When Guido da Vicchio was born in the little fortified town from which
he takes his name, the town that looks out upon the Apennines on the
North and West, and towards Monte Giovo on the South, the Medici family
was just beginning to raise its head in Florence. Salvestro di Medici
had originated the "Tumult of the Ciompi"; the era of democratic
government in the city was drawing to a close. Beyond the boundaries of
Florence the various states into which Italy was divided were
quarrelling violently among themselves. The throne of St. Peter was rent
by schism, Pope and anti-Pope were striving one against the other in
fashion that was amazing and calculated to bring the Papal power into
permanent disrepute. It was a period of uncertainty and unrest, prolific
in saints and sinners, voluptuaries and ascetics. No student of history
will need to be reminded that it is to periods such as this that the
world has learned to look for its remarkable men.
[Illustration: PLATE III.--TWO ANGELS WITH TRUMPETS
These panels from the Uffizi Gallery in Florence are very popular
examples of the master's early work, and although they do not compare
favourably with his later efforts, they have achieved an extraordinary
measure of popularity in Italy, and are to be seen on picture postcards
in every Italian city from Genoa to Naples. (See p. 32.)]
Doubtless some echo of the surrounding strife penetrated beyond the
walls of Vicchio when Guido was a little boy, for he lived in a
fortified town built for purposes of war. It is not unreasonable to
suppose that he may have seen enough of the stress and strife peculiar
to the age to have turned his thoughts to other things. If a lad, born
with a peaceable and affectionate disposition, be brought into contact
with violence at an early age, his peaceful tendencies will be
strengthened, he will avoid all sources and scenes of strife. We know
nothing of the painter's boyhood, but, looking round at the conditions
prevailing in Florence, it seems more than likely that the years were
not quite restful.
Public-domain text, read in full here on John Shaqi.
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