DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.57409#0206
190 LIVES OF THE ARTISTS.
the pencil, after a small design which served them as a guide,
and enlarging each part to the proportions required, as they
proceeded. And as the work here in question is seen to
have been thus treated, so many others in various places have
been executed in like manner, and when the colour in cer-
tain cases has scaled off, the red outlines are still discerned
remaining on the wall. But to return to Lippo. This
artist drew tolerably well, as may be seen in our book, where
there is a hermit reading w'ith the legs crossed, by his hand.
He survived Simon twelve years, executing many paintings
for all parts of Italy, more particularly two pictures for the
church of Santa Croce in Florence.* * * § There is a considerable
resemblance in the manner of these two brothers, but they
may be distinguished by the circumstance that Simon in-
scribed his name at the foot of his works in this manner,
“Simonis Memmi Senensis opus” ;t and Lippo, omitting his
baptismal name, and caring little for the rudeness of his
Latinity, as follows : “ Opus Memmi de Senis me fecit.”^
On the fatjade of the chapter-house of Santa Maria Novella,
besides the portraits of Petrarch and Laura, of which we
have before spoken, Simon Memmi depicted those of Cima-
bue, of Lapo the architect, and of Arnolfo his son, and finally
that of himself. The pope who appears in this story, is the
portrait of Benedict of Treviso, a brother of the order
of Preaching Friars, whose likeness had long before been
brought to Simon by Giotto his master, when the latter
returned from the court of that pontiff, who held his state in
Avignon. In the same picture is the portrait of Cardinal
Niccola da Prato, which Simon has placed beside that of the
Pope, Cardinal Niccola being in Florence at the time, in the
capacity of papal legate, as we are informed by Giovanni
Villani in his history. On the tomb of Simon was placed the
* These two pictures are lost.
+ Rumohr denies that this inscription is found on the works of Simon.
See Ital. Forsch., vol. ii, p. 95.
± This inscription is now affirmed to indicate a work of Memmo, the
father of Simon and Lippo Memmi, and not of Lippo, whose Latinity
has been anxiously defended by some of the Italian commentators on
our author.
§ The papal court was transferred to Avignon by Clement V, suc-
cessor to Benedict XL It was under Benedict XII, who reigned from
1334 to 1342, that Giotto and Simon were at Avignon.
the pencil, after a small design which served them as a guide,
and enlarging each part to the proportions required, as they
proceeded. And as the work here in question is seen to
have been thus treated, so many others in various places have
been executed in like manner, and when the colour in cer-
tain cases has scaled off, the red outlines are still discerned
remaining on the wall. But to return to Lippo. This
artist drew tolerably well, as may be seen in our book, where
there is a hermit reading w'ith the legs crossed, by his hand.
He survived Simon twelve years, executing many paintings
for all parts of Italy, more particularly two pictures for the
church of Santa Croce in Florence.* * * § There is a considerable
resemblance in the manner of these two brothers, but they
may be distinguished by the circumstance that Simon in-
scribed his name at the foot of his works in this manner,
“Simonis Memmi Senensis opus” ;t and Lippo, omitting his
baptismal name, and caring little for the rudeness of his
Latinity, as follows : “ Opus Memmi de Senis me fecit.”^
On the fatjade of the chapter-house of Santa Maria Novella,
besides the portraits of Petrarch and Laura, of which we
have before spoken, Simon Memmi depicted those of Cima-
bue, of Lapo the architect, and of Arnolfo his son, and finally
that of himself. The pope who appears in this story, is the
portrait of Benedict of Treviso, a brother of the order
of Preaching Friars, whose likeness had long before been
brought to Simon by Giotto his master, when the latter
returned from the court of that pontiff, who held his state in
Avignon. In the same picture is the portrait of Cardinal
Niccola da Prato, which Simon has placed beside that of the
Pope, Cardinal Niccola being in Florence at the time, in the
capacity of papal legate, as we are informed by Giovanni
Villani in his history. On the tomb of Simon was placed the
* These two pictures are lost.
+ Rumohr denies that this inscription is found on the works of Simon.
See Ital. Forsch., vol. ii, p. 95.
± This inscription is now affirmed to indicate a work of Memmo, the
father of Simon and Lippo Memmi, and not of Lippo, whose Latinity
has been anxiously defended by some of the Italian commentators on
our author.
§ The papal court was transferred to Avignon by Clement V, suc-
cessor to Benedict XL It was under Benedict XII, who reigned from
1334 to 1342, that Giotto and Simon were at Avignon.