The first great painter among the Sienese was Duccio di Buoninsegna.[[151]] The completion of his masterpiece—a picture of the Majesty of the Virgin, executed for the high altar of the Duomo—marked an epoch in the history of Siena. Nearly two years had been spent upon it; the painter receiving sixteen soldi a day from the Commune, together with his materials, in exchange for his whole time and skill and labour. At last, on June 9, 1310, it was carried from Duccio's workshop to its place in the cathedral. A procession was formed by the clergy, with the archbishop at their head, followed by the magistrates of the Commune, and the chief men of the Monte de' Nove. These great folk crowded round their Lady; after came a multitude of burghers bearing tapers; while the rear was brought up by women and children. The bells rang and trumpets blew as this new image of the Sovereign Mistress of Siena was borne along the summer-smiling streets of her metropolis to take its throne in her high temple. Duccio's altar-piece presented on one face to the spectator a Virgin seated with the infant Christ upon her lap, and receiving the homage of the patron saints of Siena. On the other, he depicted the principal scenes of the Gospel story and the Passion of our Lord in twenty-eight compartments. What gives peculiar value to this elaborate work of Sienese art is, that in it Duccio managed to combine the tradition of an early hieratic style of painting with all the charm of brilliant colouring and with dramatic force of presentation only rivalled at that time by Giotto. Independently of Giotto, he performed at a stroke what Cimabue and his pupil had achieved for the Florentines, and bequeathed to the succeeding painters of Siena a tradition of art beyond which they rarely passed.
Far more than their neighbours at Florence, the Sienese remained fettered by the technical methods and the pietistic formulæ of the earliest religious painting. To make their conventional representations of Madonna's love and woe and glory burn with all the passion of a fervent spirit, and to testify their worship by the oblation of rich gifts in colouring and gilding massed around her, was their earnest aim. It followed that, when they attempted subjects on a really large scale, the faults of the miniaturist clung about them. I need hardly say that Ambrogio and Pietro Lorenzetti form notable exceptions to this general statement. It may be applied, however, with some truth to Simone Martini, the painter, who during his lifetime enjoyed a celebrity only second to that of Giotto.[[152]] Like Giotto, Simone exercised his art in many parts of Italy. Siena, Pisa, Assisi, Orvieto, Naples, and Avignon can still boast of wall and easel pictures from his hand; and though it has been suggested that he took no part in the decoration of the Cappella degli Spagnuoli, the impress of his manner remains at Florence in those noble frescoes of the "Church Militant" and the "Consecration of S. Dominic."[[153]] Simone's first undisputed works are to be seen at Siena and at Assisi, where we learn what he could do as a frescante in competition with the ablest Florentines. In the Palazzo Pubblico of his native city he painted a vast picture of the Virgin enthroned beneath a canopy and surrounded by saints;[[154]] while at Assisi he put forth his whole power in portraying the legend of S. Martin. In all his paintings we trace the skill of an exquisite and patient craftsman, elaborately careful to finish his work with the utmost refinement, sensitive to feminine beauty, full of delicate inventiveness, and gifted with a rare feeling for grace. These excellent qualities tend, however, towards affectation and over-softness; nor are they fortified by such vigour of conception or such majesty in composition as belong to the greatest trecentisti. The Lorenzetti alone soared high above the Sienese mannerism into a region of masculine imaginative art. We feel Simone's charm mostly in single heads and detached figures, some of which at Assisi have incomparable sweetness. "Molles Senæ," the delicate and femininely variable, fond of all things brilliant, and unstable through defect of sternness, was the fit mother of this ingenious and delightful master.
After the days of Duccio and Simone Martini, of Ambrogio and Pietro Lorenzetti, were over, there remained but little for the Sienese to do in painting. Taddeo di Bartolo continued the tradition of Duccio as the later Giottesques continued that of Giotto. His most remarkable wall-painting is a fresco of the Apostles visiting the Virgin, the motive of which is marked by great originality.[[155]] Our Lady is seated in an open loggia with a company of holy men and women round her. Descending from the sky and floating through the arches are three of the Apostles, while one who has just alighted from his aërial transit kneels and folds his hands in adoration. Seldom have the longing and the peace of loving worship been more poetically expressed than here. The seated, kneeling, standing, and flying figures are admirably grouped together; their draperies are dignified and massive; and the architectural accessories help the composition by dividing it into three balanced sections.
