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It must, however, be observed that painting had an independent origin among the Sienese, and that Guido da Siena may claim to rank even earlier than Cimabue. In the year 1260, just before engaging in their duel with Florence, the Sienese dedicated their city to the Virgin; and the victory of Montaperti, following immediately upon this vow, gave a marked impulse to their piety.
If the concurrent testimony of writers, ancient, mediæval and modern, be of any worth, Gallic vanity is beyond dispute. Dante, expressing the prevailing belief of his age, exclaims, "Now, was there ever people so vain as the Sienese! Certes not the French by far."
The Sienese palaces are lighter and more elegant in style, as belonging to a people proverbially pleasure-loving; while a still more sumptuous and secure mode of life finds expression in the open loggie and spacious staircases of Venice. The graceful buildings which overhang the Grand Canal are exactly fitted for an oligarchy, sure of its own authority and loved of the people.
In the Company of S. Bernardino of Siena, beside the Church of S. Francesco, he executed some scenes in fresco in competition with Girolamo del Pacchia, a Sienese painter, and Domenico Beccafumi namely, the Presentation of Our Lady in the Temple, when she goes to visit S. Elizabeth, her Assumption, and when she is crowned in Heaven.
This Sienese style thoroughly Tuscan, though different from that of Florence exercised an important influence over the schools of Umbria, and gave a peculiar quality to Perugian painting. Through Piero della Francesca, a native of Borgo San Sepolcro, the Florentine tradition was extended to Umbria and the Roman States.
On the R. wall is 1301, a conventional early Florentine Annunciation by Agnolo Gaddi, his pupil. Among the early Sienese on the L. wall is 1383, a charming little Simone Martini: Christ bearing the Cross.
The most important writers on Signorelli Crowe and Cavalcaselle, Rumohr, and, above all, Vischer, mention several other masters, who, they claim, exercised an influence upon his work, and it is obvious that to the Sienese school generally he was indebted for many decorative methods, particularly in the use of gold and gilded gesso.
She was just eighteen, pious, good-tempered and genteel, and for four days she had been on a visit to 'the romantick groves' of his ancestors, when suddenly the scene is changed for the Sienese signora of whom we heard upon his travels.
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
Also I beg you that you should bring us some help for what Leo told you; for this scandal grows greater every day, not only through the thing that was done to the Sienese ambassador, but also through the other things which are seen day by day, which are enough to provoke to wrath the feeble hearts of men. You do not need this person now, but someone who shall be a means of peace, and not of war.
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