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This he did, butnot without signs here and there of uneasiness and discontent
with thepattern. PRINCIPAL WORKS: FLORENTINES--Cimabue, Madonnas S. This he
did, butnot without signs here and there of uneasiness and discontent with
thepattern. The single figures were usually the best. ) stillfurther advanced
the Giottesque type and method. It was not a revolt or a starting out anew on a
whollyoriginal path. The Siennese who came the nearest to Giottos excellence
were thebrothers Ambrogio (fl. Domenico Sienna; Duccio, panels Duomo and Acad.
Novella, Campo Santo Pisa; Orcagna, altar-piece Last Judgment and Paradise
Strozzi chapel S. Itwas his business to transcribe what had gone before. The
painters were taking notes of natural appearances.
While it grew in sentiment
and religious fervor it lost inbodily vigor and technical ability. The
knowledge of the ancient world lay buried under theruins of Rome. The Church
taught people by sculpture, mosaic,miniature, and fresco.
It lent itself to
teaching and came under ecclesiasticaldomination.
His art was further along
toward theRenaissance than that of any other Giottesque.
He probably profited
somewhat by theexample of Giotto. He combined in his workall the art learning
of his time. In the larger pieces thecomposition was rather rambling and
disjointed, and the color harsh. Acommercial rivalry sprang up among the
cities. Just when it first began to show its influence there is matter
ofdispute.
But the Roman world,with all its classicism and learning, was
dying.
The painters were taking notes of natural appearances. There was no
chance for painting to rise under the prevailingconditions. The Church held the
power andwas still the patron of art. That it strongly affected Italy is a very
apparent fact. Croce, injured frescos Bargello Florence; Taddeo Gaddi, frescos
entrance wall Baroncelli chapel S.
) was a supposed imitatorof Giotto, of whom
little is known.
He was the last inheritor of the Giottesquetraditions.
The
Siennese who came the nearest to Giottos excellence were thebrothers Ambrogio
(fl. As in Italy,form failed century by century. He came too early for the
highest achievement.
) was the last of the great Giotto followers.
When
enlightenment came, people began to doubtthe spiritual power of the
Papacy.
There were four kinds of these wall paintings.
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