Anecdotes of Painters, Engravers, Sculptors and Architects, and Curiosities of Art, Shearjashub Spooner [big screen ebook reader .TXT] 📗

commonly spoken, and the present languages of Europe were shaping themselves, like fruit in the leaf, out of the barbarous dissonance of the wild tongues which then prevailed. These Christian preachers, with their emblems and their relics, were listened to by the Gothic subverters of the empire of art and elegance, with the more patience and complacency, since they desired not to share in their plunder or their conquests, and opened to them the way to a far nobler kingdom—a kingdom not of this earth.

"Though abundance of figures of saints were carved, and innumerable Madonnas painted throughout Italy, in the earlier days of the Christian church, they were either literal transcripts of common life, or mechanical copies or imitations of works furnished from the great store looms of the Asiatic Greeks. There were thousands—nay, tens of thousands of men, who wrote themselves artists, while not one of them had enough of imagination and skill to lift art above the low estate in which the rule and square of mechanical imitation had placed it. Niccolo Pisano appears to have been the first who, at Pisa, took the right way in sculpture: his groups, still in existence, are sometimes too crowded; his figures badly designed, and the whole defective in sentiment; but he gave an impulse—communicated through the antique—to composition, not unperceived by his scholars, who saw with his eyes and wrought with his spirit. The school which he founded produced, soon after, the celebrated Ghiberti, whose gates of bronze, embellished with figures, for the church of San Giovanni, were pronounced by Michael Angelo worthy to be the gates of Paradise. While the sister art took these large strides towards fame, Painting lagged ruefully behind; she had no true models, and she had no true rules; but 'the time and the man' came at last, and this man was Giovanni Cimabue."

GIOVANNI CIMABUE.

This great painter is universally considered the restorer of modern painting. The Italians call him "the Father of modern Painting;" and other nations, "the Creator of the Italian or Epic style of Painting." He was born at Florence in 1240, of a noble family, and was skilled both in architecture and sculpture. The legends of his own land make him the pupil of Giunta; for the men of Florence are reluctant to believe that he was instructed in painting by those Greek artists who were called in to embellish their city with miracles and Madonnas. He soon conquered an education which consisted in reproducing, in exact shape and color, the works of other men: he desired to advance: he went to nature for his forms; he grouped them with a new skill; he bestowed ease on his draperies, and a higher expression on his heads. His talent did not reside in the neat, the graceful, and the lovely; his Madonnas have little beauty, and his angels are all of one make: he succeeded best in the heads of the old and the holy, and impressed on them, in spite of the barbarism of his times, a bold sublimity, which few have since surpassed. Critics object to the fierceness of his eyes, the want of delicacy in the noses of his figures, and the absence of perspective in his compositions; but they admit that his coloring is bright and vigorous, his conceptions grand and vast, and that he loved the daring and the splendid. Nevertheless, a touch of the mechanical Greek School, and a rudeness all his own, have been observed in the works of this great painter. His compositions were all of a scriptural or religious kind, such as the church required: kings were his visitors, and the people of Florence paid him honors almost divine.

CIMABUE'S PASSION FOR ART.

Cimabue gave early proof of an accurate judgment and a clear understanding, and his father designed to give him a liberal education, but instead of devoting himself to letters, says Vasari, "he consumed the whole day in drawing men, horses, houses, and other various fancies on his books and different papers—an occupation to which he felt himself impelled by nature; and this natural inclination was favored by fortune, for the governors of the city, had invited certain Greek painters to Florence, for the purpose of restoring the art of painting, which had not merely degenerated, but was altogether lost; those artists, among other works, began to paint the chapel of Gondi, situated next to the principal chapel in S. Maria Novella, where Giovanni was being educated, who often escaping from school, and having already made a commencement in the art he was so fond of, would stand watching these masters at their work the day through." Vasari goes on to say, that this passion at length induced his father, already persuaded that he had the genius to become a great painter, to place Giovanni under the instruction of these Greek artists. From this time, he labored incessantly day and night, and aided by his great natural powers, he soon surpassed his teachers.

CIMABUE'S FAMOUS PICTURE OF THE VIRGIN.

