campagnoli, speaks of frescoes by Guariento
in a chapel in the Eremitani cloister. They were removed in 1874
and Signor Moschetti has recognized them in eighteen pieces of
fresco painting in the magazine of the gallery, among which are
represented the Nativity, the Adoration of the Magi, the Cruci-
fixion, the Descent into Hell and the Coronation of the Virgin.
When the palace of the "Capitano del Popolo" was demolished
about 1779, frescoes were also detached from the walls of the
chapel. The scenes represented here were taken from the Old
Testament and among them were Adam and Eve in Paradise,
the histories of Noah, Joseph and his brothers and Judith and
Holophernes. The "Anonimo" informs us that the decoration of
the chapel was a combined work of Avanzo and Guariento, but
the date of the ornamentation (1338 — 1344) seems too early to
admit the assistance of the former; moreover Guariento's hand,
or at least his manner is found throughout these works.
p. 122. R. Fry, Burlington Magazine, XXI, 1912. p. 47,
SUPPLEMENT. NOTES AND ILLUSTRATIONS (VOL. IV). 483
attributes to Semitecolo a Crucifixion in the collection of Sir
Kenneth Muir Mackenzie. Me reproduces still two other Cruci-
fixions, one of which he ascribes to Semitecolo's school. The
attributions seem very doubtful to me and I think all these
works are productions of the Venetian school of the 14th century.
p. 127. A. Moscheiti, Guariento, pp. 17 and 25, informs us, al-
though he has not as yet published the documents, that he has
found proof that Avanzo was born in Vicenza and that he was
still alive in 1389.
p. 238 note 2. To the list oi works by Giovanni da Milano
should still be added a beautiful panel of the Descent from the
Cross in the collection of Prince Fabrizio Massimo, Rome and
possibly also a half-length figure of the Madonna in the Refec-
tory-Museum of Sta. Croce, Florence.
p. 328. A partly repainted panel of the Lord on the Cross
between the Virgin and St. John in the store-room of the Vatican
Gallery might still be ascribed to Baronzio.
p. 367. L. Colctti, Tomaso da Modena nella svolgimento della
pittura Veneta, Bollet. d'Arte del Minist. della Pubbl. Istr.,
1924— 1925, p. 291, publishes some frescoes inspired by Tom-
maso da Modena recently discovered at Treviso. They are an
Annunciation in the sacristy of S. Niccolo and an important
Crucifixion, Madonna, S. Veronica and St. Peter's denial of
Christ in Sta. Lucia. The latter date from between 1354 and 1364.
p. 368 note 1. To the bibliography on Barnaba da Modena
should still be added : C. Ricci, Barnaba da Modena, Burlington
Magazine, XXIV, 1913, p. 65. E. Bertaux, in the Histoire de
l'Art, directed by A. Michel, III 2, 748, speaks of a polyptych
signed by Barnaba in the Cathedral of Murcia.
p. 451. In the Museum in the Palazzo Venezia, Rome, a triptych
showing in the centre the Madonna enthroned and angels, is
signed " Symon pincit" . In the collection of E. DelleFratte which
was sold by auction in Rome, May 1924, there was a Crucifixion
which can be considered one of Simone's better productions. A
panel of the Crucified between the Virgin and St. John was for
sale in Florence in March 1925.
VOLUME V.
p. 86. A half-length figure of the Madonna with the Child in
the collectien of Professor Lanz, Amsterdam, is a very charac-
teristic production of Guiduccio Palmerucci.
p. 126. The ruined fresco in the choir of S. Francesco, Trevi,
and a scene of the Circumcision on the right wall might be by
the follower of Cola di Petruccioli who painted the panels of the
altar-piece in the Gallery of Trevi, which I reproduce as figs. 67
and 68.
p. 132. O. Siren, Three early Florentine Trecento Pictures,
Burlington Magazine, XLV, 1924, p 285, supposes that a large
polyptych belonging to Mr. Annesley Gore, and two small panels
of the Madonna enthroned, surrounded by saints, the one belong-
ing" to the Historical Society, New York, and the other in the
late A. E. Street collection, might be works executed by Alle-
gretto Nuzi during his Florentine period. I feel quite certain that
this is not the case. They are all from different hands. The first
is greatly dependent on Daddi, the two others are sooner Orcag-
nesque. The picture in New York was published by R. Offner,
Art in America, June 1919.
p. 306. In the Gallery of Pistoia, there is now a panel of the
Madonna and six angels (27) which is rightly attributed to
Giovanni Cristiani.
p. 307. v. Addition to Vol. Ill, p. 534.
INDICES
INDICES TO VOLUME V.
Compound names divided by di, de, del, etc., will be found under the letter
of the first name, all the others under that of the second.
GEOGRAPHICAL INDEX TO VOLUME Y.
The ciphers in brackets are those of the museum catalogues. II
descriptions are indicated by bold faced numbers.
lustrated
Abruzzi 367—379.
Accerenza.
Cathedral, lost frescoes 379.
Agnano (near Pisa).
Pisan school, lost polyptych 276.
Albacina (near Fabriano).
Marchigian school, triptych 1961.
Alba Fucense.
S. Pietro, lost fresco fragments
378.
Albenga 290.
Altenburg.
Gallery, Nazi, Allegretto — , at-
trih. to—, two panels (16 and 52)
1611.
America.
Private coll., Nusi, Allegretto — ,
enthroned bishop with an adoring
nun 160, 182.
Anagni.
Cathedral, Cavallinesque 'tradi-
tion, frescoes in corridor leading to
side entrance 365 ; Roman school.
Madonna in disused chapel 366.
A neon a.
Cathedral, panel of St. James in
nave 196 '; Ma rchigian school, en-
throned Madonna in St. Lawrence
chapel 1961.
Gallery, Nazi, Allegretto-, school
of-, panel of St. Priminandus 182 ;
Marchigian school, panel of Cir-
cumcision 196.
Andria.
Cathedral, Apulian school, da-
maged fresco in subterranean
part 394.
Sta. Croce, Apulian school, fres-
coes 390— 392; fresco ab. 1300 390.
Sta. Maria degli Miracoli, Bast-
Han frescoes, 382.
Andria. Near —
S. Michele a Gravina, Basilian
frescoes, 14th cent. 382.
Angers.
Galleiy, Umbrian school, Maesta
50.
Apiro.
Town Hall, Nazi, Allegretto — ,
polyptych 132, 152, 156.
Apulia 380 398.
Aquila v. Bazzano, S. Vittorino.
Sta Maria Paganica, Abrnzzese
school, panel, tree of St. Bonaven-
tura 368.
S. Sebastiano, v. S. Silvestro.
S. Silvestro, Abrnzzese school,
fresco, dead Saviour, ab. 1400368.
Gallery, Abrnzzese school, panel
(217)368,379-
Arabona.
Sta. Maria, Antonio di Andria,
fresco 377 ; Abrnzzese school, fres-
coes 377.
Arezzo v. Sietina.
Barna da Siena, active 295 ;
Duccio, active 294; Lorenzetti,
Pietro—, active 295; Luca di Tom-
me. active 295; Segna di Buona-
ventura, active 294; Taddea di
Bartolo, active 295.
Cathedral, Barna da Siena {?),
fresco, Crucifixion 295; Fioreutiuo,
Lippo — ( ?), fresco Madonna and
scenes from the life of St. James
298,
Chapel for the Contessa G10-
vanna di Tarlato da Pietramala,
488
GEOGRAPHICAL INDEX TO VOLUME V.
Toscano, Giovanni — , attrib. to — ,
lost decoration 295.
S. Domenico, Aretine school,
13th — 15th cent , frescoes 298.
SS. Flora e Lucilla, Segna di
Buonaventura, crucifix 295.
Pieve, Lorenzetti, Pietro — ,
altar-piece 295.
Sta. Trinita, crucifix v. Gallery.
Gallery, Aretine school, crucifix
from Sta. Trinita (3) 298; detached
frescoes, Pieta (9) 298; dead
Saviour (4) 298; Madonna (12)
300; Florentine school, paintings
298.
Arezzo. Near —
Sta. Maria alia Chiassa, Pieve,
Aretine school, frescoes 298.
Asciano.
S. Francesco, Barna da Siena,
Madonna 181; Giovanni d} Asciano,
attrib. to — , frescoes 761.
Ascoli Piceno 186, 191, 192, 194.
S. Agostino, Francescuccio di
Cecco Ghissi, Madonna of Humil-
ity 168, 174.
S. Giacomo, Nuzi, Allegretto — ,
eclectic follower of — , Madonna
nursing Child 187.
SS. Vincenzo ed Anastasio,
Marchigian school, frescoes 192 —
194.
S. Vittore, Marchigian school,
frescoes 194.
Gallery, Marchigian school, po-
lvptvch 192, 194.
As'sisi 62 - 72, 88.
Angelino di Corrado di Nova-
rello, active 64; Cola di Pet rue-
cioli, active 101 ; Giovanni di
Maestro Nicola, active 64; Pace
di Bartolo, active 64.
Carita Church, Martini, Si-
mone — , school of— , Maesta from
facade v. Gallery.
Sta. Caterina, Umbrian school,
frescoes v. Gallery.
Sta. Chiara, Giottino, frescoes in
St. George chapel 64; Giottesque
school, frescoes in right transept
66; Umbrian school, fresco in
left transept 70 ; frescoes in vault
36, 67—69 ; triptych in St. George
chapel 70 ; frescoes in St. George
chapel 64.
S. Crispino, Confraternity of — ,
Cosmopolitan Gothic school, fresco,
Madonna and saints 72: Umbrian
school, fresco, Crucifixion v.
Gallery.
S. Cristino. Umbrian school,
frescoes v. Gallery.
S. Damiano, Umbrian school,
frescoes 65.
S. Francesco.
Upper Church, Frater Mar/inns
pictor, active 62 ; Giotto, St. Fran-
cis cycle 65, 126, 276.
Lower Church. Andrea da Bo-
logna, active 64; Angelino di
Corrado di Novarello, active 64 ;
Giovanni di Maestro Nicola, ac-
tive 64; Pace di Bartolo, active
64; Ceccolo di Giovanni, fresco 71 ;
Cimabue, Madonna 65-; Loren-
zetti, Pietro — , Madonna 261; Cru-
cifixion 38, 44; Giottesque school,
frescoes 68; frescoes in St. Nicho-
las chapel 354: frescoes in vault
308 ; Umbrian school, fresco, St.
Christopher 120; Umbro-Giot-
tesque school, frescoes in tribune
66, 70.
S. Francesco, monastery, Frater
Martimts pictor, active 62.
S. Hildebrand, old monastery.
Umbrian school, fresco, soma-
tization of St. Francis 66.
S. Lorenzo, Cola di Petruccioli,
frescoes 104, 106; idem (?), fresco
outside, Madonna and saints 104,
106.
Sta. Maria degli Angeli, Ilario
da Viterbo, altar-piece 66, 356 ;
Umbro-Giottesque school, fresco
fragments 70.
Sta. Maria Maggiore or del
Vescovado, Umbrian school, fres-
coes 120.
Sta. Maria Vescovado v. Sta.
Maria Maggiore.
Roccaciuola church, Umbro-
Giottesque school, frescoes 70.
S. Ruffino, Cola di Petruccioli,
fresco from the chapel of the
confraternity of S. Ruffino 104,
S. Ruffino confraternity, Cola
di Petruccioli. fresco detached
from chapel v. church of S.
Ruffino.
S. Ruffinuccio, Umbrian school,
repainted fresco, St. Antony 120.
S.Stefano, Palmerucci, Guiduccio
— , school of — , fresco, Madonna
and figures 120.
Gallery, Martini, Simone —
GEOGRAPHICAL INDEX TO VOLUME V.
489
school of — , Maesta detachedfrom
the della Carita church (3 and 4 ) 50,
65 ; Uinbrian school, detached fres-
coes, Crucifixion from S. Crispino
(1) 120; Christ on the Mount of
Olives 21 120; Madonna and angels
1 11) 120; fragments from Sta.Cate-
rina and S. Crispino (12 — 19) 120;
St. Lucy, from the Hospital dei
Pellegrini (39) 120; Madonna with
St. Francis from the Portata dei
Gori (42) 120.
Episcopal Seminary, Cosmopo-
litan Gothic school, fresco behind
refectory 72.
Hospital dei Pellegrini, Urn-
brian school, fresco of St. Lucy v.
Gallery.
Palazzo Pubblico, Cola diPetruc-
cioli, active 10 1.
Portata dei Gori, Umbrian
school, fresco, Madonna with St.
Francis v. Gallery.
Via Principe di Napoli, facade
of Monte Fromentario, Umbro-
Giottesqne school, fresco frag-
ments 70.
ViaProperzioi3 — 15, fragments
of a Madonna 120.
Vicolo Stefano, I rmbrian school
Maesta 120.
Via Venti Settemhre 27, Umbro-
Sienese school, end of the 14th cent,
fresco. Maesta 120.
Atri.
S. Antonio, Abruzzese school,
lost frescoes 376.
Cathedral, Abruzzese school,
early i4,h cent., fresco, Lord and
Virgin 376; later i4,h cent.,' fres-
coes 374; frescoes in subter-
ranean church 376.
S. Francesco. Abruzzese school,
lost frescoes 376.
Avellino v. Montevergine.
Aversa.
S. Francesco, monaster}7, Monta-
no cTAresso, made frescoes in
296.
S. Louis, monastery, Montano
d'Arezzo, made crucifix for —
296.
Avezzano.
Sta. Maria in Vico, Abruzzese
school, Madonna and Child, lost
377-
Avezzano. Near —
Church on road to Celano,
Abrttzzesi school, lost frescoes
378.
Avignon.
Papal Palace, Gianetti da Viter-
bo, Matteo , active 295, 355 ;
Giovanni d'Arezzo, active 295;
Martin:. Simone , active 356;
Pietro da Viterbo, active 355.
Public Library, Neapolitan
school, miniatures 347.
Barberino.
Church, Florentine school, Ma-
donna and saints 294.
Bari.
Cathedral, crypt, Apulian school,
early 14th cent., frescoes 392.
Cathedral Museum, Sienese tra-
dition, detached fresco 398.
S. Michele, Giovanni da Taranto,
active 392 '.
S. Niccolo, 15th cent., Madonna
in crypt 384; Byzantine school,
triptych in room behind sacristy
384; r4th cent., panel, Madonna in
another room 384; St. Nicholas
panel in chapel of the relics 384.
Barletta.
S. Andrea, Sienese tradition, Ma-
donna 398.
S. Giacomo, Apulian school, pa-
nel, Saviour and Madonna 383.
Sta. Maria dell" Assunzione or
Maggiore, Byzantine school, panel.
Madonna 383.
Sta. Maria Maggiore, v. Sta. Ma-
ria dell' Assunzione.
Metropolitana, Serafini da Mo-
dena, Paolo — , panel 398.
S. Sepolcro, Byzantine school.
Madonna nursing Child, repainted
383-
S. Stefano, Basdian tr< -< ••>. -.
destroyed with the church 383
Basilicate 379.
Bazzano inear Aquila .
Sta. Giusta, Abmzzese school.
frescoes 370; 13th cent., frescoes
3701.
Berlin.
Kaiser Friedrich Museum, Gi-
otto, Death of the Virgin (18841
238; Memmi, Lippo . Madonna
from Campo Santo, Pisa no8wn
200; Nazi, Allegretto — , two panels
(1076 and 1078) 132, 140.
Kupferstich Kabinet. Neapolitan
school, miniatures in the Hamil-
ton Bible 347.
49°
GEOGRAPHICAL INDEX TO VOLUME V
Bettona.
Sta. Maria, Fei. school of — .
Assumption of Virgin 106-'.
Palazzo dei Priori, Umbrian
school, fresco at top of stairs
120; fresco, Madonna and saints
in large hall 120.
Bevagna.
S. Domenico, school of Fabri-
ano, fresco, Madonna and saints
over door 120; scenes from life of
St. Dominic and Annunciation in
choir 120; Umbrian school, Cru-
cifixion and other frescoes in
Chapter House 120.
Bibbiena.
R. Conservatorio di S. Andrea,
fresco, Crucifixion 3i2::.
Bisceglie.
Sta Maria di Giano, Basilian
frescoes, 14th cent. 382: Sienese
tradition, fresco, St. James with
scenes from his legend 398.
Bitonto.
S. Leonardo, Cavallinesqae tra-
dition, frescoes, early 14th cent. 396.
Bolsena 92.
