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Updated: June 1, 2025
Eyes lit from within, large, clear, lustrous, with a meaning in them so profound and serious that it was almost sorrowful, like the eyes of Giotto's saints and Cimabue's Madonnas. But I cannot describe her "For oh, her looks had something excellent That wants a name!"
The great painters of Italy would have been sterile had not the citizens of Florence been eager to carry Cimabue's masterpiece in triumph through the streets. Kant would never have written among a people who despised philosophy; and the discoveries of our own day would have been impossible in an unscientific age.
The church was much injured by the French, and afterwards by the Austrians, both powers having quartered their troops within the holy precincts. Its old walls, however, are yet stalwart enough to outlast another set of frescos, and to see the beginning and the end of a new school of painting as long-lived as Cimabue's.
On the 1st of May the Academy opened with Millais's "Rescue of children from a burning house," and with a remarkable picture by a young painter who has long since vindicated the reception it met with. It was Mr. F. Leighton's "Procession conveying Cimabue's Madonna through the streets of Florence." On the 18th of May her Majesty distributed medals to some of the heroes of the war still raging.
Cimabue, of whom more is said, together with more of Giotto as a painter, in the chapter on the Accademia, had died in 1302, leaving Giotto far beyond all living artists, and Giotto, between the age of fifty and sixty, was now residing in Cimabue's house.
Cimabue's last work is said to be a figure, which was left unfinished, of S. John, in mosaic, for the Duomo at Pisa. This was in 1302, which is supposed to be the date of his death, though Vasari puts it two years earlier, at the time he was engaged with the architect Arnolfo Lapi in superintending the building of the Duomo in Florence, where he is buried.
After describing Cimabue's activities at Pisa and Assisi with equal circumstance, Vasari passes to the famous Rucellai Madonna, now supposed to be by the hand of Duccio of Siena.
Not one-tenth of the substances now used for colours were known then. A modern artist might find himself in great difficulties if he were called upon to paint a picture with Cimabue's tools. But to Giotto they must have seemed marvellous after his pointed stone pencil and his bit of untrimmed slate.
One picture of his, the Saint Anne not the Saint Anne of the Louvre, but a mere cartoon, now in London revived for a moment a sort of appreciation more common in an earlier time, when good pictures had still seemed miraculous; and for two days a crowd of people of all qualities passed in naive excitement through the chamber where it hung, and gave Leonardo a taste of Cimabue's triumph.
I need scarcely repeat the tale of Cimabue's picture, visited by Charles of Anjou, and borne in triumph through the streets with trumpeters, beneath a shower of garlands, to S. Maria Novella. Yet this was the birthday festival of nothing less than what the world now values as Italian painting.
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