Cimabue had already distinguished himself by many works, executed in fresco and distemper for the churches at Florence, Pisa, and Assisi, when he painted his famous picture of the Holy Virgin for the church of S. Maria Novella in the former city. This picture was accounted such a wonderful performance by his fellow citizens, that they carried it from the house of Cimabue to the church in solemn procession, with sound of trumpets and every demonstration of joy. "It is further reported," says Vasari, "that whilst Cimabue was painting this picture in a garden near the gate of San Pietro, King Charles the elder, of Anjou, passed through Florence, and the authorities of the city, among other marks of respect, conducted him to see the picture of Cimabue." This picture, representing the Virgin and Infant Jesus surrounded by angels, larger than life, then so novel, was regarded as such a wonderful performance, that all the people of Florence flocked in crowds to admire it, making all possible demonstrations of delight. It still adorns the chapel of the Rucellai family in the church of S. Maria Novella for which it was painted. The heads of the Virgin, of the infant Jesus, and the angels, are all fine, but the hands are badly drawn; this defect, however, is common with the Quattrocentisti, or artists of the 14th century. The editors of the Florentine edition of Vasari, commenced in 1846, by an association of learned Italians, observe, "This picture, still in fair preservation, is in the chapel of the Rucellai family; and whoever will examine it carefully, comparing it, not only with works before the time of Cimabue, but also with those painted after him, by the Florentine masters, particularly Giotto, will perceive that the praises of Vasari are justified in every particular."

THE WORKS OF CIMABUE.

Some writers assert that the works of Cimabue possessed little merit when compared with those of later times; and that the extraordinary applause which he received flowed from an age ignorant of art. It should be recollected, however, that it is much easier to copy or follow, when the path has been marked out, than to invent or discover; and hence that the glorious productions of the "Prince of modern Painters," form no criterion by which to judge of the merits of those of the "Father of modern Painters." The former had "the accumulated wisdom of ages" before him, of which he availed himself freely; the latter had nothing worthy of note, but his own talents and the wild field of nature, from which he was the first of the moderns who drew in the spirit of inspiration. "Giotto," says Vasari, "did obscure the fame of Cimabue, as a great light diminishes the splendor of a lesser one; so that, although Cimabue may be considered the cause of the restoration of the art of painting, yet Giotto, his disciple, impelled by a laudable ambition, and well aided by heaven and nature, was the man, who, attaining to superior elevation of thought, threw open the gate of the true way, to those who afterwards exalted the art to that perfection and greatness which it displays in our own age; when accustomed, as men are, daily to see the prodigies and miracles, nay the impossibilities, now performed by artists, they have arrived at such a point, that they no longer marvel at anything accomplished by man, even though it be more divine than human. Fortunate, indeed, are artists who now labor, however meritoriously, if they do not incur censure instead of praise; nay, if they can even escape disgrace." It should be recollected that Vasari held this language in the days of Michael Angelo.

All the great frescos of Cimabue, and most of his easel pictures, have perished. Besides the picture of the Virgin before mentioned, there is a St. Francis in the church of S. Croce, an excellent picture of St. Cecilia, in that of S. Stefano, and a Madonna in the convent of S. Paolino at Florence. There are also two paintings by Cimabue in the Louvre—the Virgin with angels, and the Virgin with the infant Jesus. Others are attributed to him, but their authenticity is very doubtful.

DEATH OF CIMABUE.

According to Vasari, Cimabue died in 1300, and was entombed in the church of S. Maria del Fiore at Florence. The following epitaph, composed by one of the Nini, was inscribed on his monument:

"Credidit ut Cimabos picturæ castra tenere
Sic tenuit, vivens, nunc tenet astra poli."

It appears, however, from an authentic document, cited by Campi, that Cimabue was employed in 1302 in executing a mosaic picture of St. John, for the cathedral of Pisa; and as he left this figure unfinished, it is probable that he did not long survive that year.

GIOTTO.

This great artist, one of the fathers of modern painting, was born at Vespignano, a small town near Florence, in 1276. He was the son of a shepherd named Bondone, and while watching his father's flocks in the field, he showed a natural genius for art by constantly delineating the objects around him. A sheep which he had drawn upon a flat stone, after nature, attracted the attention of Cimabue, who persuaded his father, Bondone, to allow him to go to Florence, confident that he would be an ornament to the art. Giotto commenced by imitating his master, but he quickly surpassed him. A picture of the Annunciation, in the possession of the Fathers of Badia at Florence, is one of his earliest works, and manifests a grace and beauty superior to Cimabue, though the style is somewhat dry. In his works, symmetry became more chaste, design more pleasing, and coloring softer than before. Lanzi says that if Cimabue was the Michael Angelo of that age, Giotto was the Raffaelle. He was highly honored, and his works were in great demand. He was invited to Rome by Boniface VIII., and afterwards to Avignon by Clement V. The noble families of Verona, Milan, Ravenna, Urbino, and Bologna, were eager to possess his works. In 1316, according to Vasari, he returned from Avignon, and was employed at Padua, where he painted the chapel of the Nunziata all' Arena, divided all around into compartments, each of which represents some scriptural event. Lanzi says it is truly surprising to behold, not less on account of its high state of preservation beyond any other of his frescos, than for its graceful expression, and that air of grandeur which Giotto so well understood. About 1325 he was invited to Naples by King Robert, to paint the church of S. Chiara, which he decorated with subjects from the New Testament, and the Mysteries of the Apocalypse. These, like many of his works, have been destroyed; but there remains