A new history of painting in Italy : from the II to the XVI century . ALTARPIECE SANO DI MADONNA AND CHILD MATTEO DI GIOVANNI. Gallery, Siena. MATTEO DI GIOVANNI 129 she acknowledged a supremacy, inevitable as well as beneficial, sheswore fealty to Perugia, retaining the humble position of vassal, contentin the exercise of talents second to those of the great Vannucci, and asfar below those of Padua in the scientific branch, as they were belowthose of Venice in the gift of colour. Matteo, however, was but half aSienese, being the son of a tinman of Borgo S. Sepolcro, and perhaps anati
A new history of painting in Italy : from the II to the XVI century . ALTARPIECE SANO DI MADONNA AND CHILD MATTEO DI GIOVANNI. Gallery, Siena. MATTEO DI GIOVANNI 129 she acknowledged a supremacy, inevitable as well as beneficial, sheswore fealty to Perugia, retaining the humble position of vassal, contentin the exercise of talents second to those of the great Vannucci, and asfar below those of Padua in the scientific branch, as they were belowthose of Venice in the gift of colour. Matteo, however, was but half aSienese, being the son of a tinman of Borgo S. Sepolcro, and perhaps anative of the town the name of which derived lustre from Piero He is supposed to have seen the light not later than 1435 ;2and this belief is based with some security on an income-paper of 1453,in which Matteo describes himself as a stranger, with Giovanni di Pietrofor his assistant, at a hired lodging in the Palazzo Theirjoint labour was expended in 1457 on a chapel dedicated to S. Bernardinoin the Siena But Matteos fame and affluence increased at alater ti
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