DOI Page / Citation link:
https://doi.org/10.11588/diglit.51584#0030
26 EAKLY ITALIAN PAINTERS.
cipal works remain in the Duomo of St. Mark at
Venice, and in the church of San Giovanni at
Florence. Another famous mosaic-worker, also
an intimate friend of Cimabue, was Gaddo Gaddi,
remarkable for being the first of a family illus-
trious in several departments of art and literature.
It must be remembered that the mosaic-workers of
those times prepared and coloured their own designs,
and may therefore take rank with the painters.
Further, there remain pictures by painters of the
Sienna School which date before the death of
Cimabue, and particularly a picture by a certain
Maestro Mino, dated 1289, which is spoken of as
wonderful for the invention and greatness of style.
Another painter, who sprung from the Byzantine
School, and surpassed it, was Duccio of Sienna,
who painted from 1282 (twenty years before the
death of Cimabue) to about 1339, and “whose in-
fluence on the progress of art was unquestionably
great.” A large picture by him, representing in
many compartments the whole history of the Passion
of Christ, is preserved at Sienna: it excited, like
Cimabue’s Madonna, the pride and enthusiasm of
his fellow-citizens, and is still regarded as wonder-
ful for the age in which it was produced.
All these men (Nicola Pisano excepted) still
worked on in the trammels of Byzantine art. The
first painter of his age who threw them wholly off,
and left them far behind him, was Giotto.
cipal works remain in the Duomo of St. Mark at
Venice, and in the church of San Giovanni at
Florence. Another famous mosaic-worker, also
an intimate friend of Cimabue, was Gaddo Gaddi,
remarkable for being the first of a family illus-
trious in several departments of art and literature.
It must be remembered that the mosaic-workers of
those times prepared and coloured their own designs,
and may therefore take rank with the painters.
Further, there remain pictures by painters of the
Sienna School which date before the death of
Cimabue, and particularly a picture by a certain
Maestro Mino, dated 1289, which is spoken of as
wonderful for the invention and greatness of style.
Another painter, who sprung from the Byzantine
School, and surpassed it, was Duccio of Sienna,
who painted from 1282 (twenty years before the
death of Cimabue) to about 1339, and “whose in-
fluence on the progress of art was unquestionably
great.” A large picture by him, representing in
many compartments the whole history of the Passion
of Christ, is preserved at Sienna: it excited, like
Cimabue’s Madonna, the pride and enthusiasm of
his fellow-citizens, and is still regarded as wonder-
ful for the age in which it was produced.
All these men (Nicola Pisano excepted) still
worked on in the trammels of Byzantine art. The
first painter of his age who threw them wholly off,
and left them far behind him, was Giotto.