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: