DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.57409#0267
JACOPO DI CASENTINO.
251
THE PAINTER JACOPO DI CASENTINO.
[Flourished in the middle of the fourteenth century.]
The fame of Giotto, the renown attached to his works, and
to those of his disciples, having for several years been much
bruited abroad, many persons, desirous of acquiring honour
and riches by the art of painting, and incited to study by
nature and inclination, began to labour for the amelioration
of the art, most of them being firmly persuaded that by their
efforts the attainments of Giotto, Taddeo, and all the other
painters, would be far surpassed. Among these was a certain
Jacopo di Casentino, who belonged, as we find recorded, to
the family of Messer Cristoforo Lan dino, of Prato Vecchio, and
was sent by a monk of Casentino, who was intendant of Sasso
della Vernia, to acquire the art of painting under Taddeo
Gaddi, when that master was working in the convent so
called. In this vocation Jacopo succeeded so well, that in
the course of a few years, having accompanied Taddeo to
Florence, where he executed many works in company with
Giovanni da Milano, for the service of their common master,
he was appointed to paint the tabernacle of the Madonna in
the Mercato Vecchio, with the altar-piece, in distemper. The
oratory which stands at the corner of the piazza of San Nic-
colo, on the Via del Cocomero, was also painted by Jacopo
di Casentino, but both these works were restored a few years
since by a master greatly inferior to Jacopo. The tabernacle
at Santo Nofri (Sant’ Onofrio?) belonging to the Guild of
Dyers, and situated at the corner of the wall of their garden,
opposite to San Giuseppe,* was also decorated by Jacopo di
Casentino. In the meantime the vaulted arches of Grsan-
michele were in process of construction on the twelve columns,
a low rustic roof being placed over them, that the building,
which was to serve as the granary of the commune, might
be proceeded with so soon as should be possible. Jacopo di
Casentino was selected as a person well versed in such
matters, to decorate the arches with figures of the patriarchs,
certain of the prophets, and the heads of the tribes, sixteen
figures in all, beside the various ornaments. This work he
* This tabernacle, also, was afterwards restored, and by a worse
master than either of the others.—Ed. Flor, 1832.
251
THE PAINTER JACOPO DI CASENTINO.
[Flourished in the middle of the fourteenth century.]
The fame of Giotto, the renown attached to his works, and
to those of his disciples, having for several years been much
bruited abroad, many persons, desirous of acquiring honour
and riches by the art of painting, and incited to study by
nature and inclination, began to labour for the amelioration
of the art, most of them being firmly persuaded that by their
efforts the attainments of Giotto, Taddeo, and all the other
painters, would be far surpassed. Among these was a certain
Jacopo di Casentino, who belonged, as we find recorded, to
the family of Messer Cristoforo Lan dino, of Prato Vecchio, and
was sent by a monk of Casentino, who was intendant of Sasso
della Vernia, to acquire the art of painting under Taddeo
Gaddi, when that master was working in the convent so
called. In this vocation Jacopo succeeded so well, that in
the course of a few years, having accompanied Taddeo to
Florence, where he executed many works in company with
Giovanni da Milano, for the service of their common master,
he was appointed to paint the tabernacle of the Madonna in
the Mercato Vecchio, with the altar-piece, in distemper. The
oratory which stands at the corner of the piazza of San Nic-
colo, on the Via del Cocomero, was also painted by Jacopo
di Casentino, but both these works were restored a few years
since by a master greatly inferior to Jacopo. The tabernacle
at Santo Nofri (Sant’ Onofrio?) belonging to the Guild of
Dyers, and situated at the corner of the wall of their garden,
opposite to San Giuseppe,* was also decorated by Jacopo di
Casentino. In the meantime the vaulted arches of Grsan-
michele were in process of construction on the twelve columns,
a low rustic roof being placed over them, that the building,
which was to serve as the granary of the commune, might
be proceeded with so soon as should be possible. Jacopo di
Casentino was selected as a person well versed in such
matters, to decorate the arches with figures of the patriarchs,
certain of the prophets, and the heads of the tribes, sixteen
figures in all, beside the various ornaments. This work he
* This tabernacle, also, was afterwards restored, and by a worse
master than either of the others.—Ed. Flor, 1832.