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But," he added, "as I am not descended from the Doges nor the Pilgrim Fathers, I, a poor, degenerate Gallo- Roman, fear the dampness on account of my rheumatism, and ask your permission to reenter the house." Then, as he passed through the door of the salon: "Raphael, a builder! Titian, an upholsterer! Lorenzetti, a reproducer!" he repeated to himself.
It is as a divine decoration that Sienese art comes to us in the profound and splendid work of Duccio di Buoninsegna, the delicate and lovely work of Simone Martini, the patient work of the Lorenzetti. The masterpiece, perhaps, of Duccio is the great Rucellai Madonna of S. Maria Novella.
It is true, I admired the Sienese very much," he added, turning toward Dorsenne. "I spent three months in copying the Simone Martini of the municipality, the Guido Riccio, who rides between two strongholds on a gray heath, where there is not a sign of a tree or a house, but only lances and towers. Do I remember Lorenzetti?
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.
"And the Sienese and the Lorenzetti, of whom you once raved? You wrote to me of them, with regard to my article on your exposition of 'eighty-six; do you remember?" inquired the writer. "Raphael?" replied Maitland.... "Do you wish me to tell you what Raphael really was? A sublime builder. And Titian? A sublime upholsterer.
It is true, I admired the Sienese very much," he added, turning toward Dorsenne. "I spent three months in copying the Simone Martini of the municipality, the Guido Riccio, who rides between two strongholds on a gray heath, where there is not a sign of a tree or a house, but only lances and towers. Do I remember Lorenzetti?
But," he added, "as I am not descended from the Doges nor the Pilgrim Fathers, I, a poor, degenerate Gallo-Roman, fear the dampness on account of my rheumatism, and ask your permission to reenter the house." Then, as he passed through the door of the salon: "Raphael, a builder! Titian, an upholsterer! Lorenzetti, a reproducer!" he repeated to himself.
"And the Sienese and the Lorenzetti, of whom you once raved? You wrote to me of them, with regard to my article on your exposition of 'eighty- six; do you remember?" inquired the writer. "Raphael?" replied Maitland.... "Do you wish me to tell you what Raphael really was? A sublime builder. And Titian? A sublime upholsterer.
Lippo's hand cannot be discerned in the Annunciation none but Simone himself could have achieved it; but the two saints, who stand one on either side, are his work, as well as the four little figures in the frame. Of the other early Sienese painters, only Pietro and Ambrogio Lorenzetti are represented in the Uffizi.
This might be used as an argument against the Lorenzetti hypothesis; for their work at Siena is eminently beautiful. The attitude and the eyes of this archangel have an imaginative potency beyond that of any other motive used by any painter to suggest the terror of the Dies Irae. Simplicity and truth of vision in the artist have here touched the very summit of intense dramatic presentation.
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