By John C Van Dyke L H D

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PRINCIPAL WORKS: FLORENTINES—Cimabue, Madonnas S. M. Novella and Acad. ); Giotto, frescos Upper and Lower churches Assisi, best work Arena chapel Padua, Bardi and Peruzzi chapels S. Croce, injured frescos Bargello Florence; Taddeo Gaddi, frescos entrance wall Baroncelli chapel S. Croce, Spanish chapel S. M. )); Agnolo Gaddi frescos in choir S. Croce, S. , frescos S. Croce Florence; Antonio Veneziano, frescos in ceiling of Spanish chapel, S. M. Novella, Campo Santo Pisa; Orcagna, altar-piece Last Judgment and Paradise Strozzi chapel S.

Again, their art was more ornate, richer in costume, color, and detail than Florentine art; but it was also more finical and narrow in scope. There was little advance upon Byzantinism in the work of Guido da Sienna (fl. 1275). ), the real founder of the Siennese school, retained Byzantine methods and adopted the school subjects, but he perfected details of form, such as the hands and feet, and while retaining the long Byzantine face, gave it a melancholy tenderness of expression. He possessed no dramatic force, but had a refined workmanship for his time—a workmanship perhaps better, all told, than that of his Florentine contemporary, Cimabue.

CECILIA. THIRD CENTURY. For many centuries the religious motive held strong, and art was the servant of the Church. It taught the Bible truths, but it also embellished and adorned the interiors of the churches. All the frescos, mosaics, and altar-pieces had a decorative motive in their coloring and setting. The church building was a house of refuge for the oppressed, and it was made attractive not only in its lines and proportions but in its ornamentation. Hence the two motives of the early work—religious teaching and decoration.

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A Text Book of the History of Painting by John C Van Dyke L H D


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