Sta. Cristina, Umbro-Sienese
school, frescoes 360; Madonna
and saints in cupboard of sacristy,
local production 361.
Borgo a Buggiano (alto).
Pieve di Sta. Maria Maggiore,
fresco 3i2;i.
Borgo San Sepolcro.
Gallery, Segna di Buonaven-
titra, follower of — , polyptych 300.
Boston.
Gardner coll.,, Martini, Sinto-
ne — , polyptych from Orvieto 92.
Bracciano.
Cathedral, Gregorio and Donato
d'Aresso, triptych (recently sto-
len) 296.
Brindisi.
St. Anna, Basilian frescoes,
14th cent. 382.
S. Benedetto. Basilian frescoes,
14th cent. 382.
S. Giovanni in Sepolcro, Basi-
lian frescoes, 14th cent 382.
S. Giovanni in Sepolcro. Mu-
seum. 15th cent., Madonna 384.
Brindisi. Near —
S. Biagio grotto, Basilian fres-
coes. 14th cent. 382.
Sta. Lucia crypt, Basilian fres-
coes. 14th cent" 382.
Sta. Maria del Casale. Rinaldo
da Tarento. Last Judgment and
other frescoes 388, 394 — 396;
Apnlian school, frescoes, Ist half
of 14th cent. 392; Byzantine school,
13th cent., panel, Madonna 383;
Cava/linesqne tradition, frescoes
396; Tuscan tradition, frescoes
397- 4<xx
Budapest.
Gallery. Orcagna, Andrea — ,
Madonna 1 50) 268.
Cagli.
S. Antonio, Palmerucci, Gui-
dnccio — (wrongly attrib. to), fres-
coes from life of St. Anton}- 90-.
Cagliari.
S. Domenico, Bartolommeo da
Camogli, Madonna v. Museum.
Museum, Bartolonuneo da Ca-
mogli, Madonna 284; Madonna
from S. Domenico 286.
Caivano.
Sta. Maria della Grazia di Cam-
piglione, early 15th cent., frescoes
346.
Calatro 1 Calabria).
Jacopello d Antonio, Madonna
from S. Bartolommeo, Messina
402.
Calvi v. Nicosia.
Cambridge, U.S.A.
Fogg Art Museum, Master of
St. Clare of Montefalco, diptych
76; Orvietan school, detached fres-
coes 124.
Camerino 196 v. Sefro.
S. Francesco, Marchigian school,
fresco, Entombment 196.
Gallery, Tuscan school, crucifix
196
Carupi Bisenzio (near Prato).
Pieye di S. Stefano, crucifix 3123.
Town Hall, facade, Annuncia-
tion 3123.
Campli
S. Francesco, Giottesqitc school,
crucifix, repainted 377.
Campo di Giove.
S. Eustachio, Abruzzese school,
two panels (stolen) 378.
Cannara.
Pinacoteca, Umbrian school, Ma-
donna nursing Child, detached
fresco from Collemanico 120.
Canosa.
Cathedral, Byzantine school, 13th
cent., Madonna 383.
GEOGRAPHICAL INDEX TO VOLUME V.
49'
Caprignone I Commune of Gubbio).
Church, Utnbrian school, fresco,
Madonna and saints 120.
Capua.
Cathedral. 14th cent.. Madonna
346.
Sta. Maria Maggiore, lost cru-
cifix 346.
Cascia.
S. Francesco, Umbrian school,
fresco, Madonna and saints 121.
Casentino.
Florentine school, paintings
294.
Caso (near Spoleto).
Church, frescoes, Last Judgment
and Crucifixion 125,
Cassoli. Near —
Sta. Maria in Cellis, Abrussese
school, fresco, Madonna and Child
378.
Castel Fiorentino (Val d'Elsa).
Florentine school, frescoes 294.
Castiglion Fiorentino.
Pieve. Segna di Bubnaventura,
Maesta 181, 293T.
Gallen-, Gaddi, Taddeo—, Ma-
donna 293".
Cava dei Terreni.
Abbey, frescoes 344; miniatures
347-
Ceccano.
Sta Maria a Fiume, frescoes
366.
Cereto I Valle di Norcia).
Benedictine monastery, Um-
brian school, frescoes 121.
S. Giacomo, Florentine school,
frescoes still parti)- covered 121.
S. Lorenzo, Umbrian school,
frescoes 121.
Citerna.
Crocifisso church, L 'mbrian
school, fresco, Crucifixion 122.
Citta di Castello v. Morra.
S. Domenico, Umbro-Sienese
school, St. Anna, the Virgin and
Child 122.
Gallery, Ditcciesque school, Ma-
donna 2.
Citta della Pieve.
Augustine monaster}-, i 'mbrian
school, frescoes 122.
S. Bernardino oratory. Umbrian
school, fresco. Madonna and saints
122.
S. Francesco, i 'mbrian school,
fresco, Crucifixion 76.
angels and saints
Sta. Maria Maddalena ordel Suf-
fragio. Umbrian school, crucifix
122.
Sta. Maria del Suffragio, v. Sta.
Maria Maddalena.
Civitella Benozzone (near Pe-
rugiai.
S. Francesco, Umbrian school,
damaged frescoes 122.
Cleveland, U.S.A.
Museum. Holden coll , Marchi-
gian school. Madonna of Humil-
ity 168.
Collemanico
I 'mbrian school, frescoes v. Pi-
nacoteca, Cannara.
Collescipoli.
Campo Santo, Umbrian school,
fresco, Crucifixion 122.
Cologne.
Schniitgen Museum, Cola di Pe-
trnccioti, centre of a triptych 106.
Conversano.
Cathedral, Sienesetradition,i res
co, Madonna,
398.
Corciano. Near —
Madonna del Serraglio, I 'm-
brian school, repainted Madonna
122.
Cori
15th cent., frescoes 365.
Corneto.
Andrea di Giovanni, active 114.
Sta. Maria di Castello, lost fres-
coes 360.
Cortona.
Barna da Siena, active 293 ;
Lorenzetti, the — , active 293.
S. Domenico, Gerini. Lorenzo di
Niccolo — , altar-piece 294.
Cracow.
Czartoryski Museum, Pisan
school, Crucifixion 274.
Deruta.
S. Francesco, I 'mbrian school,
frescoes 122.
Museum, Umbrian school, 13th
cent., miniatures 3.
Detroit.
Museum, Nuzi, Allegretto — .
triptych 138.
Dijon.
Gallery, Lorenzetti, Pietro — ,
triptych j6i'.
Eboli."
S. Francesco, Oderisi, Roberto
Crucifixion 328, 340.
492
GEOGRAPHICAL INDEX TO VOLUME V.
Eggi (near Spoleto).
S. Giovanni. Umbrian school,
frescoes 122.
Empoli v. Marcignano.
Collegiata, Florentine school,
panels 293; Sienese school, Ma-
donna 293.
Fabriano 61. 127.
Franceschino di Cecco, active 1 70.
S. Agostino, Marchigian school,
frescoes in bell tower 129; detach-
ed frescoes v. Gallery.
S. Andrea, Francescuccio di
Cecco Ghissi, lost panels of a trip-
tych 176; lost "Madonna della
Luna" 176.
S. Antonio Abate, Marchigian
school, lost frescoes 1961; Nusi,
Allegretto—, lost frescoes 132;
panel of St. Antony v. Gallery.
Cathedral, Nazi, Allegretto—,
frescoes in S. Lorenzo chapel
144 -148, 168; altar-piece v. Gal-
lery; polyptych in sacristy v.
Gallery ; Nusi, Allegretto — , school
of—, fresco, Nativit}", behind sa-
cristy 176, 180; fresco, Crucifixion,
behind sacristy 176; frescoes, sce-
nes from the martyrdom of the
two SS.John, behind sacristy 176;
fresco, St. Francis, behind sacristy
176; fresco, four saints, behind S.
Lorenzo chapel 176.
S. Domenico, Francescuccio di
Cecco Ghissi, Madonna of Humil-
ity 170; Nusi, Allegretto - , fres-
coes in sacristy formerly church
of Sta Lucia 132, 134 — 136, 140;
idem, school of — , frescoes to left
of choir 178; Marchigian school,
frescoes in tower 1961.
S. Francesco di Paolo, Marchi-
gian school, frescoes in annex 196'.
S. Emiliano Abbey, Marchigian
schoofdetached frescoes v. Gallery.
Sta. Lucia, Angelo di Meo Carta-
jolo, lost altar-piece 1343; Nusi,
Allegretto —, buried there 1611 ;
frescoes v. S. Domenico sacristy.
Sta.Maria del Mercato. Nusi, Al-
legretto— , mentioned at meeting
of confraternity 161 '; prior of-
i6i\
S. Niccolo, Nusi, Allegretto—,
Madonna v. Gallery ; idem, school
of — , fresco, Crucifixion, 178.
Gallery, Nusi, Allegretto—. St.
Antony and adorers from S. Anto-
nio Abate (30) 132, 134, 136, 136' ;
polyptych from sacristy of Cathe-
dral (2) 149; altar-piece from Cathe-
dral (4) 155; saints 152; Madonna
from S.Niccolo(i4) 156; two panels
of saints (15 and 17] 156; three
saints (16) 158; idem, school of— .
Madonna and scenes 182 ; Marchi-
gian school, detached fresco from
Abbey of S. Emiliano (181 128, 136;
detached fresco from Abbey of S.
Emiliano, a holy bishop (17) 128;
detached fresco, Madonna della
Misericordia (24) 128; detached
fresco, St. Anna, Virgin and Child
(21) 128; detached fresco, Virgin
and devotees T28; Christ and de-
votees (13) 128; frescoes from S.
Agostino (8) 128 ; David and three
prophets (10) 128; crucifix 1961.
ex-Fornari coll.. Francescuccio
di Cecco Ghissi, Madonna of Humi-
lity 169. 170: Nusi, Allegretto-,
Madonna 156; dead Saviour 160,
179; Madonna v. Gallery, Urbino.
ex-de' Santi coll., Nusi, Allegret-
to—, triptych v. Vatican Gallery.
Hospital del Buon Jesu, Marchi-
gian school, fresco, beheading of
St. John the Baptist 1961.
Via San Filippo, Nazi, Allegret-
to— , tabernacle, Madonna and
saints 161.
S. Felice diNarco'nearFerentillo).
S. Felice, Umbrian school, fresco,
Adoration of the Magi 122.
Ferentino.
Sta. Maria Maggiore, fresco,
Madonna 366.
Fermo.
S. Agostino, Marchigian school,
fresco, Madonna della Misericordia
1961.
S. Domenico, Francescuccio di
Cecco Ghissi, Madonna of Humility
1 72 ; Marchigian school, frescoes
1961.
Ferneta (near Perugia).
Convent, Umbrian school, panel
v. Gallery, Perugia.
Finalbergo.
Dominican Monastery, Niccolo
da Voltri, Madonna v. Gallery,
Savona.
Florence 1, 14, 200.
Nusi, Allegretto—, mentioned
in register of painters' corporat-
ion 130.
GEOGRAPHICAL INDEX TO VOLUME V.
493
Sta. Croce, Gaddi, Taddeo — ,
frescoes 266.
Sta Maria Novella, Nardo and
Jacopo di done, fresco, Last Judg-
ment 152; Orcagna, Andrea—,
fresco, Paradise 307.
Bigallo, Nuzi, Allegretto— > Ma-
donna and adorers 134, 136, 137.
Home Museum, Giotto, St.
Stephen panel 2981; Nusi, Allegret-
to— , Madonna v. Johnson coll.,
Philadelphia.
Uffizi, Lorenzetti, Pietro — , Ma-
donna from S. Francesco, Pistoia
301 ; Martini, Simone — , Annuncia-
tion 66. 324. 356; Pisan school, St.
Romuald panels from the Tosca-
nelli coll , Pisa 270.
Acton coll., Giovanni di Barto-
lommeo Cristiani, polyptych 305.
Angeli coll.. Cola di Petruccioli,
at t rib. to — , triptych 107.
Signor Fallani, formerly pro-
perty of — , Giovanni di Niccolo,
Madonna of Humility 230.
Loeser coll., Cola di Petruccioli
(wrongly attrib. to), triptych
1 06'.
Murray coll., Neapolitan school,
panel 3441.
ex-Rinuccuni coll.. Giovanni di
Niccolo, lost pol}-ptych v. Zelada
Museum, Rome ; Pisan school,
lost polyptych 276.
Serrestori coll., Palmerucci, Gni-
duccio — , triptych from ex-Nevin
coll.. Rome 861.
Foligno v. Sassovivo, Tenne.
Convento delle Contesse; Urn-
brian school, Blessed Angelica and
a crucifix 122.
Sta. Lucia convent, Umbrian
school, fresco Crucifixion 122.
S. Francesco, Umbrian school,
frescoes 122.
S. Giovanni, Umbrian school,
detached frescoes v. Pinacoteca.
Sta. Maria infra Portas. / inbrian
school, frescoes 122.
Sacro Cuore, i 'inbrian school,
detached frescoes v. Pinacoteca.
S. Tommaso. Assisan Gioltino,
school of — , fresco. Incredulity of
St. Thomas 122; Umbrian school,
fresco, heads of a Pieta 122.
Pinacoteca, I inbrian school, de-
tached frescoes. Crucifixion (n)
122; Descent from the Cross (5)
122; Betrayal oi Judas and I ru-
cifixion from Sacro Cuore 121
122; frescoes from S. Giovanni
(1 and 7) 122.
Casa Caselini, Umbrian school,
frescoes 122.
Foligno. Near
Sta. Maria inCampis, Umbrian
school, frescoes 122.
Fossa.
Sta. Maria in Cryptas, Abrn:-
zese school, frescoes 370; i3!,lcent.,
frescoes 370 '.
S. Spirito. Abruzzese school,
frescoes 372.
Frankfort a. M-
Stadelsche Kunstinstitut. Meo
da Siena, school of — , two pre-
della panels (1201 and 1202) 28.
Fiirstenau.
Erbach von Fiirstenau coll.,
Neapolitan school, Apocalypse 324.
Galatina.
Sta. Caterina, Francesco d'Arez-
zo, 15th cent., frescoes 388, 393;
Apnlian school, frescoes, 2nd half
of the 14th cent. 392 — 394.
Gallipoli. Near —
S. Mauro, Basilian frescoes 383.
Gargano 379.
S. Gemini.
S. Carlo, Umbrian school, fresco,
Crucifixion 124.
Sta. Maria de'Incertis, Umbrian
school, two frescoes of the Ma-
donna 125.
Genoa.
Barnaba di Bruno di Siena,
active 292; Giovanni di Giorgio
da Padova, active 292.
S. Bartolommeo degli Armeni,
Vanni the Second, Turino , trip-
tych 248, 284 ; Ligurian school,
saint with scenes 290.
S. Domenico, Francesco d Ober-
to. Madonna and saints v. Gallery
of Accademia.
S Donato, Niccolo da I 'oltri,
Madonna 288.
Sta. Maria in Castello, Barto-
lommeo da Camogli (?), Madonna
286.
Sta. Maria delle Vigne, Niccolo
da I oltri, altar-piece v. Vatican
Gallery store-room.
S. Olcese in Yal di Polcevera,
Niccolo da I 'oltri contracts to
make Maesta 288.
494
GEOGRAPHICAL INDEX TO VOLUME V.
S. Siro, Bartolommeo da Ca-
mogli makes picture 285; Niccolo
da Voltri, Madonna 290.
S. Teodoro. Niccolo da Voltri,
lost panel 288.
Gallery of Accademia, Fran-
cesco d' Oberto, Madonna and saints
from S. Domenieo 286.
Hospital for Incurables, Ligu-
rian school, three panels 290.
Giano del Umbria.
S. Francesco, Umbrian school.
Crucifixion 123.
S. Gimignano.
Town Hall, Memmo di Filipuccio
and Memmi, Lippo — , Maesta 181.
S. Giovanni Val d'Arno.
S. Lorenzo, Florentine school,
fresco fragments 293''.
Oratory, Giovanni del Biondo,
altar-piece 293''; Florentine school,
Madonna delle Grazie 2930.
S. Giovanni di Val d'Isola.
Basilica, Nero di Nello, Madonna
and saints v. church, Trepalle.
Greccio.
Modern chapel above S. Mario,
Umbrian school, panel of St.
Francis 123.
Gualdo Tadino.
Pinacoteca,
panel, scenes
Christ 123.
Castle chapel, Umbrian school,
frescoes 123.
Guardiagrele.
14th cent., miniatures 379.
