Miniature, though the last object of this work, was not the least of Memmi's powers. Lanzi has noticed one which fronts a MS. Virgil with the commentary of Servius, now in the Ambrosiana at Milan, but formerly possessed by Petrarca, who probably dictated the subject, and added the following lines:-
Mantua Virgilium qui talia carmina finxit,
Sena tulit Simonem digito qui talia pinxit.
The painting represents Virgil in a sitting attitude ready to write, with his face turned upwards as invoking the Muse. Æneas, in martial vest and attitude, stands before him, and pointing to his sword, alludes to the subject of the Æneis, "Arma Virumque." A shepherd and a husbandman, symbols of the Pastorals and Georgics, placed somewhat lower, listen to the theme; whilst Servius draws a transparent curtain, to denote his labours in unveiling the beauties and removing the obscurities of the poet. In this miniature, the originality of conception, the beauty and harmony of colour, the varied and appropriate drapery, are, however, balanced by rudeness of design, vulgarity of character, and deformed extremities.
It was a barbarous singularity of Simone, promiscuously to admit different proportions on the same plane: to flank or cross figures of natural size with figures a third less than nature.
Lippo, or Filippo Memmi, was the relative, scholar, and imitator, of Simone: assisted by his designs, Lippo often executed works, which, had he not marked them with his name, would be ascribed to the master: when left to his own invention, he rose in nothing above mediocrity, but in colour. Sometimes they were partners in the same picture, as in that at S. Ansano di Castel Vecchio, at Sienna; sometimes the second finished what the first began, as in some works at Ancona and Assisi; and at Sienna there remains still something entirely executed by Lippo.
Simone co-operated in the works of S. Maria Novella with Taddeo Gaddi, who, with his son, Angelo Gaddi, left a number of pupils, imitators through him of Giotto, inferior to both, not much distinguished by tradition, and less favoured by time. Of Jacopo di Casentino, the most conspicuous, what vestiges remain in the church of Orsanmichele at Florence, are in conformity with the style of Taddeo; barriers soon overleaped by the vivid fancy of his scholar, Spinello the Aretine, whom his own conception of a demon is said to have terrified into insanity and death. His son, Parri Spinelli, with barbarous incongruities of line, possessed exquisite colour; and his pupil, Lorenzo di Bicci, has been compared to Vasari, for the number, dispatch, and opinion of his works. Antonio, surnamed Veneziano, whether he were a Venetian or a Florentine, is, against evidence of dates and style, supposed to have been a pupil of Angelo Gaddi, and to have educated Paolo Uccello, the first master of perspective, and Gherardo Starnina, an artist of gay style, whose relics live still a chapel of Sta. Croce. They are numbered among the last productions of Giotto's expiring epoch, and the verge of the fourteenth century, in which we have still to mark, though pupils of some other school, the family of Orcagna; Bernardo, a painter; Jacopo, a sculptor; but chiefly Andrea, conspicuous for writing, painting, sculpture, and architecture, in a degree little inferior to Giotto himself. Architects date from him the abolition of the acute angle and restoration of semicircular arches, as in the Loggia of the Lanzi, which he likewise decorated with sculpture. Some, without attention to time, have supposed him the pupil of Angelo Gaddi, but he was probably trained to the art by his brother Bernardo, jointly with whom he painted in the Capella Strozzi of Sta. Maria Novella, in the Campo Santo at Pisa, and alone and better in Sta. Croce, Death, Judgement, Paradise, and Hell, placing with Dantesque licence his friends among the elect, his enemies with the damned.
