60
EARLY ITALIAN PAINTERS.
show that the influence of that young and daring
spirit had given a new impulse to his mind. His
best picture, still preserved, and described with
enthusiasm in Kugler’s ‘ Handbook,’ was painted
in 1311. Duccio died very old, about 1339.
The scholars and imitators of Giotto, who adopted
the new method («7 nuovo metodo), as it was then
called, and who collectively are distinguished as
the Scuola Giottesca, may be divided into two
classes:—1. Those who were merely his assistants
and imitators, who confined themselves to the re-
production of the models left by their master. 2.
Those who, gifted with original genius, followed
his example rather than his instructions, pursued
the path he had opened to them, introduced better
methods of study, more correct design, and carried
on in various departments the advance of art into
the succeeding century.
Of the first it is not necessary to speak. Among
the men of great and original genius who imme-
diately succeeded Giotto, three must be especially
mentioned for the importance of the works they
have left, and for the influence they exercised on
those who came after them. These were Andrea
Orcagna, Simone Memmi, and Taddeo Gaddi.
The first of these, Andrea Cioni, commonly
called Andrea Orcagna, did not study under
Giotto, but owed much indirectly to that vivifying
influence which he breathed through art. Andrea
EARLY ITALIAN PAINTERS.
show that the influence of that young and daring
spirit had given a new impulse to his mind. His
best picture, still preserved, and described with
enthusiasm in Kugler’s ‘ Handbook,’ was painted
in 1311. Duccio died very old, about 1339.
The scholars and imitators of Giotto, who adopted
the new method («7 nuovo metodo), as it was then
called, and who collectively are distinguished as
the Scuola Giottesca, may be divided into two
classes:—1. Those who were merely his assistants
and imitators, who confined themselves to the re-
production of the models left by their master. 2.
Those who, gifted with original genius, followed
his example rather than his instructions, pursued
the path he had opened to them, introduced better
methods of study, more correct design, and carried
on in various departments the advance of art into
the succeeding century.
Of the first it is not necessary to speak. Among
the men of great and original genius who imme-
diately succeeded Giotto, three must be especially
mentioned for the importance of the works they
have left, and for the influence they exercised on
those who came after them. These were Andrea
Orcagna, Simone Memmi, and Taddeo Gaddi.
The first of these, Andrea Cioni, commonly
called Andrea Orcagna, did not study under
Giotto, but owed much indirectly to that vivifying
influence which he breathed through art. Andrea