Gubbio 2, 14, 80- 91, v. Caprignone.
Agnolo di Masolo, active 91 ;
Donato, active 91; Donato di
Maestro Andrea di Giovanni, men-
tioned 123; Gallo, active 91 ; Nelli,
Martino —, active 91; Niccolo di
Maestro Angelo, active 91 ; Pie-
truccio di Lucca, active 91.
S. Ambrosiana, Palmerucci,
Gniduccio — , school of — , fresco
fragments in refectory 90, 123,
S. Benedetto, Palmerucci, Gni-
duccio — , school of — . Madonna
in monk's choir 89.
S. Domenieo, Lorcuzetti, Pietro
— , school of — , fresco 90.
S. Francesco, Umbrian school,
frescoes 123.
Sta. Lucia, Palmerucci, Gniduc-
cio — , school of — , Madonna v.
Gallery.
I nibriau school,
from the Life of
Sta. Maria dei Laici, Bartolo di
Uristoforo, active 91 ; Donti, Gio-
vanni Agnolo — , active 91 ; Masusi,
Uecco —, active 91 ; Nelli, Mat-
tiolo — , active 91 ; Palmerucci,
Gniduccio —.active 81,84; fresco
on outside vvali 84; idem, attrib.
to --, lost paintings 901.
Sta. Maria Nuova, Palmerucci,
Gniduccio — , frescoes v. Gallery;
idem, school of —, Madonna in
choir 89; fresco of St. Antony 90;
Umbrian school, frescoes 123.
Gallery in Palazzo Pubblico,
Cola di Petruccioli, school of
two wings of a tript}Tch 106 ; Meo
da Siena, school of — , polyptych
36; Palmerucci, Gniduccio — , fres-
coes from Sta. Maria Nuova 84,86;
polyptych 84; two fragmentary pa-
nels (5 and 6) 86 ; round panel of
the Madonna 86 ; predella, Annun-
ciation 86; idem, school of —,
triptych (18) 89; Madonna from
Sta. Lucia 90; Giottesque school,
crucifix 90; Umbrian school, cru-
cifix (814) 90.
Palazzo Pubblico, Palmerucci,
Gniduccio — , had to paint an An-
nunciation and Assumption 82;
fresco Madonna 84, 86; idem {?),
repainted fresco, Madonna and
saints 88.
Spedaletto, Palmerucci, Gniduc-
cio — , attrib. to — , fresco of St.
Antony 90 '.
Jesi.
Pupil of Giotto's, active 130.
Lamporecchio 306.
Lanciano, Near —
S. Giovanni in Venere, frescoes,
ab. 1300 368.
Lavagnola.
Church, Ligurian school, polyp-
tych 290.
Lazio 349 366.
Lecce.
SS Niccolo e Cataldo, Basilian
fresco, 14th cent. 382.
Le Cese.
Sta. Maria delle Grazie, Abruz-
zese school, lost panel, Madonna
378.
Liguria 284-292.
Barnaba da Modena, active 284.
Livorno.
S. Jacopo, Cecco di Pietro, man-
ner of — , two panels 2571.
GEOGRAPHICAL INDEX TO VOLUME V.
495
Segna di Bitona-
— , panel v.
London.
British Museum, Meo da Siena,
school of — , miniature 6.
National Gallery, Jacopo di ( to-
ne, Coronation of Virgin (5791
152.
Victoria and Albert Museum,
Meo da Siena, school of — , diptych
(19, 20—1869) 36; Orcagna, Au-
dita — (wrongly attrib. to), mosaic
94. 94I
For sale, Traini, Francesco — ,
school of — , St. Peter 224.
Loreto.
Basilica Santissima Casa, early
14th cent., fresco 127.
Loreto Aprutino. Near —
Sta. Maria in Piano, Abruzzese
school, 14th cent , frescoes 372—
374, 388.
Lucca 77, 278—282.
S. Ansano, Puccinelli, Angelo— ,
lost triptych 279.
S. Cerbone, Litcchese school,
Madonna and saints v. Gallery.
S. Francesco
ventura, school of
Schiff coll., Pisa.
Sta. Maria fuori portam, Pucci-
nelli, Angelo — , panel, Death arid
Assumption of Virgin 280.
S. Paolino chapel, Puccinelli,
Angelo — , attrib. to — , panel
2802.
Gallery, Pitccimili, Angelo — ,
mystic wedding of St. Catherine
(45) 279; idem, attrib. to — , mar-
riage of Virgin (no longer there)
2792; Litcchese school. Madonna
and saint from S. Cerbone (41
and 42) 279; three panels (44,51
and 52) 2821.
Lucignano.
Angeli coll., Giovanni di Niccolo,
eclectic follower of — , Madonna and
saints 234.
Macerata.
Cathedral, Nazi, Allegretto — ,
triptych v. Gallery.
Gallery, Nuzi, Allegretto — trip-
tych from the Cathedral 132, 150.
ex-Caccialupi coll., Palnn rucci,
Guiditccio , triptj'ch v. Nevin
coll., Rome.
Magione.
Cola di Pet ruccioli, predecessor
of — , fresco, Madonna and angels
107, 113, 1141.
Manfredonia. Near —
Magdalene chapel, Apulian
school, fresco, end 14th cent.
39o.
Marches. The — 2,58,61,127 198.
Bolognese painters, active 130;
Riminese painters, active 130; / <-
netian painters, active J30.
Marcignano (near Empoli).
Church, Giottesqtte school, cruci-
fix 293.
Massafra.
Grottoes, frescoes 380.
Massa Martana.
Sta. Maria in Pantano, Umbrian
school, frescoes 123.
Matelica.
Sta. Trinita, Nusi, Allegretto — ,
tradition of - , detached frescoes
v. Piersanti Museum.
Piersanti Museum, Nazi, All>-
grefto — , tradition of — , detached
frescoes from Sta. Trinita (IV, 41
194.
Matera.
Cathedral, Basilian frescoes in
subterranean part 3821.
Sta. Maria di Idris, Apulian
school, Madonna 394; Basilian
frescoes, 14th cent. 382.
Grottoes, frescoes 380.
Messina.
S.Bartolommeo,/<7<"o/><7/od'.4//-
tonio, Madonna v. Calatro (Cala-
bria).
Cathedral, 14th cent., mosaics or-
dered 399.
S. Domenico, Jacopello d 'An-
tonio, St. Thomas Aquinas, des-
troyed by fire 402.
Milan.
Federigi, Nernccio — , active for
Galeazzo Visconti 237.
Poldi Pezzoli Gallery, Nuzi,
Allegretto — , manner of— , Madon-
na of Humility (594) 164; Mar-
chigian school, diptvch (584 — 5851
1961.
S. Miniato al Tedesco.
Gerini. manner <>J — , frescoes
294.
Town Hall, Gertnt, manner
of—, frescoes in council n
294.
Modena.
Gallery, Neri da Volterra.
Francesco—, Madonna 267, 280,
Molisse 379.
496
GEOGRAPHICAL INDEX TO VOLUME V
Monte l'Abate (near Perugia).
Marinus, Madonna from Celes-
tine monastery v. Gallery, Peru-
gia ■
Meo da Siena, panels from
Celestine monastery 21; idem,
school of— , crucifix and panels
of saints v. Gallery. Perugia.
Monte S. Angelo.
S. Pietro. (iiottesquc school,
frescoes 379.
Montebuono (Sabine).
S. Pietro, Jacofo tli Roccantica,
frescoes 361 ; 14th and 15th cent.,
frescoes 361.
Montecatini 293.
Montecossaro.
Sta. Maria di Chienti, Marchi-
gian school, frescoes 1961.
Montefalco 14, 72—80, v. Turrita.
S. Agostino, Cola di Petruccioli,
school of — , fresco, Coronation of
Virgin 107; Umbrian school, fres-
coes in sacristy 123.
Sta. Chiara, Master of St. Clare
0/ Montefalco, frescoes 73. 74, 76.
S. Francesco, Byzantine-Giot-
Usque school, crucifix 79; Cos-
mopolitan Gothic school, frescoes
80; Umbrian school, fresco, Ma-
donna on pillar 80; Madonna
nursing Child 80; frescoes, Ma-
donna enthroned etc. 123; frescoes
77 — 79; panel, Madonna nursing
Child 123.
Montefiascone.
S. Flaviano, Cavallinesqne tra-
dition, frescoes 353, 355; Caval-
linesqne Byzantine tradition, fres-
coes 354,355; Tuscan y school, fres-
coes 354, 355; frescoes in apse 355.
Montefiascone. Near —
Sta. Maria delle Grazie, fresco,
Madonna and Child 360.
Montegiorgio.
S. Andrea, Francescnccio di
Cecco Ghissi, Madonna of Humil-
ity 170.
Monteleone cii Spoleto.
S. Francesco, ex-convent, Um-
brian school, fresco, Madonna and
saints 123: fresco, Crucifixion in
old refectory 123.
Montemurlo.
Castle, Giovanni di Bartolom-
meo Cristiani, lost Madonna 303.
Montepulciano.
St. Agnese, Sienese school. Ma-
donna 300 ; fresco in chapel to
right 300.
Sta. Maria, Sienese school,
Madonna 300.
Gallery, Cola di Petruccioli{?),
panel (56) 106; Sienese tradition,
Coronation of Virgin 300.
Library, store-room, Sienese
school, processional banner 301.
Montespertoli.
Florentine school, frescoes 294.
Montevergine (near Avellino).
Church, Montana d'Arezzo,
Madonna 296, 297.
Moscuffo.
Sta. Maria in Lago, Abruzzese
school, frescoes 374.
Montone.
S. Francesco, Umbrian school,
frescoes 123.
Morra (near Citta di Castello).
S. Crescenzio, Umbrian school,
fresco 123.
Parish church, I 'mbrian school,
Madonna and Child 123.
Munich.
Gallery, Giuliano da Rimini, al-
tar-piece 17 ; Riminese school, dip-
tych 17.
Muro.
Cathedral, early 17th cent., fres-
co 379.
Naples 3T4-347.
Cavallim, Pietro — , active 314;
Fei, active 315 ; Giotto, active 314 ;
Martini, Simone—, active 315 ;
Montano d'Arczzo, active 314.
Sta. Annunziata, house adjacent,
Martini, Simone—, tradition of— .
frescoes 328.
S. Antonio Abate, Niccolo di
Tommaso da Firenze, panels 319 ;
Neapolitan school, Madonna nurs-
ing Child 320.
Cathedral, Fei, triptych 315 ; Ne-
apolitan school, frescoes in Minu-
tolo chapel 320; frescoes in Lofred-
do chapel 3221.
Sta. Chiara, Bartolommeo
(fAqtiila, active 316, 370 ; Martini,
Simon—, tradition of — , fresco,
Madonna of Humility 341 ; fresco
in refectory 324; Giottesqite school,
fragment of a Pieta 318; repainted
frescoes in nun's choir 318; Nea-
politain school, frescoes 320; Sie-
nese tradition, Madonna and saints
in cloister 343.
GEOGRAPHICAL INDEX TO VOLUME V.
497
S. Domenico, Sienese tradition,
fresco, Madonna of Humility in St.
Thomas chapel 342 ; fresco, Ma-
donna of Humility in last chapel
to right 342 ; panel, Madonna in
chapel to left of choir 342 ; Madon-
na nursing Child, on high altar 342 ;
frescoes, repainted, in chapel
of S. Raimondo di Pennaforta
319.
Incoronata church, Farina
(wrongly attrib. to), frescoes 316 ;
Martini, Simone — , tradition of — ,
frescoes in Crocifissi chapel 326;
three panels v. Gallery; Oderisi,
Roberto—, frescoes 330, 332— 340.
340.34I-
S. Lorenzo, Cavallmi, school
of — , recently discovered frescoes
in Ist chapel to right in chancel 318 ;
Martini, Simone, tradition of — ,
frescoes, 5th chapel of chancel 324 ;
Oderisi, Roberto — , frescoes in 5th
chapel of chancel 326, 340 ; Sienese
tradition, Madonna nursing Child,
in corridor between church and
cloister 342 ; two frescoes in court-
yard 343; frescoes in 4th and 6th
chapels of chancel 326.
Sta. Maria di Donna Regina, Ca-
vallini, school of—, frescoes 314,
328.
S. Pietro a Maiella, Madonna of
Humility in the chapel of Sta Ma-
ria succure miseris 342.
S. Pietro Martire, Neapolitan
school, fresco, Coronation of Vir-
gin 320.
Sta. Restituta, Lellus, mosaic,
Madonna and saints 316.
Gallery, Gaddi, Taddeo—, trip-
tych from Borgia Museum, Velle-
tri 364 ; Martini, Simone— , school
of—, half-length figure of Saviour
315"'; idem, tradition of — , three
panels from Incoronata church
(191 1 catalogue, 110.25)328.
Castello Nuovo, Giotto, active
296 ; Montano cPA rczzo, decorated
two chapels 296.
Episcopal Palace, Martini, Si-
mone—, schoolof—, panel 322.
Largo Sta. Trinita, printing
house, Giottesque school fresco,
feeding of the 5000318.
Narni.
S. Agostino, Umbrian school,
frescoes 123.
Cathedral, school of Fabriano,
fresco, Crucifixion 123.
S. Domenico, Umbrian school,
frescoes 123
Town Hall, Meoda Siena, school
of—, panel 36.
Nepi.
St. Elia, 11th cent., frescoes 361 ;
14th and 15th cent., frescoes 361.
Nevvhaven.
^ Yale University, Jarves coll.,
Cecco di Pietro, attrib. to — , Depo-
sition 258.
New York.
Metropolitan Museum, Cola di
Petrnccioli, triptych 106.
Hamilton coll., Daddi, Bernar-
do — , schoolof — , triptych 132, 150.
Winthrop coll., Oderisi, Ro-
berto -, Pieta 330, 340, 341.
Nice.
Cathedral, Niccolo da Voltrt,
active 288.
Nicosia (near Calvi).
Church, Cecco di Pietro, attrib.
to —, Madonna 258; Pisan school,
Madonna and saints v. Fezzi and
de la Tour du Pin colls., Pisa.
Nocera Superiore.
Baptistery, fresco fragments 344.
Nola.
S. Felice, 14th and 15th cent.,
lost frescoes 346.
Offida.
Sta. Maria delle Grazie, Nazi,
Allegretto —, eclectic follower of — ,
frescoes 182 — 192, 194, 376; Mar-
c/iigian school, frescoes 194.
Sta. Maria della Rocca v. Sta.
Maria delle Grazie.
Ortucchio.
Giovanni da Sn/mona, painting
of 1435 v. Gallery, Sulmona.
Orvieto2, 14, 58,91 — i20,v.Porano.
Andrea di Buccio di I 'anui Ta-
barie, active 93; Andrea di Gio-
vanni, active 94, 114; Angclello,
son of Puccio, active 93 ; Angelo di
Lippo, active 94 ; Bonino di Assist,
Giovanni —, active 93; Buccio di
Leonardello, active 93; Cola di Pe-
trnccioli, active 04, 100; Cecco,
active 94 ; Cosli, Meco—, active 94 ;
Domenico di Meo Andreuccio, ac-
tive 94; Francesco, Frate -- ac-
tive 94 ; Francesco, son of Puccio,
active 93; Francesco di Antonio
di Cecco, active 94: Gianotto, son
32
498
GEOGRAPHICAL INDEX TO VOLUME V.
of Puccio, active 93; Gianotto di
Puccio detto Vale Otto, active 93 ;
Gianotto di Rolando, active 93;
Giovanni di Andreuccio, active 94 ;
Giovanni di Buccio di Leonardel/o,
active 93; Leouardelli, Guidotto — ,
active 93; Lorenzo di /rate Gio-
vanni, active 94; Lucadi Tornme,
active 262; Minuccio, son of Puc-
cio, active 93 ; Nallo di Ciuccio,
active 94 ; Narduccio, Coluccio — ,
active 93; Nicola di Zenobio, ac-
tive 94 ; Nofrio di Caterina, active
94; Perfetti, Cola — , v. Profecti,
Cola — ; Petriiccioli di Marco, ac-
tive 93; Prefetti, Cola — , v. Pro-
fecti, Cola — ; Profecti, Cola — , ac-
tive 93; Puccio, active 93; Puccio
da Perugia, active 93 ; Ugoliuo di
Prete Ilario, active 93.
SS Andrea e Bartolommeo, Or-
vietan school, fresco 118.
