The History of Painting in Italy, Vol. 1 (of 6): From the Period of the Revival of the Fine Arts to the End of the Eighteenth CenturyLanzi, Luigi
History
The History of Painting in Italy, Vol. 1 (of 6): From the Period of the Revival of the Fine Arts to the End of the Eighteenth Century
Lanzi, Luigi
Painting -- Italy -- History
After painting had attained so high a degree of excellence in Siena, it
was liable to decline, both from the usual lot of the most auspicious
eras, to which an age of servile imitation, and of hurried execution,
generally succeeds, and also from the terrible plague which, in 1348,
desolated Italy and Europe; sweeping off distinguished masters and
pupils in every school. Siena, however, did not lose her Lorenzetti, who
constituted her ornament for several years; but if her population at one
time equalled 75,000, it was afterwards greatly diminished. She could,
however, still vie in the number of her artists with Florence itself.
This clearly appears from _The Statutes of the Painters of Siena_,[268]
published by P. della Valle, in his first volume, letter sixteen. They
are drawn up with the characteristic simplicity, clearness, and
precision of the thirteenth century; and are a very admirable body of
regulations for the due propriety and direction of artists, and for the
honour of the art. We can discern that this society consisted of
cultivated and well educated persons; and it does not excite
astonishment to find that, democratic in government as Siena then was,
the highest magistrates of the republic were sometimes elected from
among the professors of the art. They formed a body-corporate; not
merely a fraternity, nor an academy of design; and received their
charter, not from the bishop but from the city, or the republic in 1355.
Some have conjectured that those statutes are as old as the preceding
century; and that they were translated into Italian from the Latin about
1291: for Tizio informs us that, in this year, "Statuta maternâ linguâ
edita sunt ad ambiguitates tollendas." But Tizio must have meant the
statutes concerning wool, and others then existing; and those of the
artists may have been framed at a subsequent period. Indeed, the manner
in which they are drawn up, without a reference to preceding ordinances,
indicates a first edition. If there were statutes published in the
vulgar tongue in 1291, why was the sanction of the law deferred for 66
years? or why are the new not distinguished from the old, as is usual in
similar codes?
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