[16] Lord Lindsay, in his History of Christian Art, asserts that in painting, the schools of Giotto, Siena, and Bologna spring immediately from the work of Niccola Pisano. Vol. ii., p. 113. See, for an account of his pupils, pages 115 et seq. of vol. ii.
[17] History of Painting in Italy, vol. i. p. 9; Roscoe's translation, 1828.
[18] See The Antiquities of Italy, translated from the original Latin of Bernard de Montfaucon. London, 1725.
[19] For a full discussion of this question see Kugler's Handbook of Painting, Italian Schools, vol. i. pp. 43 et seq.
[20] For an interesting account of building in terra-cotta, and the various operations of drying, baking the tiles, &c., see Grüner's Terra-Cotta Architecture of Italy. Introductory Essay. 1867.
[21] See also chapter xxii. of Hope's Historical Essay on Architecture.
[22] Though frequently wrongly used as synonymous with secco.
[23] Recent researches by Signors Gaetano and Carlo Milanesi (Florence, 1859) prove this date, which is given by Tambroni and in Mrs. Merrifield's translation, to be only that of the copy of the original MS. Cennini's work was originally written in all probability at least ten years earlier.
[24] In fresco some colours cannot be used, as artiemen, cinnabar, azuno della magna, mina, biucca, verdesume, and lacca.—Cennini.
[25] According to Mrs. Jameson, Lives of the Painters, p. 8, all movable pictures were, up to 1440, painted on panels of prepared wood; an evident mistake, made from a superficial examination of the back of the pictures.