S. Angelo, Umbriaii school, fres-
coes in lumber-room 124.
delle Carmine, ex-Oratorio — ,
Umbrian school, frescoes 124.
Cathedral, Andrea di Giovanni,
active 94 ; Bartolommeo di Orvieto,
active 94: Francesco, Prate — , ac-
tive 94 ; Giovanni di Buccio di Leo-
nardel/o, active 94, 96: Maitani,
active 94; Nello di Jacomino da
Ron/a, active 94; Orcagna, An-
drea — , active 94 ; Pietro di Or-
vieto, active 94 ; Pietro di Puccio,
active 94, 260; Ugoliuo di Prete
Ilario, active 94, 96, 98, 260; Vi-
viani, Lello — , active 96; Andrea
di Giovanni, fresco over left door
114, 116; Augelico, Fra — . fres-
coes 95; Antonio da Viterbo and
Pinturrichio, frescoes v. Pintur-
richio; Cola di Petriiccioli, fresco
in subterranean chapel 100, 102;
idem, school of—, Crucifixion, 3 rd
niche to left 124; idem, follower
of —, fresco, two saints 109; Mem-
mi, Lippo — , Madonna della Mise-
ricordia92; Pinturrichio and An-
tonio da Viterbo, frescoes 100; Sig-
norelli, frescoes 95; Ugoliuo di
Prete Ilario and helpers, frescoes
in SS. Caporali chapel 96; fres-
coes in choir 99 — 100; early 14th
cent , Madonna of S. Brizio 95.
S. Domenico, Orvietan school,
frescoes 118.
S. Giovenale, Cola di Petriic-
cioli, predecessor of — , frescoes
106-', 107: Orvietan school, fres-
coes 118 ; Umbrian school, frescoes
123 — 124; early 14th cent., fres-
coes 94, 95.
S Lorenzo, Ist half 14th cent.,
frescoes 96.
S. Ludovico, Andrea di Gio-
vanni, Banner of the Innocents
114, 116.
S Salvatore Abbey 94.
S. Severo Abbey, Orvietan
school, frescoes 119.
Sta. Trinita, Umbrian school,
fresco, Madonna 124.
Opera del Duomo, Cola di
Petriiccioli, school of — , centre
of a triptych 107 ; Martini, Si-
moue — , polyptych 92; Memmi,
Lippo — , Madonna 92.
Shop of a pork butcher near
the Belle Arte Hotel, Umbro-
Sienese school, fresco, Coronation
of the Virgin 124.
Ottana (Sardinia).
Church, Pisan school, polyptych
226 '. 282.
Palagianello.
Grottoes, frescoes 380.
Palermo.
Sma. Annunziata, Jacopo di
Michele Gera, St. Anna with Vir-
gin and Child in midst of saints 260.
S. Giovanni dei Tartari, dead
Saviour painted on slate found
under church v. Gallery; Virgin
painted on slate, lost 404.
S. Martino monastery, Vauui
the Second, Turiuo — , Madonna
and saints v. Gallery.
Palatine Chapel, mosaics res-
tored in 14th cent. 399.
S. Siro, Pellerano da Camogli,
Bartolommeo — , Madonna of Hu-
mility v. Gallery.
Gallery, Giovanni di Niccolo(?),
Madonna of Humility 231, 233;
Niccolo di Magio di Siena, trip-
tich 402; Pellerano da Camogli,
Bartolommeo — , Madonna of
Humility from S. Siro 285, 286;
Vanni the Second, Turino — ,
Madonna and saints from S.
Martino monastery 244; Sicilian
school, panel (388) 402 ; two panels,
end 14th cent. (5) 402; panel, As-
cension (83) 403; triptich (79) 404 ;
triptych (82) 404 ; dead Saviour
GEOGRAPHICAL INDEX TO VOLUME V.
499
painted on slate from S. Giovanni
dei Tartar i 404.
Chiaramonte Palace, Hosterium
or Lo Sierra, Sicilian school, ceiling
decoration, 399 ; painting, Madon-
na and saints 400.
Hosterium v. Chiaramonte Pa-
lace.
Lo Sterni v. Chiaramonte Pa-
lace.
Papiano.
Church,
frescoes v.
Paris.
Louvre, Cimabue, school of — ,
Maesta 199; Giotto, studio of — ,
panel with Giotto's signature from
S. Francesco, Pisa 199; Vanni the
Second, Titrino — , Madonna ( 1563)
248; Pisa 11 school, funeral of St.
Bernard (?) (1313) 270.
National Library, Neapolitan
school, miniatures 347.
Passignano.
Meo da Siena, school of -
L 'mbro-Sienese school,
Gallery, Perugia.
v. Gallery, Perugia.
, panels
Pausola (The Marches)
Town Hall, Andrea da Bologna,
Madonna of Humility 176.
Pentima. Near —
S.Alessandro, Abriizzeseschool,
fresco 377.
S. Pellino, Abruszese school,
frescoes 377.
Perugia 2, 11, 14, 14-62, 91.
Francescuccio di Cecco Ghissi
leases a house 170; lost panel of
131° 15-
St. Agata, Lorensetti, Pietra —,
school of— , fresco, Crucifixion 44;
Meo da Siena, school of —, fres-
coes 36; lost panel of 1310 15,
151; Umbrian school, detached
frescoes from Sta. Giuliana 124;
Umbro-Sienese school, frescoes 36,
124.
S. Agostino, Cola di Petruc-
cioli(F), frescoes 106.
S. Angelo, fresco, Madonna del
Verde 49.
S. Benedetto, Umbrian school,
frescoes 124.
Cathedral, Vanni, Andrea — ,
Madonna 60 ; Umbrian school, lost
portrait of Urban V 15.
S. Domenico, Stefano da Siena,
active in St. Catherine chapel
50; Umbrian school, frescoes
50-60; lost portrait of I U
V 50.
S. Domenico Vecchia, 51.
St. Elisabetta, Meo da Siena,
school of — , detached fresco v.
Gallery; Umbro Sicnese school,
detached frescoes v. Galli
S. Fiorenzo, Umbrian sellout,
detached fresco, Saviour 124.
S. Francesco, Meo da Siena,
school of — , frescoes in crypt
29, 30; Umbrian school, fresco
fragment, Adoration of Magi 60;
lost frescoes 15.
S. Francesco Confraternity, M> 0
da Siena, school of — , panels v
Gallery.
Sta. Giuliana, Umbrian school.
detached frescoes v. St. Agata ;
fresco fragments 124.
S. Leonardo, Umbrian school,
fresco fragments 124.
S. Matteo, Umbro-Sienese school,
frescoes 46.
S. Pietro, Umbro-Sienese school,
fresco in bell tower 46.
S. Pietro Confraternity, lost
panel 15; Meo da Siena, school
of — , two predella panels v.
Stadelsche Kunstinstitut, Frank-
fort.
Sta. Trinita. lost panel 15.
Vecchia, Confraternita — , Um-
brian school, frescoes 124.
Cathedral Museum, Umbrian
school, miniatures 6.
Gallery, Bartolo di Fredi, panel
60; Bonaccorso, Xiccolo — . panel
60 ; Duccio, Madonna 2 ; Lnca di
Tom me, manner of —, triptych
60; Mar inns, Madonna from Celes-
tine monastery, Monte FAbate 15,
16, 181, 24 ; M eo da Siena, polyp-
tych 21. 24; altar-piece 23: damag-
ed pofyptych 24 ; Madonna 24 ;
Madonna 24; idem, school of — ,
Madonna, 20, 24; crucifix from
Monte P Abate 30; panel of saints
from Monte l'Abate 30; panels
from Confraternity of S. Francesco
30; panels from Passignano 32;
fresco from Sta. Elisabetta 29 ;
Vanni, Lippo, — , panel 60; Um-
brian school, triptych, mystic mar-
riage of St. Catherine 46; triptych.
Madonna and saints 46. 47; pain-
ting on parchment 46, 47, 48 ;
triptych, Madonna saints etc. 46,
5oo
GEOGRAPHICAL INDEX TO VOLUME V
48; panel from Ferneta convent
61 ; Umbro-Sienese school, detach-
ed frescoes from Sta. Elisabetta
44 ; detached fresco from Papiano
46; 13th cent., panel 161.
van Marie coll., Paliiierucci,
Guiduccio — , school of — . Ma-
donna 90; Madonna, angels and
saints 90.
Private coll , Duccio, school
of — , Madonna 2.
Collegio del Cambio, Umbrian
school, miniatures 6
Old Hospital. Umbrian school, :
fresco fragment, Madonna 49.
Library, Matleo di Ser Cambio,
miniatures 8 — 10; Umbrian school,
miniatures 4—6, 7, 10, 11.
Palazzo Pubblico, Umbrian
school, frescoes in council room
15 ; frescoes in "Sala dei Armari"
15. 124.
Maesta della Volta, Umbrian
school, Madonna 18, 50.
Perugia. Near v. Civitella Be-
nozzone. Ferneta, Monte l'Aba-
te, Pieve Pagliaccia.
Castello della Fratticcuiola Cor-
dicesca, lost panel 15.
S. Egidio, Lorensetti, Pietro — ,
school of — , frescoes 62 ; Memmi,
l.ippo — , school of — , frescoes 62 ;
Umbrian school, frescoes 61.
Petrolina, detached frescoes,
124.
Ponte Felcino, Parish church,
Meo da Siena {?), Madonna in
lumber room 26.
Ponte Valleceppi, Parish
church, detached frescoes, 124.
Prepo, Parish church, Sienese
school, Madonna 124.
Pesaro.
Museum
fresco fragments 1961.
Pescia 293.
S. Francesco, Puccinelli, Ange-
lo — , triptych 280.
Cathedral, unimportant panels
of 14th and 15th cents, in sacristy
3I2:1.
S. Michele in Borgo, Sana di
Giorgio, Madonna and angels
302.
Philadelphia.
Johnson coll., Giovanni da
Milano, school of —, triptych (119)
1821; Nuzi, Allegretto —, Madonna
Marchigian
school,
formerly in Home coll., Florence
153; panel, saint 160; idem, work-
shop of — , diptych ( 1 18) 16 1 1 ; Mar-
chigian school, St. Francis receiv-
ing the stigmata (121) 1961; mini-
ature (122) 1961.
Pianella.
S. Angelo, Abruzsese school,
frescoes 374.
Piedi Paterno (near Spoleto).
Romitorio, traces of votive fres-
coes 124.
Pieve Pagliaccia (near Perugia).
Parish church, Meo da Siena,
school of — , fresco, Maesta 28.
Pioraco.
Crocifisso church, tabernacle
with paintings 124.
Piperno.
15th cent., frescoes 365.
Pisa 199—278, 282, v. Riglione,
Rigoli, S. Simoncino di Porta a
Mare, Vico Pisano.
Bruno di Giovanni, active 200 ;
Buffalmacco, active 199 ; Duccio,
visited 200; Gaddi, Taddeo — , ac-
tive 200; Gerini, Niccolo di Pie-
tro—, active 248: Giotto, active
199; Giovanni di Pietro di Napoli,
active 316; Luca di Tomme, active
200, 262 ; Martini, Simone — , men-
tioned 202 ; Martino di Bartolom-
meo, active 200, 316; Neri da
Volterra, Francesco — , active
262 ; Taddeo di Bartolo, active
231 ; Train i, Francesco — , active
202.
St. Anna, Vanni the First, Tu-
rino—, lost panel from sacristy
236.
S. Casciano, Vanni the Second,
Turino — , Madonna v. S. Paolo a
Ripad'Arno.
Sta. Cater'ma, Martini, Simone— ,
made altar-piece for— 200; Train:,
Francesco — , St. Dominic panel v.
Gallery and Seminary coll.; St.
Thomas in glory panel 203,
204 206.
Cathedral, Ciiuabue, active 199 ;
Jacopo di Michele Gera, active 258 ;
Nello di Giovanni, Bernardo—,
active 238 ; Neri da Volterra, Fran-
cesco—, makes altar-piece for —
264 ; Vanni the Second, Turino — ,
active 240, 258 ; Pisan school,
mosaics in transept 274, 275,
276.
GEOGRAPHICAL INDEX TO VOLUME V.
;oj
Sta. Chiara Hospital, Giovanni
di Pietro di Napoli and Martino
di Bartolommeo, make poly ptych
for-- v. Caller)7.
Sta. Cristina, / "anni the Second,
Turino — , active 240.
S. Donnino, Maestro deW L'ui-
versitas Aurificitm, Madonna 250,
254-
S. Francesco, Duccio, school
of — , Madonna 200; Giotto, school
of — . panel with Giotto's signa-
ture v. Louvre, Paris ; Martini,
Simone—, school of — .window 227.
Landi company, Traini, Fran-
cesco — , makes standard for -
202.
Sta. Marta convent, Giovanni di
Niccolo, polyptych v. Gallery.
S. Martino, Maestro del/' L'ni-
versitas Aurificum, crucifix 250.
S. Matteo monastery, Jacopo di
Michele. Gem, Madonna and saints
v. Gallery.
S. Michele in Borgo, Memmi,
Lippo —, school of — , frescoes 226.
S. Niccolo, Vite, Antonio — {?),
lost decoration in Chapter House
305-
S. Niccolo convent, Pisan school,
miniatures v. Gallery; miniatures
278.
S. Paolo a Ripa d'Arno, Buffal-
inacco and Bruno di Giovanni,
lost frescoes from Old Testament
200; I 'anni the Second, Turino — ,
Madonna from S. Casciano 240,
244 ; idem, predecessor of — , St.
Ursula panel v. Gallery ; GiOties-
que school, fresco 200.
S. Pietro in Vincoli, Cecco di
Pietro. lost panel, Nativity of
Virgin 256; Giovanni di Niccolo,
lost panel 228.
S. Silvestro, ex-convent, Vanni
the First, Turino —, panel v. Zuc-
chetti coll., now in Gallery.
S. Tommaso convent, Vanni
the Second, Turino — , .Assump-
tion 248.
S. Torpe, Ducciesque tradition.
Madonna 200.
St. Ursula, Buff'aliuacco and
Bruno di Giovanni, made altar-
piece, now lost 200.
Gallery, Cecco di Pietro, altar-
piece 256 : St. Simon panel 256; Ma-
donna from Fezzi coll. 256: idem, at-
trib. to , Saviour 1 ted (III,
91 2571 ; Pieta and tour saints II!,
13) 257 '; scene from legend ol
Agnes (111, 10) 257' ; fragment
altar-piece 257 ' ; idem, school of ,
two panels of three saints (III, n
and 15)257'; St. Peter (III, 12)257';
St. Apollonio (III, 16) 257'; Holy
Trinity (III, 14) 257'; Crucifixion
(III, 171 257': Getto di Jacopo,
Annunciation and saints (III, 251
254; Giovanni di Niccolo, polyp-
tych from Sta. Marta (III, 16) 228 ;
Virgin and saints (III, 2, 3, 4 and 5)
228; Madonna and angels (III, 1)
229; Madonna (III, 33) 230, 231 ;
idem, school of— , polyptych (111,36)
234 ; Giovanni di Pietro di Napoli
and Martino de Bartolommeo, po-
lyptych v. Martino di Barto/om-
meo ; Jacopo di Michele Gera, Ma-
donna and saints (III, 191 258 ; Ma-
donna and saints from S. Matteo
monastery (III, 21) 258; Luca de
Tomme, Crucifixion 256 ; Martini,
Simone — , panels of altar-piece
226; idem, Pisan follower of—, four
panels (III 31 — 35) 226 ; Martino di
Bartolommeo, polyptych made
with Giovanni di Pietro di Napoli
316 ; Master delf Universitas Auri-
ficum, Madonna (V, 32) 250 ; polyp-
tych (V, 18) 250: four polyptych
panels , V, 26, 27, 29, 30) 250 ; St-
Eulalia panel 250 ; Nello di Giovan-
ni Falconi, Bernardo — , eight po-
lyptych panels (V, 17) 238; Death
of Virgin (V, 16) 238 ; two panels
of saints (V, 10— id 238; two po-
lyptych panels, saints and Annun-
ciation (V, 12) 238; Annunciation
(V 5 and 7) 238 ; St. Augustine (V,
13) 238; St. Peter (V, 14) 239; St.
