He who is here denominated Maestro Mino, not Fra Mino; who is sometimes called Minuccio, a diminutive not fitted for an old monk; and appears to have been employed in Siena when Fra Mino was at Rome, is another artist. Thus we discover another eminent painter of the name of Mino, or Minuccio, who seems to be in reality the author of the picture of 1289, above alluded to, which remained in the council hall even within my memory, and of others, down to 1298. He there represented the Virgin and Child, surrounded by angels, and under a canopy, supported by Apostles and the patron saints of the city. The size of the figures, the invention and the distribution of the work, are surprising for that age; of the other qualities one cannot speak with certainty; for it was repaired in 1321 by Simone da Siena, and there are beauties in the features and the drapery that can be ascribed only to the restorer. The mistake thus occasioned by the same name being cleared up, the system of the learned author of the Lettere Sanesi, is in part confirmed, and in part falls to the ground. He is right in refusing to Giotto certain Sienese pupils, referred to him only from traces of a more modern style; for we here discover an artist who made some advances towards the new manner even previous to Giotto, who, in 1289, was only thirteen years of age. Now this Mino, and Duccio, of whom we shall soon treat, might certainly have formed pupils able to compete with the school of Giotto, and even in length of years to surpass Giotto himself. There is no reason, however, to prefer the Sienese painters to Cimabue, on the strength of this painting, as the author in question has so often done. Comparison ought to be employed between painter and painter, between contemporary and contemporary. F. Mino, to whom this single picture was attributed, is now shewn to have been merely a mosaic worker: Mino or Minuccio began to be known when Cimabue was fifty years of age; and is the author of a single work, not so free from retouches, nor so large as that of Assisi, already described. The comparison then is not just.
Every school thinks itself sufficiently honoured when it can produce two or three painters of the thirteenth century: the school of Siena is peculiarly rich in them, and these are recorded in the twenty-fifth letter On the disciples of Guido. As usual I shall omit the names of those least entitled to recollection. I will not affirm that all of them proceeded from the school of Guido; for in a city where the fine arts flourished so rapidly, masters unknown to us may have been produced. Much less will I ascribe artists of other cities to this school. In the manuscripts of Mancini, one Bonaventura da Lucca is mentioned, who is the Berlingieri already mentioned.[260] I neither assign him to Guido nor to Giunta. Who can tell whether Lucca had not also in those early times an original school, now unknown to us? Setting aside uncertain points therefore, we can only assert, that after the middle of the century, Siena abounded in painters, more, perhaps, than any other city of Italy; and the causes of this are as follows.
The cathedral was begun several years before, in a style of magnificence suited to the lordly views of the citizens. It was not a work to be completed in a short time: hence it was frequently interrupted, and a long period had elapsed before it was finished. During this time many architects (magistri lapidum) and sculptors either were invited from other places, or were reared up in the city; and in 1250 they formed a corporate body, and required particular laws.[261] Although nothing is ascertained with regard to their mode of study, it is natural to suppose that the study of sculpture contributed to the advancement of painting, a sister art. The celebrated battle of Monte Aperto, in which the people of Siena defeated the Florentines, happened in 1260. This victory produced an era of peace and opulence to the city, and encouraged both in public and in private the arts depending on luxury. The victory was ascribed to the interference of the blessed Virgin Mary, to whom the city was consecrated; the adoration of her votaries increased, and her images were multiplied in the streets, and in all other places; and thence painting obtained fresh encouragement, and new followers.
Ugolino da Siena should be referred to this era; he died decrepid in 1339, and consequently might have been born before 1260. We cannot agree with Vasari, who insinuates that he was the scholar of Cimabue; nor with Baldinucci, who ingrafts him on his Tree; nor yet with others who assert that he was the pupil of Guido; for the latter must have been dead when Ugolino was very young. That he was educated in Siena, seems to me highly probable, from the number of masters then in that city, and because the colouring of his Madonna of Orsanmichele at Florence is in the style of the old school of Siena; less strong and less true than that of Cimabue and the Florentines. This fact appears to me of importance, for it depends on the mechanism of the art, which was different in different schools. Design at that early period savoured more or less of the Greeks; and in this respect Ugolino adhered to them too closely. "He painted pictures and chapels over all Italy," says Vasari; and if I am not mistaken he came to Florence after his travels, and at length died at Siena.
Duccio di Boninsegna is another master of this age, of whom I shall speak in another place, as the inventor of a new species of painting. Tizio says he was the pupil of Segna, an artist now almost unknown in Siena. He must, however, have enjoyed great celebrity in his day among his countrymen; for Tizio informs us that he painted a picture at Arezzo, containing a figure which he pronounces excellent and highly esteemed. He has transmitted to us the following remarkable testimony concerning Duccio: "Ducius Senensis inter ejusdem opificii artifices eâ tempestate primarius; ex cujus officinâ veluti ex equo Trojano pictores egregii prodierunt."
The eâ tempestate refers to 1311, when Giotto was at Avignon; and when Duccio was employed on the picture that still exists in the opera-house, which was completed in three years, and almost forms an era in the art. It was large enough to have formed a picture for the great altar of the metropolitan church for which it was intended. On the side facing the people he painted large figures of the Virgin, and of various saints; on that fronting the choir he represented scriptural subjects, in many compartments, in which he introduced a vast number of figures a palm in length. Pius II. relates in his Annals of Siena, which were never published, that it cost 2,000 florins; others raise it to 3,000; but not so much on account of the workmanship as the profusion of gold and ultramarine. The style is generally thought to approach the Greek manner; the work, however, is the most copious in figures, and among the best executed productions of that age. Duccio was employed in many parts of Tuscany, and in the church of the Trinity at Florence he painted an Annunciation which, in the opinion of Baldinucci, "leaves no doubt that he was a scholar of Giotto, or of his disciples." But this will not be granted or believed by those who have seen it; for both the colouring and the style are totally dissimilar. Chronology, too, opposes the conclusion; unless we introduce here also a confusion, arising from artists with similar names: Duccio painted from 1282,[262] and died about 1340.[263]
The history becomes more complete, when we arrive at the celebrated Simone Memmi, or Simone di Martino,[264] the painter of Laura, and the friend of Petrarca, who has celebrated him in two sonnets that will hand him down to the latest posterity. The poet has also eulogized him in his letters, where he thus speaks: "duos ego novi pictores egregios … Joctum Florentinum civem, cujus inter modernos fama ingens est, et Simonem Senensem;" which is not, however, comparing him to Giotto, to whom he pays a double compliment, but it is giving Memmi the next rank. In such a convenient place the poet would not, in my opinion, have omitted Jocti discipulum, had he been acquainted with such a circumstance: but he appears to have no knowledge of it; and this renders it doubtful whether Simone was the pupil of Giotto at Rome, notwithstanding the assertion of Vasari, who adds that the latter was then engaged in the mosaic of the