MADONNA Umbrian school o.fthe early XIV century, Gallery, Perugia. Pliolo A11derson.

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1 MADONNA Umbrian school o.fthe early XIV century, Gallery, Perugia. Pliolo A11derson.

2 THE DEVELOPMENT OF THE I tali an Schools of Painting BY RAIMOND VAN MARLE Doctor of the Faculty of Letters of the University of Paris VOLUME V With 3 collotype plates and 284 illustrations SPRINGER-SCIENCE+BUSINESS MEDIA, B.V. 1925

3 ISBN ISBN (ebook) DOI /

4 TABLE OF CONTENTS. Preface X Chapter I: Umbria. I Chapter II: Painting in The Marches I27 Chapter III: Painting in Pi sa, Lucca, Sardinia, Liguria and in small Tuscan centres. I99 Chapter IV: Trecento painting in Naples and neighbouring regwns. 3 I 4 Chapter V: Fourteenth century painting in Lazio, the Abruzzi, Apulia and Sicily Supplementary notes and illustrations to Volumes 1-V 405 Indices on Volume V. 485 Indices on the Supplementary notes and illustrations to Volumes 1-V. 5I2 N.B. The terms "right'' and "left" are used from the standpoint of the spectator unless the contrary be stated.

5 PREFACE. At the outset of this work I thought it possible that I might have to lay down my pen at the end of the fifth volume, but it is with considerable pleasure I learn that my readers have been in great enough number and sufficiently satisfied with the work for my editor and myself to continue the enterprise and undertake a study of the fifteenth century, similar to that which has already appeared on the fourteenth. The spontaneous manifestations of sympathy that I have received from many different countries give me the impression that there exists a group of readers who will not be disappointed to hear of my intention to continue this history of Italian painting, at least until the end of the fifteenth century which is a period not rn any way less glorious than those with which I have already dealt. I should like to give one word of warning to the authorities of galleries and to private collectors who of late have started buying pictures of the thirteenth century. Notwithstanding the fact that the interest in this form of art is of recent date, the amount of facticious paintings of this period is already very considerable. Many of them are half-length figures of the Madonna painted on late Byzantine panels of the same subject; Greek Madonnas of the sixteenth and seventeenth centuries are in this way transformed into Italian pictures of the thirteenth. Other panels really dating from the thirteenth century, which I saw some years ago, in a poor and very ruinous condition, have recently been offered for sale "in a perfect state of preservation''. To those whose interest in masters of this remote period was roused by my first volume, I only think it just to give here a word of warning which at the present moment is urgently needed. It has been remarked that I have given little space to facts con cerning the surroundings in which the different Italian schools originated and flourished, and this absence has been benevolently explained

6 YIII PREFACE. by my desire not to further increase my already bulky volumes by the addition of new elements. This is quite true but I must say there was still another reason why I did not dwell on this subject and that is that I do not really think that many exterior elements helped in the formation of the im portant schools of painting. The courts of the different princes were obviously common meeting ground~ for great artists, but these artists frequently came from distant towns and did not always influence the formation of those local schools. On the other hand, we find that extraordinary centres of civili zation, such as those of Bologna) and Pisa, with universities of worldwide fame, possessed painters of a very mediocre standing, while a city like Siena, certainly of considerable importance but chiefly a town of merchants with a much more highly developed taste for fast and pleasures than for culture and intellectual matters, was the centre of the most important school of the fourteenth century. Also m Florence, notwithstanding its great poets, we find few traces of intellectual life during this period. Nor do I think that we have any reason to believe that the artistic prosperity of a community or region was influenced by the greater or lesser religious fervour of its inhabitants. Umbria, the home of St. Benedict, St. Francis and St. Clare, and one of the sites where mystical movements always found very many zealous adherents, did not possess a really important school of painting, except for a short period in the second half of the fifteenth century. Generally speaking I should say that those parts of Italy which once formed Etruria are those which at later dates produced the more important schools, however there is no trace of an artistic tradition from Etruscan times until the middle ages. Although a great deal has been written and said about the surroundings in which important centres of art came into existence, I do not think there is much truth in it. It is quite a different matter for the courts of the art loving princes and I shall make frequent reference to them in the following volumes. San Marco di Perugia, Dec R.v.M.

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