Nicholas of Bari (V, 30) 239, 250 ;
Traini, Francesco — , St. Dominic
panel 202, 207, 223 ; / 'anni the
First, Turino—, terminal panel
from S. Silvestro (V, 1) 236 ; I 'an-
ni the Second, Turino- , Baptism
of Christ 244 ; Madonna nursing
Child 248; idem, predecessor of—,
St. Ursula panel from S. Paolo a
Ripa d'Arno (III, 39) 240, 241, 243 ;
Lucchese school, panel 279 ; Pisan
school, crucifix 202; legend of St,
Galganus (V, 19. 20, 23. 241 270;
funeral of St. Francis and of St.
Thomas Aquinas Y, 21 and 22)
502
GEOGRAPHICAL INDEX TO VOLUME V.
270 ; Flagellation and Crucifixion
(V, 19) 270 : Crucifixion and An-
nunciation 272 ; St. Remigio (?)
272 ; Crucifixion 272 ; 14th cent.,
panels 272, 278; miniatures from
S. Niccolo convent 278.
Gallery, store-room, Cecco di
Pietro, panel from Fezzi coll. 254,
256 ; Madonna 256.
Seminary coll., Giovanni di
Niccolo, Annunciation 230; Mar-
tini, Simone — , panels of altar-
piece 226; Traini, Francesco — ,
scenes from St. Dominic panel
202, 207, 223; Ducciesque tradi-
tion, Madonna 200.
R. Fezzi coll., Cecco di Pietro,
Madonna v. Gallery; Pisan school,
panels of Madonna and saints
from Nicosia church 276.
Schiff coll., Giovanni di Niccolo,
Madonna 230, 231 ; Segno, di Buon-
aventura, school of —, Madonna
from S. Francesco 279.
ex-Toscanelli coll., Pisan school,
St. Romuald panels v. Uffizi,
Florence.
ex-de la Tour du Pin coll., Pisan
school, panels of Madonna and
saints from Nicosia church 276.
Zucchetti coll., bequeathed to
Gallery 236,
Campo Santo, Antonio di Bor-
ghese, active 303; Bcrto cfAr-
gomento da ['otter ra, active
264; Cecco di Pietro, active 237,
254; Giovanni di Bartolommeo
Crist iaui. active 303; Jacopo di
Francesco, active 264 ; Neri da
I 'o/terra, Francesco — , active 237,
254, 264; Neruccio di Fcderigo.
active 237, 264; Cecco di Pietro,
restores fresco of Hell 256; Gaddi,
Taddeo — , frescoes of Job 264, 266;
Jacopo di Michele Gera, makes cru-
cifix for — 258; Martini. Simone—,
Pisan follower of — , fresco, As-
sumption 226; Meinini, Lippo — ,
Madonna v. Museum, Berlin ;
Neri da lrolterra, Francesco — , res-
tores frescoes of Job 238, 264, 266,
270; Pietro di Puccio, frescoes,
from Old Testament 260, 262 ;
Traini, Francesco — (?), frescoes,
Triumph of Death and Last Judg-
ment 210 216, 224, 2761; Hell
212, 216, 224; frescoes from lives
of anchorites 212, 212'-', 218,224;
Traini, Francesco — , school of — ,
scenes from Life of Christ 2122,
213, 219-222, 306; Vite, Anto-
nio— (wrongly attrib. to), frescoes
from Life of Christ v. school of
Traini; Pisan school, detached
frescoes trom life of St. Francis
in chapel 276.
Casa di Misericordia, Pisan
school, Trinity 278.
Town Hall, Traini, Francesco - ,
active 202.
Pistoia.
Capanna, Puccio, active 312;
Dalmasio, Lippo — , active 301 ;
Duccio, active 301 ; Giovanni di
Bartolommeo Cristiani, lost Ma-
donna 303; Lippo, active 301;
Master Stefano Fiorentino, active
301.
S Antonio Abate or del T mo-
naster}'. Giovanni di Bartolommeo
( ristiani (wrongly attrib. to), fres-
coes 305: Vite, Antonio — , attrib.
to — , frescoes 305 ; Pistoian school
frescoes 307.
Cathedral, Alessio d' Andrea,
active 302; Bonaccorso di Cino,
active 302; TommasO di Lassaro,
active 302; Giovanni di Barto-
lommeo Cristiani, frescoes, Virtues
and Church Fathers in portico
302, 305; lost frescoes 304; design-
ed silver altar of St. James
3°4-
Disciplina dei Rossi church,
Giovanni di Bartolommeo Cristi-
ani, lost frescoes 303.
S. Domenico. Capanna, Puc-
cio — , lost crucifix 301.
S. Francesco, Capanna, Puc-
cio — . frescoes finished by Vite,
Antonio — 305; idem (?), frescoes
310; Giovanni di Bartolommeo
Cristiani (wrongly attrib. to),
frescoes in St. Louis chapel 305;
Lorenzetti, Pietro — , Madonna v.
Uffizi, Florence ; Memmi, Lippo — ,
lost Madonna 301; Vite, Anto-
nio — , frescoes started by Capan-
na, Puccio — . 305; Giottesque
school, frescoes in choir 301, 308;
Pistoian school, tree of Bonaven-
tura in the Chapter House 308 ;
frescoes in vault 308 ; frescoes in
St. Anton}' chapel 308; frescoes in
St. James chapel 308 ; frescoes in
St. Louis chapel (sacristy) 308;
GEOGRAPHICAL INDEX TO VOLUME V.
5°3
frescoes 311; Sienese tradition,
saints 312.
S. Giovanni fuor Civitas, Gaddi,
Taddeo , polyptych 279, 301,
302; Giovanni di Bartolommeo
( ristiani, altar-piece 305.
S. Lazzaro alle Fornace, Gio-
vanni di Bartolommeo Cristiam',
lost frescoes 303
Sta. Maria del Letto, Sienese tra-
dition, two altar-pieces 312.
Sta. Maria Nuova, Capanna,
Puccio — , attrib. to — , lost Ma-
donna and saints 312.
S. Salvatore, Giovanni di Bar-
tolommeo Cristiani, active 302.
del T monastery v. S. Antonio
Abate monastery.
Palace of the Anziani, Giovan-
ni di Bartolommeo Cristiani, lost
frescoes 304.
Bishop's Palace, Giovanni di
Bartolommeo Cristiani, lost fres-
coes 304.
Palazzo del Ceppo 3053.
Town Hall, Dalmasio, Lippo—,
Madonna 301 ; Pistoian school,
frescoes 312.
Poggio.
Ange-
S. Lorenzo, Puccinelh
to — , lost triptych 280.
Pontassieve v. Rosano.
Popiglio.
Sta. Maria Assunta, unimpor-
tant panels in sacristy 3123.
Poppi.
Castle, 14th and 15th cent., fresco
fragments in courtyard 3i2::.
Porano fnear Orvieto).
S. Biagio, Orvietan school, An-
nunciation 124.
Prato v. Campi Bisenzio.
Gaddi, Agnolo —, active 312;
Gerini, Niccolodi Pietro -, active
312; Giovanni da Milano, active
312.
Cathedral, frescoes 312.
Palazzo del Ceppo, Gerini, Nic-
colo di Pietro — , active 305; Cite,
Antonio (wrongly attrib. to),
frescoes from life of Francesco
di Marco 305.
Providence.
Rhode Island School of Design,
Andrea di Giovanni, Madonna 116.
Pugnano (near Rigoli).
Federigi, Xeritccio — , Madonna
237. 267.
Ravello.
Cathedral, Mnnnii, Lippo — ,
Madonna 315; Neapolitan school,
frescoes 344; triptych r<
344-
S. Giovanni del Toro, frescoes
344.
Ravenna.
Gallery, Marchigian school, two
saints 1961.
Recanati.
Municipal Gallery, Marchigian
school, fresco fragments 196 '.
Richmond.
Cook coll., eclectic follower of
Daddi and Orcagna (attrib. to
Allegretto Nuzi), Coronation of
Virgin and saints 161 '.
Rieti.
S. Agostino, Umbrian schooc,
repainted fresco on facade 124.
S. Domenico, Umbrian school,
frescoes 124.
Gallery, Lnca di Tomme, polyp-
tych 372.
Riglione (near Pisa).
Parish church, Pisan school,
crucifix 276.
Rigoli (near Pisa) 240.
Pi eve. / 'a nni the Second, Tit-
rino — , Madonna 248.
Rimini 1, 191.
Ristonchi (near Vallambrosa).
Florentine school, two panels
of saints 293''.
Rivaio.
Church, Sienese trad/lion, Ma-
donna 2937.
Roccantica.
15th cent., frescoes 365.
Rocca di Botte.
Abbey church, Abrnzzese school,
fresco fragments 378.
Rocca di Papa.
Dnccio, school of — , Madonna
362.
Rome.
Bitlgarim, Bartolommeo — , ac-
tive 362; Gaddi, Agnolo — , active
364 ; Giotto di Maestro Stefano,
active 364; Giovanni da Milano,
active 364; Giovanni di Taddeo
Gaddi, active 364 ; Jannuccius and
Johannes de Florencia, active 364;
Johannes of ' Montepulciano, active
364 ; Paolo da Verona, active 364 ;
Stephanas di Perusio, active at
Papal court 15; Vanni of Monte-
5°4
GEOGRAPHICAL INDEX TO VOLUME V.
pulciano, active 364; two artists
from Cesano, active 364 ; German
artist, active 362 ; Perugian artist,
active 364 ; I 'cnetian artist, active
3°4- . . „
St. Agnese in via JNomentana
and in priest's house, frescoes 36 1 .
St. Aurea, Vanni, Lippo - , trip-
tych v. SS. Sisto e Domenico ; per-
haps made another triptych 362.
Sta. Costanza. old mosaic in one
of apsides 355.
Sta. Maria del Buon Consiglio,
Sienese tradition, frescoes 362.
S. Pietro, Giotto, active 362;
mosaic in old basilica 355.
Grotte Vaticane, Sienese school,
lost paintings 362.
Sta. Prassede, 9th cent., mosaics
353- _
SS. OuattroCoronati, i3tri cent.,
frescoes 192.
S. Silvestro in Capite, Umbrian
school, frescoes 364.
SS. Sisto e Domenico, Vanni,
Lippo — , triptych 362.
S. Sisto Vecchio, Sienese tradi-
tion, frescoes 362.
Biblioteca Angelica, Sienese tra-
dition, fresco fragments 362.
Vatican Gallery, Cibo, miniatu-
res 292 ; Francesco di Cecco Ghissi,
Madonna of Humility 192) 175;
mystic marriage of St. Catherine
( 193) 175 ; Nuzi, Allegretto - , trip-
tych originally belonging to the
de'Santi family, Fabriano and la-
ter in the Ospizio dei Camaldolesi,
Rome (187) 132, 152; idem, fol-
lower of—, panel, four saints (63)
182; Madonna and angels (190)
182; idem, school of —, Adoration
of Child and dead Saviour (45)
178; dead Saviour 11891 179;
Madonna (188) 180; Vanni the
Second, Tnrino — , St. Margaret
panel (4) 240, 245.
Store-room, Niccolo da Voltri,
altar-piece from Sta. Maria delle
Vigne, Genoa 288, 288.
Vatican Library, Neapolitan
school, miniatures in a Bible (Cod.
Lat. 3550) 347 ; miniatures in a
Missale Romanum and a Golden
Legend from the Rossiana, Vienna
347.
Palazzo Venezia, Martini Simo-
ne — , Madonna 315.
ex-Zelada Museum, Johannes de
Pisis (probably Giovanni di Nicco-
lo 1, lost polyptych 228.
Prince Fabrizio Massimo coll.,
Traini, Francesco —, panel, SS.
Cosmo and Damian 223.
ex-Nevin coll., Palmerncci. Gui-
duccio —, triptych from the ex-
Caccialupi coll.rMacerata86 ; trip-
tvch v. Serrestori coll., Florence.
ex-Sterbini coll., Cecco di Pietro,
attrib. to—, Crucifixion 2571;
Xanni di Jacopo, Madonna and an-
gels 280, 281 ; Pisan school, Cruci-
fixion 274.
Ospizio dei Camaldolesi, Nuzi,
Allegretto —, triptych v. Vatican
Gallery.
German Seminary, Meo da Sie-
na, school of — , panel 36.
Via di S. Sebastiano, Cardinal
Bessarione's house, Sienese tradi-
tion, frescoes 362.
Rosano (near Pontassieve).
Church, Gaddi, Agnolo—, school
of — , Annunciation 293'"'.
Rosciolo.
Sta. Maria delle Grazie, Abruz-
zese school, lost frescoes 378.
Ruvo.
Cathedral, Apulian school, fresco
fragments 394 ; 15th cent., frescoes
394-
Sassari (Sardinia).
Town Hall, Pisan school, panel,
three saints 284.
Sassovivo (near Foligno .
Convent, Umbrian school, fresco
fragments 122.
Savona.
Gallery, Niccolo da Voltri, Ma-
donna from Dominican monastery,
Finalborgo 290.
Sefro (near Camerino1.
Marchigian school, Crucifixion
196.
Sessa Aurunca.
S. Giovanni, two frescoes 346;
crucifix 346.
Settign^no.
Berenson coll., Mentmi. Lippo — .
Maesta 181.
5. Severino.
S. Domenico, Nuzi, Allegretto— ,
Madonna v. Gallery.
S. Francesco, Francescuccio di
Cecco Ghissi, lost paintings in
chapel and Chapter House 176.
GEOGRAPHICAL INDEX TO VOLUME V
5°5
Sta. Maria del Glorioso, Marchi-
gian school, frescoes iqo1.
Sta. Maria del Mercato, Frances-
cuccio di ( ecco Ghisi, lost paintings
176.
Gallery, Xu:i, Allegretto — , Ma-
donna 132, 156.
Sicily 233. 298-404.
Siena 1- 2, io, 14, 76, 88, 91. 120,
200.
S. Francesco, Lorenzetti, Am-
brogio — , fresco 44.
Istrice church, Cola di Petruc-
cioli, attrib. to — , panel, Madonna
and saints 106.
Gallery, Lorenzetti, Pietro — ,
altar-piece 181; Segna di Buona-
Ventura, altar-piece 16' ; Taddeo di
Bartolo, Annunciation 290.
Archives, Umbrian school, mini-
ature 10.
Palazzo Pubblico, Gitido da
Siena, Madonna 20 ; Martini, Si-
/none — , Maesta 18*.
Sietina (near Arezzol.
Pieve, Aretine school, frescoes
298, 300.
Sigmaringen.
Gallery, Nuzi, Allegretto — , pre-
della panel 138.
S. Simoncino di Porta a Mare (near
Pisa).
Parish church, Cecco di Pietro,
executes picture for— 256.
Siponto.
Sta. Maria, Byzantine school,
Madonna 383.
Soleto.
Cathedral, Basilian paintings on
outside wall, I4lh cent. 382.
S. Stefano, Basilian frescoes,
14th cent 382 ; Byzantine school,
13th cent., fresco fragments 386 ;
Italo-Byzantine school, frescoes,
end 14th cent. 383, 386-390.396.
Spello.
S. Andrea, Sienese school, cru-
cifix 125; Umbrian school, Ma-
donna 125; fresco in choir 125.
S. Claudio, Cola di Petruccioli,
school, of — , fresco fragments
125.
Gallery, Cola di Petruccioli, dip-
tych 100, 102, 104, 113; Umbrian
school, polyptych 125.
Via della Povera Vita, Casa
Bollati. Umbrian school, fresco.
Crucifixion 12^.
Spoleto 14, v. Caso, Eggi, Mon-
teleone, Piedi Patermo.
Cathedral, Bartolo di Spoleto,
lost frescoes of 1378 and 1404
125; Sotio, Alberto .crucifix
Umbrian school, frescoes 125.
S. Domenico, Umbrian school,
crucifix 125; frescoes 125: fres-
coes in bell tower 125; frescoes
in monastery 125.
SS. Giovanni e Paolo, Umbrian
school, votive frescoes 125.
S. Gregorio, I 'mbrian school,
votive frescoes 125.
S. Lorenzo, Umbrian school,
Madonna 125.
Sta. Maria inter Angelos or Le
Palazze, Umbrian school, detached
frescoes v. Gallery.
S.Niccolo, I 'mbro-Sienese school,
Madonna between two holy bis-
hops, over door 125; fresco frag-
ments inside 125.
Le Palazze v. Sta. Maria inter
Angelos.
S. Simone, Umbrian school,
frescoes 125.
Gallery, Umbrian school, detach-
ed frescoes from Sta. Maria inter
Angelos 125; Madonna 125.
Via Salaria Vecchia, I 'mbrian
school, Maesta 125.
Squinzano. Near —
Sta. Maria di Cerrate, Ba-iliau
frescoes, end 14th cent. 382.
