Identifier: newhistoryofpain02crow (find matches)
Title: A new history of painting in Italy, from the second to the sixteenth century
Year: 1864 (1860s)
Authors: Crowe, J. A. (Joseph Archer), 1825-1896 Cavalcaselle, G. B. (Giovanni Battista), 1820-1897
Subjects: Painting
Publisher: London, J. Murray
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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irectly from the school of the Lorenzetti, but of onewho felt as they did, who carried out bold and vigo-rous action by exaggeration of vehemence. It is theresult of a development in a single path of an artbrought up to a certain form of excellence by Duccio,continued by Ugolino and Simone, and more or less bythe Lorenzetti without an effort or a wish to alter it bysubjection to great but necessary laws. So it happenedthat as the fifteenth century dawned, Taddeo who stood atthe head of the school of Sienna, was still on the falseground of his predecessors, still striving by febrile activityin a confined and vicious circle, to show how high artmight be brought by one who neglected its simplest yetgrandest maxims. He supported the Siennese school byhis talent and power. He could not raise it higher thanit had already come, nor bequeathe any improvement to Vol. II. p. 221.) was seen by the I one Signor Supino at Pisa. It haslatest annotators in possession of ; been transferred to Vienna.
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Chap. VI. SARDI CHAPEL AT PISA. 159 his successors. Sienna gained less from him than it didfrom the Lorenzetti. It could not rival Florence; notbecause it had not created men of talent, but because ithad had no Giotto. A glance at the figures of the Evangelists and doctorsin the angles of the ceiling in the Sardi chapel, orsacristy as it now is, of S. Francesco of Pisa, may sufficeto show how ably Taddeo could suspend figures in air,broadly drape them in vestments agitated by the wind,vary them in movement and make them hover or fly inattitudes calculated to display at once the excessive bold-ness and ability of his hand. Yet as regards nude form,he fell into the defects of all his predecessors. Nor wasthis an occasional failing, but a general one. On the de-formed nude of the Baptist,1 at the left side of the altar,the spectator might pass without more than a momentaryattention, were his eye not rivetted to the place by theforcible character of an otherwise disagreable type andthe gr

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