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Updated: June 29, 2025
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.
Now whether or not Vasari was right in crediting Cimabue with these honours in Florence instead of Duccio in Siena, makes little difference in the story of the origin and early development of the art of painting.
Duccio is a fine decadent of that Basilian movement which half survived the Latin conquest and came to an exquisite end under the earlier Palaeologi. The peak of that movement rises high above Giotto, though Duccio near its base is below him.
The desire could never be fed and the bloom wore off. Look at Duccio's work on the facade of San Bernardino, Duccio was a Florentine, but where in Florence would you see his like? What a revel of disproportion in these long-legged nymphs, full- lipped and narrow-eyed as any of Rossetti's curious imaginings. Take the Poverta, a weedy girl with the shrinking paps of a child.
After the Della Robbias, this is the place to mention Agostino di Gucci or di Duccio, a sculptor who handled terra-cotta somewhat in the manner of Donatello's flat-relief, introducing more richness of detail and aiming at more passion than Luca's taste permitted.
Now he holds his place among the stars of heaven." Other artists who were important in this early time of the revival of painting were ANDREA TAFI, a mosaist of Florence, MARGARITONE OF AREZZO, GUIDO OF SIENA, and of the same city DUCCIO, the son of Buoninsegna.
Duccio, then, painter of Siena and much esteemed, deserved to carry off the palm from those who came many years after him, since in the pavement of the Duomo of Siena he made a beginning in marble for the inlaid work of the figures in chiaroscuro, wherein to-day modern craftsmen have made the marvels that are seen in them.
At the Louvre, in galleries on the ground floor gained through the Egyptian sculpture section and opened very capriciously, may be seen the finest of the prisoners from Michelangelo's tomb for Pope Julius; Donatello's youthful Baptist; a Madonna and Children by Agostino di Duccio, whom we saw at the Museum of the Cathedral; an early coloured terra-cotta by Luca della Robbia, and No. 316, a terra-cotta Madonna and Child without ascription, which looks very like Rossellino.
He had been faithful to his first lesson from Duccio and had become eloquent in his use of simple outline to express joy, fear, calm or sorrow, his work gaining from this abandonment of shadows a largeness and clearness that separates him from his German contemporaries and adds dignity to the elegance and grace of his figures.
Room VII. contains many beautiful specimens of della Robbia ware, and among the statues and busts we note Louis XII. by Lorenzo da Mugiano, of which the head has been restored. Provisionally placed in this room is a recently acquired relief in marble of the Madonna by Agostino di Duccio. The relief of the Evangelists was discovered in 1850 embedded in the wall of a house in the Rue St.
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