Strasbourg
Gallery, Nuzi, Allegretto — , pre-
della panel, Apostles (202a) 138.
Stroncone.
S. Francesco, Umbrian school,
Madonna and St. Francis 125.
Gonfalone confraternity, Um-
brian school, Madonna della Misi -
ricordia outside 125.
Subiaco.
Sacro Speco, Meo da Siena,
school of — , frescoes in chapel
of the Madonna 36—42. 364 ; Sit
nese tradition, frescoes 365; Scala
Santa, Meo da Siena, school of —,
frescoes 36, 40 44.
Subiaco. Near —
Sta. Scolastica, old monastery,
frescoes, end 14th cent. 365.
Sulmona.
14-' cent., miniatures 379.
Cathedral, Berardo cfOfena, ac-
tive 379.
5o6
GEOGRAPHICAL INDEX TO VOLUME V
Gallery. Giovanni da Sitlmona,
painting of 1435 370.
Sutri.
Sta. Maria del Parto, votive
frescoes 361.
Taranto. Region of —
Gravina of the Grottaglie, Ba-
silian frescoes, 14th cent. 382.
Tarquinia v. Corneto.
Tenne (near Foligno).
Sta Maria Assunta, Umbrian
school, Madonna and traces of a
Crucifixion 122.
Teramo.
Cathedral, Abruszese school,
frescoes in old apse 377; lost
frescoes in shops around 376.
Terni.
S. Cristoforo, Umbrian school,
frescoes 125
S. Francesco, Umbrian school,
fresco in entrance 125; frescoes
in Paradisi chapel 125
S. Salvatore, Umbrian school,
frescoes 125.
S. Tommaso, Umbrian school,
Madonna 125.
Terracina.
S. Antonio, fresco fragments
366.
Cathedral, end 14th cent., panel
366.
S. Domenico, beginning 15th
cent., frescoes in choir 366.
Tivoli.
Bulgarini, Bartolommeo — . ac-
tive 364.
Todi.
Cathedral, Umbrian school, fres-
coes 126.
S Fortunato, Vanutii, Nico-
laus — , Madonna 125; Umbrian
school, frescoes 126.
Sta. Maria in Camuccia, Umbro-
Sienese school, frescoes 126.
Sta. Prassede, Cola di Petruc-
aoli, fresco, fragment of Annun-
ciation 106.
Pinacoteca, Florentine school,
panels of a polyptych 126; Um-
brian school, detached frescoes
126.
Palazzo del Capitano del Popo-
lo, Umbrian school, frescoes just
being discovered 126.
Palazzo Pubblico, Umbro-Sie-
nese school, damaged fresco of
Crucifixion in large hall 12s.
Tolentino.
S. Niccolo, Riminese school, fres-
coes 130.
Toscanella v. Tuscania.
Trani.
Cathedral, Apulian school, panel
of Nicholas of Trani in crypt 384 ;
frescoes, 390.
Trepalle.
Church, Nero di Nello, lost pa-
nel of Madonna and saints from
the basilica of S. Giovanni di Val
d'Isola 240.
Trevi.
Sta. Croce, Master of St. Clare
of Montefalco, fresco in ex-con-
vent 74, 76.
S. Francesco, Umbrian school,
frescoes 126; Umbro-Sienese
school, fresco fragments 126.
Pinacoteca, Orvietan school, trip-
tych 111; four panels 112.
Turrita (near Montefalco).
Church, Master of St. Clare oj
Montefalco, frescoes 74; Umbrian
school, frescoes 123.
Tuscania.
Cathedral, frescoes 350; lost
panels 350.
Sta. Maria Maggiore, frescoes,
Last Judgment etc. 349 ; I 'iterban
school, frescoes 359.
S. Pietro, frescoes in crypt 350;
I 'iterban school, frescoes 358, 359.
Sta. Rosa. Viterban school, fres-
co, Madonna 360.
S. Silvestro, Cavallinesque tra-
dition, fresco, tree of Bonaventura
349-
Umbertide.
S. Giuliano degli Pignatti, Um-
brian school, frescoes 126.
Sta. Maria della Reggia, Um-
brian school, fresco, Madonna
126.
Umbria 1 — 126.
Urbino.
S. Paolo, Marc/iigian school,
Madonna nursing Child 1961.
Gallery, Nazi. Allegretto—. Ma-
donna from Fornari coll., Fa-
briano 132, 161 ; Marchigian school.
Madonna signed Antonius Ma-
gister 1961 ; Madonna and gonfa-
lon 1961.
Vallambrosa v. Ristonchi.
Valle di Nera.
S. Francesco or Sta. Maria,
GEOGRAPHICAL INDEX TO VOLLML V.
507
Angela — ,
Cola di Pietro da ( dmerino, fres-
coes 126, 196.
Sta. Maria v. S. Francesco.
Parish church, Umbrian school,
Madonna 126.
Valle Porclaneta.
Sta. Maria, Abruzsese school,
frescoes 378.
Varano.
Church, Puccinelh
polyptych 280.
Vasti. Near —
SS. Stefani grottoes, Basilian
frescoes, 14th cent. 382
Velletri.
Borgia Museum. Andrea da
Velletri, lost Madonna and saints
364 ; Gaddi, Taddeo — , triptych
v. Gallery, Naples.
Venice.
Xitsi, Allegretto ■—, perhaps
went 131.
Accademia, Giovanni da Bolog-
na, Madonna of Humility 176.
Venosa.
Sta. Trinita. Oderisi, Roberto — ,
fresco, St. Catherine and Pieta
330, 340, 379; idem, manner of — ,
fresco, Annunciation 330 ; frescoes
379-
Vetralla.
Sta. Maria, repainted frescoes
360.
Vico Pisano (near Pisa) 218.
Vienna.
Rossiana Library, Neapolitan
school, miniatures in Missale Ro-
manum and a Golden Legend v.
Vatican Gallery.
Lanckoronski coll., Palmerucci,
Guiduccio — , polyptych 86, 88.
Lichtenstein coll., Cola di Pe-
tri p-
truccioli (wrongly attrib. to)
tych 106- ; Nuzi, Allegrett
school of—, diptych 182.
Viterbo.
Antonio da I 'it, r/><>, active 358.
S. Agostino, Martini Simon,' — ,
tradition of—, repainted Madonna
v. Galltiv.
S. Andrea, Martini, Simon,' — ,
tradition of—, Madonna nursing
Child, in lumber-room near en-
trance 358.
Cathedral, Martini, Simone — ,
tradition of — , repainted fresco
356.
S. Francesco, Martini, Simone— ,
tradition of — , damaged Maesta
357-
Sta. Maria Nuova, Cavallinesque
tradition, fresco. Crucifixion and
saints 349; Viterban school, two
Crucifixions 358.
Sta. Maria della Verita v. Gal-
lery.
Gallery or Sta. Maria della
Verita, llario da Viterbo, Prete — ,
panel, Madonna 356; Martini,
Simone — , tradition of — , repaint-
ed Madonna from S. Agostino
356; Madonna (112) 356; detached
fresco. Madonna (114) 357.
S. Vittorino (near Aquilai.
Parish church, Abruzsese school,
frescoes 372; frescoes in subter-
ranean church 372.
Volterra.
Neri da I 'olterra, Francesco — ,
active 264.
Palazzo dei Priori. Jacopo di
Michele Gera, mvstical wedding
of St. Catherine 260.
DEPARTMENT OF ART AND ARCHAEOLOGY
INDEX OF ARTISTS TO VOLUME V.
The more important passages are indicated by bold faced numbers.
Agnolo di Masolo, 91.
Agostino di Leonardo da Terarao,
miniaturist, 379.
Alessio d'Andrea, 302.
Alunno, Niccolo — 72.
Andrea di Bartolo, 2351.
Andrea da Bologna, 64, 176, 182',
192, 1923.
Andrea diBucciodiVanneTabarie,
93-
Andrea da Firenze, 221 '.
Andrea di Giovanni, 94, 99,114 —
116.
Andrea da Velletri, 364.
Angelello, son of Puccio, 93.
Angelico, Fra — 95.
Angelino di Corrado di Novarello,
64.
Angelo di Lippo, 94. 99.
Angelo di Meo Cartajolo, 134'.
Antonello da Messina, 402.
Antonio di Andreuccio, 98,
Antonio dAndria, 377.
Antonio di Borghesc, 303.
Antonio di Filippo di Pistoia, 306.
Antonio del Pastura, v. Antonio
da Viterbo.
Antonio da Viterbo, 100, 358.
Antonius Magister, 1961.
Aretino, Spinello — 122, 211, 294,
208.
Aufreone di Noci da Camogli,
292.
Baboccio, sculptor and painter, 3201.
Barna da Siena, 181, 761, 294, 295,
301,364,371.
Barnaba di Bruno di Siena, 292.
Barnaba da Modena, 2721, 284, 288.
290, 292.
Baronzio, 192, 194.
Bartolo di Cristoforo, 91,
Bartolo di Fredi, 30 ', 60. 1071, 116,
124.
Bartolo di Spoleto, 125.
Bartolomeo olim Mey de Senis, v.
Meo da Siena.
Bartolommeo, son of Giovanni di
Bartolommeo Cristiani, 305.
Bartolommeo d'Aquila, 314, 316,
370-
Bartolommeo da Camoglie, 1681,
399-
Bartolommeo di Orvieto, 94.
Berardo d'Ofena. miniaturist, 379.
Berto d'Argomento da Volterra,
264.
Bettino, 312.
Bonaccorso di Cino, 302.
Bonaccorso, Niccolo — 60.
Bonino di Assisi, Giovanni —
93
Bruno di Giovanni, 200, 202, 241.
Buccio di Leonardello, 93
Buffalmacco, 50, 199, 200,202,212,
212'-', 222 ', 241, 262.
Bulgarini, Bartolommeo 362,
3°4-
Buonaccorso del Gese, 277.
Capanna, Puccio — 301, 305, 308,
310. 312-
Caterino, 176.
Cavallini, Pietro — 501, 98, 302.
314,318. 3181, 324, 328, 340. 349,
35°- 352- 394, 396, 39°', 397-
Cecco, 94.
Cecco di Pietro, 237, 254—258,
258, 274'.
Ceccolo di Giovanni, 71.
Cenno di Francesco di Ser Cenni,
2944.
Cibo, 292.
Cimabue. 65-, 199.
Cola di Petruccioli,66,94, 99, 100—
106, 109, 113, 1141, 123.
Cola di Pietro, 196.
Colantonio del Fiore. v. Niccolo di
Tommaso da Firenze.
Conxolus. 3961.
Correggio, 374.
Costi, Meco — 94, 99.
Cristiani, Giovanni — 308.
Cristofano di Pietrasanta, 202.
INDEX OF ARTISTS TO VOLUME V.
5°9
Daddi. Bernardo — 134, 135, 136,
*37> l38, l4°> 15°, i52. 161', 168,
176,212,239,254.
Dalmasio, Lippo — 301.
Domenico di Meo Andreuccio, 94,
98.
Donato, 91.
Donato d'Arezzo, 295, 296.
Donato di Maestro Andrea di
Giovanni, J 23.
Donti, Giovanni Agnoli — 91.
Duccio, 3, 4, 18, 20, 23, 24, 26, 44, 50,
95, 200, 282, 294, 301, 346, 360, 362.
Elemosini, Marinus - v. Marinus.
Farina, 316.
Federigi, Neruccio — 236, 237. 267.
Fei, 106-, 113, 116,315.
Filippo di Lazzaro, 302.
Filipuccio, 181.
Fiorentino, Lippo — , 298.
Fiorentino, Stefano — 226.
Franceschino di Cecco, v. Frances-
cuccio di Cecco Ghissi.
Francesco, Frate, 94.
Francesco, son of Puccio, 93.
Francesco di Antonio, 94, 99.
Francesco d'Arezzo, 388, 393.
Francesco da Castel della Pieve,
761.
Francesco di Maestro Giotto, 264.
Francesco d'Oberto, 286.
Francescuccio di Cecco Ghissi,
127, 156, 168, 169 -176, 1961.
Gaddi, Agnolo - 293", 312, 364.
Gaddi, Gaddo — 276.
Gaddi, Taddeo - 128, 200, 264, 266,
268, 2937, 301, 305, 312.
Gallo, 91.
Genaro di Dominici. 316.
Gennaro di Cola, 328.
Gentile da Fabriano, 196.
Gerini, The — 248.
Gerini, Lorenzo di Niccolo 294.
Gerini, Niccolo di Pietro — 152,
248. 278, 294, 2944, 305. 312.
Getto di Jacopo, 254.
Giacomo di Campli, 182'.
Gianetti da Viterbo, Matteo — 295,
355-
Gianotto, son of Puccio, 93.
Gianotto di Puccio detto Vale
Otto, 93.
Gianotto di Rolando, 93.
Giottino, 1041, 295.
Giottino of Assisi. 64,67, 120, 122.
124.
Giotto, 1, 60-', 66, 148. f99. 228.
264.266, 276. 298, 2981, 314. 3181,
319, 3241, 332, 354- 355- 362,
390-.
Giotto di Maestro Stefano, 364.
Giovanni di Andrea, 124.
Giovanni di Andreuccio, 94, 99.
Giovanni d'Arezzo, 295.
Giovanni d'Asciano, 761.
Giovanni di Bartolommeo Cris
tiani, 302 305.
Giovanni da Bologna, 176.
Giovanni diBuccio di Leonardello,
93, 94, 96, 98.
Giovanni di Francescho depintore
Toschani, 295.
Giovanni del Gese, 276, 277.
Giovanni di Giorgio da Padova,
292.
Giovanni di Lotto, 312.
Giovanni di Maestro Nicola, 64.
Giovanni da Milano, 1821, 312, 364.
Giovanni di Niccolo. 227 — 234,234,
279, 282, 286.
Giovanni di Niellis, miniaturist,
347-
Giovanni di Pietro di Napoli,3i6.
Giovanni di Pistoia, 302'.
Giovanni da Rapallo, 285, 292.
Giovanni da Sulmona, 370.
Giovanni di Taddeo Gaddi, 364.
Giovanni da Taranto, 3921.
Giovanni da Valadolid, 400.
Giuliano da Rimini, 17.
Graziano. Guido — 20.
Gregorio d'Arezzo, 295, 296
Gregorio di Cecco di Luca. 279*.
Guglielmo de Celesia. 292.
Guido, 312.
Ilario da Viterbo. Prete — 66, 356.
Jacopello d'Antonio, 402.
Jacopo, son of Giovanni di Barto-
lommeo Cristiani, 305.
Jacopo, father of Tommaso di
Lazzaro. 302.
Jacopo degli Avanzi, 272.
Jacopo del Casentino, 294, 300.
Jacopo di Cione, 152, 153, 158, 168,
169.
Jacopo di Francesco da Roma, v.
JacopodiFrancesco daVolterra.
Jacopo di Francesco da Volterra.
264. 364.
Jacopo di Landino, 298, 300.
Jacopo di Michele Gera. 258 — 260.
Jacopo della Quercia, 280.
Jacopo di Roccantica, 361.
Janneccie, Jacobellus — 362.
Jannuccius de Florencia. 364.
Johannes de Florencia. 364.
5Jo
INDEX OF ARTISTS TO VOLUME V.
Johannes de Montepulciano, 364.
Johanes de Pisis, v. Giovanni di
Niccolo
Johannes De Pisis, 276.
Johannes de Rodisio, v. Oderisi,
Roberto — .
Lellus, 316.
Leonardelli, Guidotto — 93.
Lippo, father of Lippo Dalmasio,
301,
Lorenzetti, The 260, 279, 293,
359-
Lorenzetti, Ambrogio — 44, 91.
Lorenzetti, Pietro — 1, 14, 181, 261,
38, 44, 60, 62, 64, 66, 76, 81, 85, 86,
88, 90, 91, 120, 124, 126, 161 \ 168,
196, 208, 210, 211, 212, 2122, 226-,
250, 2721, 295, 301, 352^ 358, 360,
362.
Lorenzo di frate Giovanni. 94.
Luca di Tomme, 98, 100, 102, 107,
113, 122, 256, 258, 262, 278, 295,
372-
Maitani, 94.
Marino d'Oderiso, v. Marinus.
Marinus, 6, 16, 181, 24, 26.
