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The assertion and contradiction of ideas and theories, the rivalries of differing schools, the sweet devotion of Fra Angelico, the innovations of Masolino and Masaccio, the theory of perspective of Paolo Uccello, the varied works of Fabriano, Antonello da Messina, the Lippi, Botticelli, Ghirlandajo, the Bellini, and their contemporaries, culminated in the inimitable painting of the Cinquecento in works still unsurpassed, ever challenging artists of later centuries to the task of equalling or excelling them.
Mediaeval Motives exhausted New Impulse toward Technical Perfection Naturalists in Painting Intermediate Achievement needed for the Great Age of Art Positive Spirit of the Fifteenth Century Masaccio The Modern Manner Paolo Uccello Perspective Realistic Painters The Model Piero della Francesca His Study of Form Resurrection at Borgo San Sepolcro Melozzo da Forli Squarcione at Padua Gentile da Fabriano Fra Angelico Benozzo Gozzoli His Decorative Style Lippo Lippi Frescoes at Prato and Spoleto Filippino Lippi Sandro Botticelli His Value for the Student of Renaissance Fancy His Feeling for Mythology Piero di Cosimo Domenico Ghirlandajo In what sense he sums up the Age Prosaic Spirit Florence hitherto supreme in Painting Extension of Art Activity throughout Italy Medicean Patronage.
There is what seems to me a better picture than either of these has produced, by Bonamico Buffalmacco, an artist of about their date or not long after. The first real picture in the series is the "Adoration of the Magi," by Gentile da Fabriano, a really splendid work in all senses, with noble and beautiful figures in it, and a crowd of personages, managed with great skill.
Here, in the Uffizi, Gentile da Fabriano is represented by parts of an altar-piece, four isolated saints, St. Mary Magdalen, St. Nicholas of Bari, St. John Baptist, and St. George.
A list of only a few of the works of art which from time to time have fallen to the flames would be tragic reading. Among the artists whose paintings were lost in the 1576 fire were, in addition to Tintoretto, Titian, Giovanni and Gentile Bellini, Gentile da Fabriano and Carpaccio.
"In what direction?" came Ramiro's frenzied question. He doubted me no longer. "In the direction of Fabriano I should say," I answered. "Although it may well be that they were making for Sinigaglia. The road branches farther on." He waited for no more. Without word of thanks for the priceless information I had given him, he wheeled his horse, and shouted a hoarse command to his followers.
Mary of the Stony Valley, so called from its being situated in a very rocky valley, between two mountains, four miles distant from Fabriano. It was a church dedicated to the Blessed Virgin, with a monastery, which the Religious of St. Benedict had abandoned in order to take refuge in the town, on account of the wars, and it is one of the most beautiful solitudes of all Italy.
Many were naturalists, delighting, like Gentile da Fabriano, in the delineation of field flowers and living creatures, or, like Piero di Cosimo, in the portrayal of things rare and curious. Gardens please their eyes, and birds and beasts and insects. Whole menageries and aviaries, for instance, were painted by Paolo Uccello.
Then, gathering her mantle about her, and waving me farewell, she rode off without so much as a glance at the cowardly hinds who had failed her in the hour of her need. A moment I stood watching her as she cantered away in the sunshine; then stepping to the litter, I vaulted in. "Now, rogues," said I to the escort, "strike me that road to Fabriano." "I know you not, sir," protested Giacopo.
The picture was painted for the Church of Santa Maria del Mercato in Fabriano, and this, as well as the fact of its being precisely the same size, and with the same curved top, seems to argue that it formed originally one picture with the Madonna, No. 281 of the same gallery, whose provenance is also from that church.
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