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There is a votive Deposition by Giottino, in which the general conception is that which belonged to the school, and very like Giotto's Deposition in the Arena at Padua. In the background, in the centre, stands St. John, bending over the group in profound sorrow; on his left hand Joseph of Arimathea stands with the vase of "spices and ointments," and the nails; near him Nicodemus.
Mr. Jarves's collection is not confined by any means to what may be called the curiosities of Art. It contains one hundred and twenty-five pictures; and, rich as it is in works that mark the successive stages of development in Italian painting, it possesses also specimens of its later and most perfect productions. Examples of the pure Byzantine bring us to those of the Greco-Italian school, and these to the early Italian, represented (in its Umbrian branch) by Cimabue, by Giotto and his followers, the Gaddi, Cavallini, Giottino, Orgagna, and others; while of the Sienese we have Duccio, Simone di Martino, and Lorenzetti, with more of less note. Of the Ascetics we have, among others, Fr
The trilobate roof of the nave was mediæval, but has lately been restored. The façade also was restored in 1843, and the gravestones ranged along its base were then removed from the floor. In the sacristy is a picture signed Tommaso Giottino, and dated 1313; it is thought to have belonged to the high-altar.
A host of painters, "the Giottesques," as we may call them, followed: Puccio Capanna, Buffalmacco, Francesco da Volterra, Stefano Fiorentino, the grandson of Giotto, Giottino, and Spinello Aretino, all of whom were painting about the middle of the fourteenth century in Giotto's manner but without his genius, or any true understanding of his art.
Tommaso Stefano, called II Giottino, the son and scholar of Stefano Fiorentino, was born at Florence in 1324. According to Vasari, he adhered so closely to the style of Giotto, that the good people of Florence called him Giottino, and averred that the soul of his great ancestor had transmigrated and animated him.
It appears to me that there is here some uncertainty as regards both the subject and the master. In the time of Giottino, to whom Rossini attributes the picture, the domestic treatment of the Madonna and Child was unknown. If it be really by him, I should suppose it to represent Hannah and her son Samuel.
The painter, Giottino, the greatest and the most interesting, personally, of the Giottesque artists, was, as Vasari says, "of a melancholy temperament, and a lover of solitude;" "more desirous of glory than of gain;" "contented with little, and thinking more of serving and gratifying others than of himself;" "taking small care for himself, and perpetually engrossed by the works he had undertaken."
It is paved chiefly with flat grave-stones: the walls are painted in fresco by Ghiotto, Giottino, Stefano, Bennoti, Bufalmaco, and some others of his cotemporaries and disciples, who flourished immediately after the restoration of painting. The subjects are taken from the Bible.
I have seen Andrea Orcagna, Taddeo Gaddi, Giottino, Stefano, Simone Memmi men whose very colors I am not worthy to mix. And I have seen the aged Giotto, and he in turn was pupil to Cimabue, before whom there was no art in Italy, for the Greeks were brought to paint the chapel of the Gondi at Florence.
The Gaddi of Florence, Giottino, Puccio Capanna, the Lorenzetti of Siena, Spinello of Arezzo, Andrea Orcagna, Domenico Veneziano, and the lesser artists of the Pisan Campo Santo, were either formed or influenced by him.
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