The third seems to be the payment for a coloured glass window which had been painted on glass by Baccio, son of Jovenchi of Milan, from Magister Cimabue's design.[204]
Cimabue's school in Florence must have prospered greatly. A long list of names of painters between 1294 and 1296, who are qualified and who agree to teach their art in Florence, may be made from an ancient law register kept at that date by the notary Ser Matteo Biliotti, which is preserved in the general archives of Contracts in Florence.[205] Here we find several of the Masters trained at Pisa, such as Lapo de Cambio, Lapo di Beliotto, Lapo di Taldo, Corso di Buono, Andrea di Cante, Grifo di Tancredi, Tura di Ricovero, Vanni di Rinuccio, Michele di Pino, Ranuccio di Bogolo, Guiduccio di Maso, Cresta di Piero, Bindaccio di Bruno, Guccio di Lippo, Bertino della Marra, Rossello e Scalore di Lettieri, Dino and Lippo Benivieni, Asinello d'Alberto, Lapo di Compagno, called Scartapecchia, Vanuccio di Duccio, and Bruno di Giovanni, the companion of Buffalmacco and Calandrino, of whom Vasari tells such funny stories.
Another act, dated 1282, is a contract by which Azzo, son of the late Mazzetto painter, of the parish of S. Tommaso, engaged to teach his art for six years to Vanni di Bruno; probably Giovanni the father of Bruno mentioned above.
Rossello di Lottieri was the great-grandfather of Cosimo Rosselli. Vanuccio was the son of the famous Duccio of the Sienese Lodge. Indeed I think we could find, by close investigation, that most of these Magistri pittori were connected with one or other of the Tuscan Lodges.
Painters abounded in the guild at this era. There was Tommaso de Mutina (Modena) whose Madonna painted in 1297 is in the Gallery at Vienna. There was Margaritone of Arezzo (1216-1293), a great tre-cento painter of Madonnas and crucifixes, whose works are yet preserved in Florence, London, Siena, etc. He generally signed them "Margarit . . . de Aretio pingebat." A portrait of St. Francis, however, in the Capuchin Convent at Sinigaglia, is inscribed "Margaritonis devotio me fec. . ." A Madonna enthroned in the church at Monte San Savino is not only signed but dated 1284. Guido of Siena and Margaritone were the leaders of that flourishing school at Siena which culminated in Spinello Aretino and the Lorenzetti, one of whom, Lorenzo Monaco, rivalled our Fra Angelico.
Various painters are found in Pisa up to the fourteenth century, artistic descendants from the school of Giunta. Signor Morrona (Pisa Illustrata nelle Arti del Disegno, vol. ii. p. 154) gives a list of Giunta's scholars. There are Bonaventura and Apparecchiato da Lucca, Dato Pisano, Vincino da Pistoja, a list which proves the affinity between all the Tuscan schools. A little later in 1321 we find a certain Vicino of Pisa as Gaddo Gaddi's scholar in Florence, where he finished his master's mosaics in the Baptistery. Ciampi has written a long dissertation to prove that Vicino of Pisa ought to be Vincino of Pistoja, because he has found the latter name in some documents. But as his documents refer to paintings done by Vincino of Pistoja in 1290, and the mosaics of Vicino and Gaddi date 1321, it seems more probable they were really two different men—one, the Pistojan, being the scholar of Giunta at Pisa mentioned above; the other, the Pisan, a scholar of Gaddi in Florence somewhat later. In 1302 we find painters from all the lodges assembled in Pisa. Here are Magister Franciscus, painter from S. Simone, named as a Magister of the highest rank. He works with his son Victorius, and his apprentice Sandruccio. Here are Lapo of Florence, Benozzo Gozzoli,[206] and "Michaelis the painter"; Duccio and Tura of Siena, painters; and Datus Pictor, who might be that Dato Pisano mentioned as a scholar of Giunta.[207]
The books of the Duomo of Pisa contain among other things an entry which indicates the use of oil-painting long before the time of Antonello de Messina. It is nothing less than the payment by the Provveditore of the Opera for 29 lbs. of turpentine, 104 lbs. of linseed oil at 28 denari per lb., and 43 lbs. of varnish, all of which were for the use of the painters of the operam Magiestatis. The entry is dated 1301, and is No. 26 in the books of the Provveditore of the Opera at Pisa in the year MCCCI. "Johannes Orlandi sua sponte dixit se habuisse ad Operario libras duas den. pis. pro pretio libre viginti novem trementine operate adoreram Magiestatis.
"Libras quinquaginta quatuor, et solidos decem et octo den. pisanorum minutorum pro pretio centinarum quatuor olei linseminis ad operaio Magiestatis, et aliarum figurarium que fiunt in majori Ecclesia, ad rationem denariorum XXVIII pro qualibet libra."
Upechinus Pictor[208] pro libris quadraginta tribus vernicis emptis Comunis an. 1303, is named as a painter of Pisa.