Such power of depicting movement was rare in the fourteenth century. To find its analogue, we must betake ourselves to the frescoes of Spinello Aretino, a master more decidedly Giottesque than his contemporary Taddeo di Bartolo.[[156]] A Gabriel, rushing down from heaven to salute Madonna, with all the whirr of arch-angelic pinions and the glory of Paradise around him, is a fine specimen of Spinello's vehemence. The same quality, more tempered, is noticeable in his frescoes of the legend of S. Ephesus at Pisa.[[157]] Few faces in the paintings of any period are more fascinating than the profiles under steel-blue battle-caps of that godlike pair—the knightly saint and the Archangel Michael—breaking by the irresistible force of their onset and their calm youthful beauty through the mailed ranks of the Sardinian pagans. Spinello was essentially a warlike painter; among the best of his compositions may be named the series of pictures from the history of the Venetian campaign against Frederick Barbarossa.[[158]] It is a pity that the war of liberation carried on by the Lombard communes with the Empire should have left but little trace on Italian art; and therefore these paintings of Spinello, in addition to their intrinsic merit, have rare historical interest. Delighting in the gleam of armour and the shock of speared warriors, Spinello communicated something of this fiery spirit even to his saints. The monks of Samminiato near Florence employed him in 1388 to paint their newly-finished sacristy with the legend of S. Benedict. In the execution of this task Spinello displayed his usual grandeur and vigour, treating the grey-robed brethren of Monte Cassino like veritable champions of a militant Church. When he died in 1410, it might have been truly said that the flame of the torch kindled by Giotto was at last extinguished.
The student of history cannot but notice with surprise that a city famed like Siena for its vanity, its factious quarrels, and its delicate living, should have produced an almost passionately ardent art of piety.[[159]] The same reflections are suggested at Perugia, torn by the savage feuds of the Oddi and Baglioni, at warfare with Assisi, reduced to exhaustion by the discords of jealous parties, yet memorable in the history of painting as the head-quarters of the pietistic Umbrian school. The contradiction is, however, in both cases more apparent than real. The people both of Siena and Perugia were highly impressible and emotional, quick to obey the promptings of their passion, whether it took the form of hatred or of love, of spiritual fervour or of carnal violence. Yielding at one moment to the preachings of S. Bernardino, at another to the persuasions of Grifonetto degli Baglioni, the Perugians won the character of being fiends or angels according to the temper of their leaders; while Siena might boast with equal right of having given birth to S. Catherine and nurtured Beccadelli. The religious feeling was a passion with them on a par with all the other movements of their quick and mobile temperament: it needed ecstatic art for its interpretation. What was cold and sober would not satisfy the men of these two cities. The Florentines, more justly balanced, less abandoned to the frenzies of impassioned impulse, less capable of feeling the rapt exaltation of the devotee, expressed themselves in art distinguished for its intellectual power, its sanity, its scientific industry, its adequacy to average human needs. Therefore, Florentine influences determined the course of painting in Central Italy. Therefore Giotto, who represented the Florentine genius in the fourteenth century, set his stamp upon the Lorenzetti. The mystic painters of Umbria and Siena have their high and honoured place in the history of Italian art. They supply an element which, except in the work of Fra Angelico, was defective at Florence; but to the Florentines was committed the great charge of interpreting the spirit of Italian civilisation in all its branches, not for the cloister only, or the oratory, but for humanity at large, through painting.
Giotto and his followers, then, in the fourteenth century painted, as we have seen, the religious, philosophical, and social conceptions of their age. As artists, their great discovery was the secret of depicting life. The ideas they expressed belonged to the Middle Ages. But by their method and their spirit they anticipated the Renaissance. In executing their work upon the walls of palaces and churches, they employed a kind of fresco. Fresco was essentially the Florentine vehicle of expression. Among the peoples of Central Italy it took the place of mosaic in Sicily, Ravenna, and Venice, as the means of communicating ideas by forms to the unlettered laity, and as affording to the artist the widest and the freest sphere for the expression of his thoughts.[[160]]
FOOTNOTES:
In the History of Painting in Italy, by Messrs. Crowe and Cavalcaselle.