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Updated: June 22, 2025
After the days of Duccio and Simone Martini, of Ambrogio and Pietro Lorenzetti, were over, there remained but little for the Sienese to do in painting. Taddeo di Bartolo continued the tradition of Duccio as the later Giottesques continued that of Giotto. His most remarkable wall-painting is a fresco of the Apostles visiting the Virgin, the motive of which is marked by great originality.
Two angels have recently been published by the Arundel Society who have also copied Melozzo's wall-painting of Sixtus IV. in the Vatican. It is probable that the picture in the Royal Collection at Windsor, of Duke Frederick of Urbino listening to the lecture of a Humanist, is also a work of Melozzo's, much spoiled by re-painting. See Vol. II., Revival of Learning, p. 220.
In Germany and England wall-painting was more used for the decoration of castles, halls, chambers, and chapels; but as a whole mural painting was of little importance at this time in comparison with its earlier days.
That is, the glass-painters painted glass only, and were associated with the glass-blowers; those who decorated shields, with the shield or scutcheon makers, and so on; while the painters, pure and simple, worked at wall-painting, and a little later at panel-painting also.
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