Martini, Simone — 1, 14, 181, 36. 50,
58, 60, 62, 64, 65, 66, 66 \ 86, 92, 93,
107, 114, 118, 119, 120, 126, 200,
202, 205, 206, 207, 208, 226, 226'-,
227, 227-', 230, 234, 235, 236, 244,
278, 279, 280, 282, 284, 286, 300,
3I2> 3J5, 3l8, 322, 323» 324, 328,
329, 332, 340, 341, 355, 356, 357,
358> 359- 3°8.
Martino di Bartolommeo, 316.
Martinus pictor, Frater — 62.
Maestro, v. Master.
Magister, v. Master.
Master of the St Cecilyaltar-piece,
37°-
Master Chicu, pinturi di Naro, 400.
Master of St. Clare of Montefalco,
72-76, 123.
Master Francesco, 203.
Master Laurentius de Urbe, 362.
Master of the O vile Madonna, 301 \
Master Simuni pinturi di Curiglu,
400.
Master Stefano Fiorentino, 301.
Master of the Triumph of Death,
212.
Master of the Universitas Aurifi-
cum, 250, 251.
Mastro, v. Master.
Mastru, v. Master.
Masuzi, Cecco — 91.
Matteo di Ser Cambio, 8, 10.
Memmi, Lippo — 14, 181, 62, 92, 200,
226, 301.
Meo di Guido, v. Meo da Siena.
Meo da Siena. 7, 10, 18, 20—26, 26',
28 \ 36. 44. 6o> 64> 68, 124, 364.
Merolo di Bucchianico. miniaturist,
379-
Migliore di Cino, 312.
Minuccio, son of Puccio, 93.
Monaco dell* Isole d'Oro, II — v.
Cibo.
Montano d'Arezzo, 295. 296. 297,
314-
Nallo di Ciuccio, 94, 99.
Nanni di Jacopo of Lucca, 268,
279-282.
Nanni di Jacopo of Pisa, 281 '.
Nanni di Jacopo of Siena, 280.
Nardo di Cione, 152, 2702.
Narducci, Coluccio — 93.
Nelli, Martino father of Otta-
viano, 91,
Nelli, Mattiolo — 91.
Nelli, Ottaviano-- 72, 80, 91,122,
123,124,373.374,388.
Nello, son of Vanni. 236, 238.
Nello di Giovanni Falconi, Ber-
nardo - 237—239, 240, 248, 250,
254, 278.
Nello di Jacoraino da Roma, 94.
Neri di Bicci, 328.
Neri da Volterra, Francesco —
237, 262, 264-270, 280, 364.
Nero di Nello. 239, 240.
Niccolo di Giovanni, 64.
Niccolo di Maestro Angelo. 91.
Niccolo di Magio di Siena, 402.
Niccolo di Tommaso da Firenze,
3i5. 319
Niccolo da Voltri, 288.
Nicola di Zenobia, 94. 99
Nicolaus de Urbe, 362.
Nofrio di Caterina, 94.
Nuzi, Allegretto - 127, 128, 130,
130—169, 169, 170, 172, 176,178,
179, 182, 182 ', 185, 191. 194, 195,
1961.
Oberto de Monellia, 292.
Oderisi da Gubbio. 2, 16, 18, 80.
Oderisi, Roberto — 326, 328, 328—
341,379- , 0
Oderiso. father of Marinus, 16, 10.
Onofrio di Amedeo, v. Nofrio di
Caterina.
Opozzino da Camogli, 292.
Orcagna, The — 1022.
Orcagna, Andrea — 93, 94, 94 2, 96-
125, 150. 152, 161 ', 168, 202, 203,
INDEX OF ARTISTS TO VOLUME V.
,ii
212, 2 1 2-, 224, 238, 239, 254. 268,
278, 3°5. 307. 324-
Orlandi, Deodato — 279-.
Pace di Bartolo, 62, 64.
Pace da Faenza, 64.
Palmerucci, Guido v- Palme-
rucci, Guiduccio — .
Palmerucci. Guiduccio — 14, 80
90, 120.
Paolo di Maestro Neri.332.
Paolo da Verona, 364.
Pellerano da Camogli, Antonio —
285.
Pellerano da Camogli, Bartolom-
meo — 284, 285, 286.
Perfetti, Cola— v.Profecti, Cola—.
Petrucciolo di Marco, 93, 98, 100.
Pietro di Cola da Camerino, 126.
Pietro di Orvieto, g\.
Pietro di Puccio, 94, 98, 99, 1 13,
260-262
Pietro da Viterbo, 355
Pietruccio di Lucca, 91.
Pignatello, Nicola — 315.
Pinturrichio, 100.
Pisano, Andrea — 93.
Pisano, Giunta — 50.
Pisano, Nino — 93.
Policleto, son of Cola di Petruc-
cioli, 101, 102.
Prefetti, Cola — v. Profecti, Cola — .
Profecti, Cola — 93.
Puccinelli, Angelo — 268, 279 —
280, 282.
Puccio, 93.
Puccio da Perugia, 93.
Rinaldo da Tarento, 388, 394—396.
Salvaggio, Giovannino — 315.
Sano di Giorgio, 302.
Sassetta, 66.
Segna di Buonaventura, 161, 18 ',
279, 293', 294. 295, 300.
Serafini da Modena, Paolo — 398.
Signorelli, 95.
Simone, Fra — 316.
Simone dei Crocifissi. 221.
Simone de Meialdo da Rapallo,
284.
Simonetto, 315.
Stamina, 305.
Stefano da Siena, 50.
Stefanone, 316.
Stephanus de Perusio. 15.
Taddeo di Bartolo, 61, 236, 237,
244, 245, 248, 250. 254. 272,274'.
277, 278, 284, 290, 295.
Tino di Camaiano, sculpter. 315.
Tommaso di Lazzaro, 302.
Toscano, Giovanni - - 295.
Tossicani. Giovanni v. Toscano,
Giovanni — .
Traini. Francesco 202 218,
220, 223, 226, 226', 226+, 270, 278,
282, 286, 306.
Ugolino di M. Veri, worker in gold,
93- 98.
Ugolino di Prete Uario, 93, 94, 96
100. 102, 113, 114, 122, 124, 260.
Vacchada Albenga, Manuel — 292.
Vaccha, Janino Antonio — 292.
Vanni, lather of Turino the First.
236, 238.
Vanni, Andrea — 60, 315, 342.
Vanni. Lippo 60, 362.
Vanni de Montepulciano, 364.
Vanni the First, Turino — 236, 238,
240, 399.
Vanni the Second. Turino — 236.
240, 241, 243, 243—250, 250,258.
276, 284.
Vanutii Nicholaus — 125.
Veneziano, Antonio — 402
Veneziano, Lorenzo — 399.
Vite, Lorenzo Antonio — v. Anto-
nio Vite di Pistoia.
Vite di Pistoia, Antonio 302,
305, 305'2, 306, 307, 312.
Viviani, Lello -- - 96.
INDICES ON THE SUPPLEMENTARY NOTES AND
ILLUSTRATIONS TO VOLUMES I-V.
GEOGRAPHICAL INDEX.
Alexandria 407.
Altenburg.
Gallery, Vanni, Lippo — , Death
of the Virgin 460.
Amsterdam, Lanzcoll., Palmerucci
Guiduccio — . Madonna 484.
Anagni.
Cathedral, Cosmatesque fresco,
end 13th cent, in nave 446; 12th
cent., frescoes in crypt 438; second
half of the 13th cent., frescoes in
apse of chapel beyond the trea-
sury 438; second half of the 13th
cent., Madonna on pillar 438.
Antioch 407.
Aquileia.
Basilica, Italo-Byzantine school,
early 13111 cent.. fresco, Crucifixion
446; nlh cent., frescoes in apse
408; frescoes in left nave 410.
S. Vittorino, 10th — 11th cent,
frescoes, heads of saints 408.
Arezzo.
Hospital, Jaropo del Casentino,
attrib. to — , panel 470.
Ascoli Piceno.
S. Giacomo, 13th cent, fresco
fragments 447.
S. Vittorio, 13th cent., frescoes
446; 14th cent . frescoes 447.
Assisi.
S. Francesco, Upper Church,
Giotto, St. Francis cycle 468;
Lower Church, Master of St Fran-
cis, follower of — , crucifix in
sacristy 430 ; Maestro Stefano,
frescoes in St. Nicholas chapel
468; 13th cent.. St. Francis panel
in sacristy 421.
Cassa di Risparmio, 13th cent.,
frescoes 437.
Atri.
Cathedral, Abruzzese school,
13th cent., fresco, Triumph of
Death 438.
Balsignano (near Bari).
Romanesque church, Apulian
school, 13th cent., frescoes 440 ;
lost fresco of Last Judgment 440.
Baltimore.
Walters coll., Niccolo di Tom-
maso, triptych 478.
Bari.
Cathedral, Apulian school, end
13th cent., frescoes 440.
Museum, aquarelle of 13th cent.,
fresco of Last Judgment once at
Balsignano 440.
Barletta.
S. Sepolcro. Apulian school
13th cent.. Madonna 440; Basi/ian
frescoes, 13th cent. 417.
Bergen (Norway).
Museum, Pacino di Buonaguida,
school of — , Madonna 468.
Berlin.
Kaiser Friedrich Museum,
Donato, Madonna of Humility 449 ;
Dnccio, school of — , angel v.
Museum of Wellesly College,
Massachusetts, U.S A.; Lorenzetti,
Pietro — , school of — , Nativity
(1094a) 460; Vanni, Lippo — ,
(wrongly attrib. to) Nativity v.
Lorenzetti, Pietro — , school of — ;
13th cent., two panels 418.
Bisceglie.
Sta. Maria di Giano, Apulian
school, 13th cent., frescoes 440.
Boston.
Fine Arts Museum, Barna da
Siena, mystical wedding of St.
Catherine 454 ; Niccolo di Buonac-
corso, manner of— , Crucifixion 462
Gardner coll., Lorenzetti, Ugo-
lino — , Madonna 458.
GEOGRAPHICAL INDEX TO SUPPLEMENT. N( > TES ETC. 513
Brindisi.
Sta. Lucia, Basilian fresco, 12th
cent, fig 237.
S. Giovanni in Sepolcro, Basi-
lian fresco, 12th cent. fig. 238.
Brussels.
Gallery, Segna di Buenaventura,
late follower of—, Madonna 471.
Stoclet coll., Donato, Madonna
of Humility 450; Master of St.
Cecily, distant follower of—, Ma-
donna and saints from the Alphon-
se Khan coll., Paris 470.
Byzantium 408.
Cambridge (England).
Fitzwilliam Museum, Martino
di Bartolonuneo, Annunciation
(553) 464.
Cambridge (U. S. A.).
Fogg Art Museum, Daddi, Ber-
nardo — , Madonna from the Win-
throp coll. 474 ; Fei, school of—,
Madonna nursing the Child 462;
Guido da Siena, follower of—,
Nativity 427; Lorensetti, Ugolino
— , Nativity 458; Marchigian
school, 13th cent., Madonna from
the Stroganoff coll., Rome, loaned
by Mr. J. N. Brown 423; Pisan
school, end 13th cent., Madonna
418.
Camerino.
Sta. Maria in Via, Marchigian
school, 13th cent., Madonna and
Annunciation 423.
Carpignano.
Grotto, Basilian fresco of 959
fig. 236.
Chianciano.
Town Hall, Gerini, Lorenzo di
Niccolo —, Madonna of Humility
481.
Chicago.
Reyerson coll., Duccio, school of
— , Madonna and saints 448.
Cividale.
Tempietto, 9th — 10th cent., fres-
coes 408; early 13th cent., fresco
fig. 264.
Copenhagen.
Gallery, Barna da Siena, panel
of saint from the Ehrich Galleries,
New York 455.
Dresden.
Gallery, Fei, Paolo di Giovanni
— , Madonna and saints 462.
Dura (Syria).
Frescoes of 80 A. D. 407—408.
Eaton.
Gow coll., Martini, Simone — ,
school of —, replica of the St.
Ansano in the Lehman coll ,New
York 451.
Ventaroli.
Ancient Cathedral of ForoClau-
dio, end of nlh cent., fresi
fig. 232.
Fiesole.
Cathedral, Tuscan school, 13th
cent., Madonna fig. 255.
Bandini Museum, Daddi, school
of — j Crucifixion 477; 13th cent ,
crucifix fig. 243.
Florence.
Baptistery, 13th cent., mosaics
418.
Cathedral, the Berlinghicri , tra-
dition of —, panel of St. Zenobius
v. Gallery, Parma.
Sta. Croce, Gaddi, Taddeo — ,
frescoes 474; Florentine school,
second half of the 13th cent., detail
of St. Francis panel fig. 247.
Sta. Croce Refectory, Gerini,
Lorenzo di Niccolo — , Madonna
of Humility (33) 481 ; Giovanni
da Milanof?), Madonna 483.
Sta. Felicita, Pacino di rJuona-
guida, predecessor of—, crucifix
fig. 278.
S. Giuseppe, Gerini, Lorenzo di
Niccolo—, Madonna and saints 480.
S. Marco, Giotto, school or'—,
crucifix 469.
S. Maria Novella, Duccio (?), Ru-
cellai Madonna 440 ; details of—
figs. 265-267.
S Stefano, Buffalinacco or Mas-
ter of St. Cecily, aft rib. to — , Domi-
nican saint 470.
S. Zenobius, confraternity of— ,
the Berlinghicri, tradition of — , St.
Zenobius panel from the Cathe-
dral v. Gallery, Parma.
Accademia, Gaddi, Taddeo—,
panels, scenes from lives of Christ
and St. Francis 474 ; Niccolo di
Tommaso {?), Coronation of Virgin
478 ; Pacino di Buouaguida, prede-
cessor of—, detail of the tree of St.
Bonaventura fig. 277 ; Florentine
school, second half of the 13th cent.,
detail of the Magdalene panel fig.
250 ; 'Tuscan school, second half of
the 13th cent., detail of crucifix fig.
251. "
33
514 GEOGRAPHICAL INDEX TO SUPPLEMENTARY
Home Museum, Duccio, sc/iool
of — , crucifix (58) 448 ; Luca di
Tontine, at t rib. to—, St. Catherine
(71) 462; Menu ui, Lippo — , pupil
of—, Madonna 454 ; Niccolo di
Tommaso, two panels 478; Tus-
can school, end 13th cent., Madon-
na (67) 423.
Stibbert Museum, Guido da Sie-
na, follower of— , Annunciation 427.
Uffizi, Cimabue, detail of Madon-
na fig. 260; Giotto, details of Ma-
donn. figs. 275 and 276 ; Jaropo del
Casentino, attrib. to—, Madonna
and saints in store-room 473.
Acton coll., Cimabue, distant fol-
loiverof— , polyptych 441 ; Enrico
di Tedice, manner of — , Crucifixion
420; Giotto, school of —, fragment
of a crucifix 469 ; Master of St.
Francis, follower of — , crucifix
430 ; Florentine school, 13th cent.,
Madonna 418: second half 13th
cent., Madonna formerly in Loeser
coll. fig. 253; Romanesque tradi-
tion, Madonna 422; Tuscan school,
13th cent., Madonna 422.
Loeser coll., Florentine school,
second half 13th cent.. Madonna v.
Acton coll.
For sale, 1923 and 1924, Tuscan
school, end 13th cent., detached
fresco of St. Christopher 423 ;
spring of 1924, Ugolino da Siena,
two panels of saints 448 ; Tuscan
school, second half 33th cent., cru-
cifix 425 ; 1924 Segna di Buonaven-
tura, Virgin enthroned and saints
448; Jany. 1925, Segna di Buona-
ventura, Madonna 448; March 1925.
Simone dei Crocijissi, Crucifixion
483-
Florence. Near —
Certosa, Orcagna, school of—,
Madonna 477.
Genoa.
Accademia Ligustica, Maufre-
dino a" Alberto of Pistoia, Meal at
Bethany fig. 241.
Giano (near Montefalco).
S. Felice, Pescius, panel v. Galle-
ry, Perugia.
S. Gimignano.
Ventura, active 426.
S. Agostino, Lorenzetti, Ugoli-
no— , polyptych v. Chiaramonte
Bordonaro coll., Palermo.
Town Hall, frescoes of 1242 425.
Gottingen.
University Museum, Daddi,
school of — , panels 473 ; Jacopo del
Casentino, attrib. to — , meeting of
the quick and the dead 472.
Grosetto.
Cathedral, Lorenzetti, Pietro — ,
Madonna 458.
Lanciano. Near —
S. Giovanni in Venere, Luca di
Palest ro (wrongly attrib. to), fres-
coes of ab. 1300 438.