The downfall of Pisa had raised Florence to the metropolis of Tuscany, and the spirit of its citizens to render its appearance worthy of that pre-eminence. Cosmo, styled the father of his country, who tuned the public affairs, might with better right have been called the father of distinguished talents: never was tyranny meditated on a less suspicious plan, or approached by more popular means. The house of the Medici, in the quaint Italian phrase, became the Lyceum of Philosophers, the Arcadia of Poets, the Academy of Artists. Dello, Paolo, Masaccio, the two Peselli, both the Lippi, Benozzo, Sandro, the Ghirlandai, were the clients of the family, and emulated each other in their homage. Their pictures, according to the usage of the age, full of portraits, perpetually presented to the people likenesses of the Medici, and often in the characters of the Magi royally robed, the sceptre firmly held in the gripe of the Medici, to prepare the public eye gradually for what it was soon to witness, the firm establishment of sovereignty in that House. The competition of rival citizens, and still more the wide-extended influence of religion, diffused Taste and beckoned Talent to Florence as to its centre, from every part of Italy. At her call Donatello, Brunelleschi, Ghiberti, Filarete, the Rossellini, Verrocchio arose, and with their works spread the Elements of Art.
Poetry, that supplies the real features and materials of expression when it inspires the thought, arrives at the full display of its powers long before its sisters have disentangled themselves from the impediments of infancy; and of these, Sculpture, whose aim is infinitely less complex, raises the vigorous fabric of forms, whilst Painting is still impotently struggling with the rudiments of line, perspective, keeping, chiaroscuro, colour; which to unite in an equal degree has hitherto been found above the lot of humanity. The imitators of Giotto were in this state of struggle; they saw little in chiaroscuro, and less in perspective and line; their figures still slip from their planes, their fabrics have no true point of sight, their fore-shortenings depended solely on the eye: Stefano dal Ponte rather saw than overcame; the rest either avoided or palliated these difficulties. The Umbrian Pietro della Francesca seems to have been the first who called geometry to the assistance of painting, and taught by his works at Arezzo the principles of perspective; Brunelleschi formed it into system for architecture, and the mathematician Manetti roused the attention of Paolo Uccello, who owes the perpetuity of his name nearly exclusively to the study of that science. His immoderate attachment to perspective is become proverbial;[46] and almost equalled his fondness for birds, from which he got his surname. He applied it, from grounds and buildings, to the human body, which he foreshortened with a skill unknown to his predecessors: and some proofs of it still exist in the figures of God and Noè among the chiaroscuroes in the chiostro of Sta. Maria Novella, and in the equestrian colossus of Gio. Aguto (John Montacute), which he painted in chiaroscuro of terra verde, and which is still in the duomo. The art, since its revival, perhaps for the first time showed that, if it had dared much, it had dared well: nor did he fall short of it in the gigantic imagery of the House Vitali at Bologna; he was, however, more employed in painting private furniture: the triumphs of Petrarch on some small presses in the gallery of Florence are supposed to come from his hand. That he was a master of expression, the instances adduced by Vasari leave no doubt; and in describing the flying drapery of some friar in the series of pictures relative to S. Benedetto, the same writer tells us, that it served as a model to all succeeding artists: to such powers, praise of variety is added by the truth and diligence with which he copied trees, plants, birds and animals, and for which some critic styles him the Bassano of the first epoch. In the nearly general wreck of Paolo's works, it is difficult to form a judgment of his technic character independent of tradition: but, comparing what remains with what we are told, it is evident that he reached from one extreme of the Art to the other; and that, if he was blameable for frequently playing with a tool instead of using it, mistaking an instrument of the Art for Art itself, and means for the end of execution, he has been deprived by partiality of the praise due to powers which he appears to have possessed in a degree unknown to the times that preceded Masaccio.
Masolino da Panicale cultivated chiaroscuro: he was enabled to treat it with more truth than his predecessors, by a long practice of modelling under the tuition of Lorenzo Ghiberti, the master of design and grouping in those days, but whose animation he did not attain. Starnina instructed him in colour; and thus by uniting the characteristics of two schools, he produced that new style, which, though still infected by dryness and clogged by inelegance, possesses grandeur, union and breadth: the proofs still remain in the chapel of S. Pietro al Carmine, where, besides the Evangelists, he painted several subjects from the story of that Apostle. The remaining ones, which he did not live to finish, were some years afterward added by his scholar Tomaso Gisioli, celebrated by the name of Masaccio from his careless way of living.