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Updated: May 9, 2025
The method of treatment adopted for these chapters has obliged me to give priority to Florence, and to speak of the two Lorenzetti, Pietro in the Pisan Campo Santo and Ambrogio in the Sala della Pace at Siena, as though they were followers of Giotto; so true is it that the main currents of Tuscan art were governed by Florentine influences, and that Giotto's genius made itself felt in all the work of his immediate successors.
The wedding scenes in No. 147 give us Florentine life on the mundane side with some valuable thoroughness, and the Pietro Lorenzetti above scenes in the life of S. Umilita is very quaint and cheery and was painted as early as 1316. The little Virgin adoring, No. 160, in the corner, by the fertile Ignoto, is charmingly pretty.
These excellent qualities tend, however, towards affectation and over-softness; nor are they fortified by such vigour of conception or such majesty in composition as belong to the greatest trecentisti. The Lorenzetti alone soared high above the Sienese mannerism into a region of masculine imaginative art.
This Lorenzetti, for instance " And so on up the viale to the house. In the drawing-room they found Mrs. Foss and Leslie, who, just home from town, tired and thirsty, had had tea brought to them, and were strengthening themselves before even taking off their hats. Their welcome to Gerald was mingled with reproaches of the sort that flatters more than it hurts. "It's perfect ages since we saw you.
She is like a painted statue, making us wonder whether the artist had not copied her from the "Aphrodite" of Lysippus, ere the Sienese destroyed this statue in their dread of paganism . In the other two panels of this hall Ambrogio Lorenzetti painted the contrast of good and bad government, harmony and discord.
Distribution of Artistic Gifts in Italy Florence and Venice Classification by Schools Stages in the Evolution of Painting Cimabue The Rucellai Madonna Giotto His widespread Activity The Scope of his Art Vitality Composition Colour Naturalism Healthiness Frescoes at Assisi and Padua Legend of S. Francis The Giotteschi Pictures of the Last Judgment Orcagna in the Strozzi Chapel Ambrogio Lorenzetti at Pisa Dogmatic Theology Cappella degli Spagnuoli Traini's "Triumph, of S. Thomas Aquinas" Political Doctrine expressed in Fresco Sala della Pace at Siena Religious Art in Siena and Perugia The Relation of the Giottesque Painters to the Renaissance.
Instead of seeking to set forth vast subjects with the equality of mediocrity, like the Gaddi, or to invent architectonic compositions embracing the whole culture of their age, like the Lorenzetti, the painters were now bent upon realising some special quality of beauty, expressing some fantastic motive, or solving some technical problem of peculiar difficulty.
They are now attributed to an unknown disciple of Pietro Lorenzetti, who was painting in Siena between 1306 and 1348, and is assumed to have been a pupil of Duccio.
I need hardly say that Ambrogio and Pietro Lorenzetti form notable exceptions to this general statement. It may be applied, however, with some truth to Simone Martini, the painter, who during his lifetime enjoyed a celebrity only second to that of Giotto. Like Giotto, Simone exercised his art in many parts of Italy.
In those piles of the promiscuous and abandoned dead, those fiends and angels poised in mid-air struggling for souls, those blind and mutilated beggars vainly besieging Death with prayers and imprecations for deliverance, while she descends in her robe of woven wire to mow down with her scythe the knights and ladies in their garden of delight; again in those horses snuffing at the open graves, those countesses and princes face to face with skeletons, those serpents coiling round the flesh of what was once fair youth or maid, those multitudes of guilty men and women trembling beneath the trump of the archangel tearing their cheeks, their hair, their breasts in agony, because they see Hell through the prison-bars, and hear the raging of its fiends, and feel the clasp upon their wrists and ankles of clawed hairy demon hands; in all this terrific amalgamation of sinister and tragic ideas, vividly presented, full of coarse dramatic power, and intensified by faith in their material reality, the Lorenzetti brethren, if theirs be indeed the hands that painted here, summed up the nightmares of the Middle Age and bequeathed an ever memorable picture of its desolate preoccupations to the rising world.
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