Le Mans.
Gallery, Vanni, Lippo — , Ma-
donna fig. 273.
London.
Annesley Gore coll., Daddi,
school of—, pol}7ptych 484.
Graham coll., Giotto, follower
of—, Saviour v. Lady Jekyll's coll.
Harris coll., Daddi, school of — ,
Crucifixion 476.
d'Hendecourt coll., Stamina,
predella panel 480.
Lady Jekyll's coll., Giotto, fol-
loiver of — , Saviour from the
Graham coll. 465.
Kerr-Lawson coll., Stamina
(wrongly attrib. to), Madonna 480.
Lord Lee's coll., Florentine
school, 13th cent., Madonna 441.
Muir Mackenzie coll., Semitecolo
( wrongly attrib to), Crucifixion 482.
Street coll., Orcagnesque tra-
dition, Madonna 484.
Wallace coll., Daddi, Bernar-
do—, fragment of a Nativity 475.
Lucca.
Jienedetto, active 418; Bonuccio,
active 418; Lotario, active 418;
Uberto di Lucca, active 418.
Massachusetts (U. S. A.)
Wellesley College Museum,
Duccio, school of — , angel from
Museum, Berlin 448; three busts
of saints 448.
Matera.
Cathedral, 13th cent., fresco, Ma-
donna 440.
Mesopotamia 407.
Messina.
S. Gregorio, 12th cent., mosaic
destroyed 413.
Milan.
Private coll., Gaddi, Taddeo — ,
Presentation in the Temple 474.
Montepulciano.
S. Francesco, Margaritone, St.
NOTES AND ILLUSTRATIONS T( ) VOLUMES I - - V. si
0*0
v. Library store-
Coronation
Francis panel
room.
Gallery, i-i1'1 rent
of the Virgin 458.
Library store-room, Margari-
tone, St. Francis panel from S.
Francesco 421.
Mosciano.
Parish church, Florentine school,
13th cent., Madonna 418.
Munich.
ex-Rosenthal coll., Qerini, Lo-
renzo di Niccolo—, triptych 481.
Murcia.
Cathedral, Barnabo da Modena,
polyptych 483.
Naples.
S. Domenico, Master of St.
Franris, follower of—, Crucifixion
43o.
New York.
Historical Society, Daddi, Ber-
nardo— , Madonna 476; Orcag-
nesqne scliool, Madonna 484.
Metropolitan Museum, Loren-
setti, Pietro—, St. Catherine (?)
456; Segna di Biionaveutura,
school of—, Madonna, Annunciat-
ion and Nativity 448.
Blumenthal coll., Martini, Si-
/none — , school of —, saints 460, 461.
Durlacher Brothers, Lorenzetti,
Pietro — , Madonna 458.
Ehrich Galleries, Barna da Sie-
na, saint v. Gallery, Copenhagen.
Friedsam coll., Vanni, Lippo — ,
Madonna and saints 460.
Griggs coll , Niccolo. da Tom-
maso, Christ 478.
Hamilton coll., Cimabue, fol-
lower of—, Christ between SS.
Peter and James fig. 262; 13th cent.,
Madonna 422.
Lehman coll., Duccio and Loren-
zetti, Pietro — , transitional artist
between — , triptych 460; Martini,
Simone—, school of— , St, Ansanus
451; Madonna and saints 460, 461;
Orcagna, Andrea — , two SS. John
477; Vanni, Lippo — , (wrongly
attrib. to), triptych 460.
Straus coll., Donato (?), Madon-
na fig. 269.
Nocera Umbra.
Seminary, Duccio, school of — ,
Madonna v. Gallery, Perugia.
Ostia.
St. Aurea, Vanni, Lippo — ,
triptych v. SS. Sisto e Domenico,
Rome.
Padua.
Giotto, activities of--- 465.
S. Agostino, Guariento, fres-
coes 482.
S Antonio, Giotto, fresco Cruci-
fixion in Chapter Room 466; lost
frescoes in Chapter Room 467;
idem, follower, of — , frescoes in
lunettes in Chapter Room 466 ;
idem, school of — , frescoes in
Chapter Room 466.
Arena chapel. (Hollo, frescoes
466 ; crucifix in sacristy 468 ; idem,
follower of — , medallions on
ceiling 465.
Eremitani church, Guariento,
frescoes 482; frescoes from cloister
v. Gallery.
Scrovegni chapel v. Arena
chapel.
Gallery, Guariento, frescoes
from the Eremitani cloister 482.
Palazzo of the Capitano del
Popolo, Guariento and Avanzo,
frescoes detached from chapel 482.
Palazzo of the Carrara family,
Guariento, frescoes in chapel 482.
Salone, Giotto, frescoes 465.
Palermo.
S. Giovanni degli Eremiti,
Romanesque school, frescoes 413.
Chiaramonte Bordonaro coll.,
Lorenzetti. Ugolino — , polyptych
from S. Agostino, S. Gimignano
458.
Royal Palace, decoration of the
Camera di Ruggero 413.
Palace of the Zisa, 413.
Parcieux (near Trevouxi.
Chalandoncoll.,/:><7/;/<7 da Siena,
St Agnes v. Museum, Worcester
(U. S. A.).
Paris.
Louvre, Cimabue, follower of — ,
Madonna and angels fig. 261 ;
Daddi, Bernardo — , Annunciation
474 ; Gaddi. Aguolo and Taddeo — ,
predella panel 474 ; Gaddi.
Taddeo — (?), drawing, Presen-
tation of Virgin in Temple 474;
Giotto, school of—, stigmata ol
St. Francis 466; Lorenzetti, Ugo-
lino — , Crucifixion 458.
Berry coll., Vanni, Lippo — ,
miniatures in an ahtiphonary
460.
516 GEOGRAPHICAL INDEX TO SUPPLEMENTARY
Alphonse Khan coll., Master of
St. Cecily a/tar-piece, distant fol-
lower of — , Madonna and saints
v. Stoclet coll., Brussels.
Mori coll., Pacino di Bnonagiiida ,
four panels 468.
Private coll., Master of St. Cecily
altar-piece, St. Catherine and
scenes 470.
For sale, 1922, Cimabuc, school
of — , panel ab. 1300, Madonna and
saints 445; 1923, Pacino di Bnona-
giiida, school of —, Madonna and
saints 469.
Gallery, the Berlinghieri, tradi-
tion of — , St. Zenobius panel from
the confraternity of St. Zenobius,
Florence, originally in the Cathe-
dral 418.
Pavia.
Malaspina Museum, Jacopo del
Casenfino, attrib. to — , two wings
of a triptych 470.
Perugia.
S. Angelo, Umbrian school,
Madonna 446.
Gallery, Ditccio, school of — ,
Madonna from Seminary, Nocera
Umbra 448 ; Master of St. Francis,
folloiver of —, crucifix 430; Pes-
cius, panel from S. Felice, Giano
438 ; Taddeo di Bartolo, polyp-
tych 463.
Pescia.
Gallery, Master of St. Cecily
altar-piece, Madonna 470.
Philadelphia.
Johnson coll., Lorenzelti, Pie-
tro — , Madonna fig. 272; Loren-
zetti, Ugolino — , Annunciation
and saints 458 ; Stamina, St. Paul,
480.
Pian del Mugnone (near Florence).
Maddalena convent, Master of
St. Cecily altar-piece, Madonna
and angels repainted 470.
Pieve Pagliaccia (near Perugia).
Parish church, end 13th cent.,
fresco 436.
Pisa.
S. Francesco, second half 13th
cent., details of St. Francis panel
figs. 248 and 249.
S. Martino, Enrico di Tedice,
details of crucifix figs. 244 and 245.
S. Paolo a Ripa (not a l'Orto
as 1 said in the text), 12th cent.,
crucifix fig. 234.
Gallery, Lorenzetti, Ugolino — ,
saints 458.
ex-Toscanelli coll., Lorenzetti,
Pietr o — , polyptych 456; Nardo
di done, manner of — , Lord in
midst of angels 478; Orcagna, An-
drea—, school of- , polyptych 478.
Pistoia.
Convent del T, Pistoian school,
frescoes 478.
Poggi Mirtete.
Gallery, Giovanni Crist iani, Ma-
donna 484.
Cemetery chapel, 13th cent.,
fresco, Triumph of Death 446.
Princeton.
Mather coll., Lorenzetti, Pie-
tro — , Crucifixion 456.
Rapolano.
Collegiata, Luca di Tomme, po-
lyptych 462.
Ravello.
Cathedral, Menuni, Lippo —,
Madonna 450.
Rieti.
Gallery, Luca di Tomme, po-
lyptych 462.
Rome 407.
SS. Domenico e Sisto, Vanni,
Lippo — , triptych from St. Aurea,
Ostia 458; Umbrian school, 13th
cent., crucifix from S. Sisto 433.
S. Sisto, Umbrian school, 13th
cent., crucifix v. SS. Domenico
e Sisto.
Palazzo Venezia Museum, Si-
mone dei Crocifssi, triptych 483.
Vatican Gallery, Margaritone,
panel of St. Francis fig. 246.
Vatican Gallery store-room,
Baronzio, Crucifixion 483; Cate-
rino, triptych 482; Fei, school
of — , two wings of a triptych
(102) 463; 13th cent., panel ol
St. Francis 421.
Bastianelli coll., Duccio, school
of—, Madonna 448.
ex-E. Delle Fratte coll , Sinwne
dei Crocifissi, Crucifixion 483.
Prince Fabrizio Massimo's coll.,
Daddi, Bernardo — , Madonna
476; Giovanni da Milano, Des-
cent from the Cross 483.
Private coll., Donato, replica
of the Madonna in the Museum,
Berlin 449.
Spiridon coll., Taddeo di Bar-
tolo, predella panel 463.
NOTES AND ILLUSTRATIONS TO VOLUMES I V. = 17
.v /
Sterbini coll., Lorenzetti, Pie-
tro—, St. Mary Magdalene 456;
Taddeo di Bartolo, three panels
4°3-
ex-Stroganofl coll., Tuscan
school, j 3th cent., Madonna v. Fogg
Art Museum, Cambridge (U.S.A.).
For sale, 1923, Fei, school of —,
centre of a triptych 463 ; Gerini,
Lorenzo di Niccolo — , Madonna
481 ; Segna di Buonaventura,
school of — , Madonna 449; Tad-
deo di Bartolo, Madonna 463 ;
1924, Cimabue, school of — , trip-
tych 441 ; Lnca di Tomme, centre
of a polyptych 462 ; Orlandi, Deo-
dato — , school of—. Madonna 418 ;
Taddeo di Bartolo, Madonna and
St. Barbara 463.
Salerno.
Cathedral, 13th cent., mosaic 415.
Settimo (near Cascina).
S. Benedetto, Martina di Barto-
lommeo, Madonna 464.
Settimo (near Florence).
Badia, Buffalmacco or Master
of St. Cecily altar-piece, attrib. to — ,
frescoes 470.
Siena.
Ventura, active 426.
S. Pietro Ovile, Lorenzetti, Pie-
tro —, Madonna 458.
Gallery, Barna da Siena, mys-
tical marriage of St. Catherine
(108) 452; four panels of saints (85,
86, 93, 94) 452 ; Donato (?), SS.
Louis of Toulouse and Francis fig.
268 ; Lorenzetti, Pietro — , St. Gre-
gory (59) 456, 458; Assumption
(61) 456; Madonna (76) 458; Taddeo
di Bartolo, damaged crucifix 463.
For sale, 1923-4, Memmi, Lippo
— , Madonna 450; Sienese school,
end 13th cent., Crucifixion 428.
Spain
Stamina, active 478.
Spoleto.
SS. Giovanni e Paolo. Umbrian
school, 13th cent., fresco 446.
Spoleto. Near —
Sta. Maria inter Angelos. 13th
cent., frescoes v. Museum, Wor-
cester (U.S.A.).
Stockholm
Private coll.. Master of St. Fran-
cis, follower of —, Virgin and St.
John 430.
Syria 407.
Terzo.
S.Martino,nthcent.,frescoes4i2.
Tivoli.
Museum, Segna di Buonaven-
tura, Madonna 448.
Toledo-
Cathedral, Stamina (wrongly
attrib. to), frescoes in St. Blaise
chapel 480.
Conception-Francisca com ent,
Stamina (wrongly attrib. to), fres-
coes 480.
Torrita.
Prepositura Fei, school of — ,
triptych 463.
Trevi.
S. Francesco. Cola di Petruccioli,
follower of—, frescoes 484.
Gallery, Cola di Petruccioli, fol-
lower of — , panels 484.
Treviso.
Sta. Lucia, Tonunaso da Mo-
dena, frescoes 483.
S. Niccolo, Tommaso da Mode-
na, fresco of Annunciation in
sacristy 483.
Valencia.
St. Augustine, Stamina, altar-
piece for — 478.
Franciscan church, Stamina,
frescoes 478.
Vienna.
Bondi coll., Jacopo del Casen-
tino, triptych 472.
Library, miniatures in Genesis
408.
Viterbo.
Sta. Maria Nuova, Bartolo di
Fredi, Madonna 462.
Volterra.
S. Agostino, Taddeo di Bartolo,
Madonna 463.
Seminary, Taddeo di Bartolo,
Madonna 463.
Wigam.
Lord Crawford"s coll., Gerini,
Niccolo di Pietro —, panel 480.
Worcester (U. S. A.).
Museum, Barna da Siena, St.
Agnes from the Chalandon coll..
Parcieux 456; Florentine school,
end 13th cent, Madonna fig. 254;
13''' cent, frescoes from Sta. Maria
inter Angelos, near Spoleto 438.
Wyer coll., Gerini, Lorenzo </i
Niccolo -, panel 481.
INDEX OF ARTISTS TO SUPPL. NOTES VOL. I-V.
Andrea da Firenze, 478.
Avanzo, 482, 483.
Barna da Siena, 452, 454.
Barnaba da Modena, 483.
Baronzio, 483.
Bartolo di Fredi, 462.
Bartolorumeo, 418.
Benedetto. 418.
Berlinghieri, The — 418.
Berlinghieri, Barone — 418.
Bonuccio, 418.
Buffalmacco, 470.
Caterino. 482.
Cavallini, 446.
Cimabue, 440, 441, fig. 260, 446.
Compagno dell' Orcagna, 477.
Cola di Petruccioli, 484,
Cosmati. The — 446.
Cristiani, Giovanni 484.
Daddi, Bernardo — 473, 474, 476,
477, 484.
Donato, 449.
Donato (?), figs. 268 and 269.
Duccio, 448, figs. 205—207, 460.
Enrico di Tedice, 420, figs. 244
and 245.
Fei, Paolo di Giovanni — 462.
Gaddi. Agnolo — 474.
Gaddi, Taddeo — 473, 474, 480.
Gerini, Lorenzo di Niccolo — 480,
481.
Gerini, Niccolo di Pietro — 480.
Giotto, 465, 466, 467, figs. 275 and
276, 468, 470.
Giovanni da Milano, 478, 483.
Guariento, 482.
Guida da Siena, 427.
Jacopo del Casentino, 470.
Lorenzetti, Pietro — 456, fig. 272,
460, 461.
Lorenzetti, Ugolino — 448, 458, 460.
Lotario, 418.
Luca di Palestro, 438.
Luca di Pollutro, 438.
Luca di Tomrne, 402.
Maestro v. Master.
Manfredino d' Alberto, fig. 241.
Margaritone, 420, 421, fig. 240.
Martini, Simone —451, 460, 461, 462.
Martino di Bartolommeo, 464.
Master of the St. Cecily altar-
piece, 470.
Master of St. Francis, 430.
Master of the Ovile Madonna, 456.
Master Stefano, 468.
Memmi. Lippo - 450,451,454,456.
Nardo di Cione. 478.
Niccolo di Buonaccorso, 462.
Niccolo di Tommaso, 478.
Nuzi, Allegretto — 484.
Orcagna, Andrea — 477.
Orlandi, Deodato — 418.
Pacino di Buonaguida, 468, 469.
Palmerucci, Guiduccio — 484.
Pescius, 438.
Segna di Buonaventura, 448, 472.
Semitecolo. 482, 483.
Simone dei Crocifissi, 483.
Stamina, 478, 480.
Taddeo di Bartolo, 462, 463.
Tommaso da Modena, 483.
Uberto di Lucca, 418.
Ugolino da Siena, 448.
Vanni, Lippo — 458, fig. 273, 460,
461.
Ventura, 425, 426.
Vigorosa da Siena, 427.
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