A history of painting . did these things with something of grandeur in style, anda certain breadth of handling as regards his use of lineand draughtsmanship. Duccio, it may be said, was thefirst painter to step from the painted illuminations of theDark Ages, and to employ painting to larger and fullerends. He put from him the gilt Byzantine backgrounds,and painted in their place architecture and landscape. Hemade his figures human ; and rid figure and apparel oftheir Byzantine rigidity. Duccios most famous work is the huge altar-piece,64 II SIMONE MARTINI1283 1344 SIENESE SCHOOL CHRIST BEARING
A history of painting . did these things with something of grandeur in style, anda certain breadth of handling as regards his use of lineand draughtsmanship. Duccio, it may be said, was thefirst painter to step from the painted illuminations of theDark Ages, and to employ painting to larger and fullerends. He put from him the gilt Byzantine backgrounds,and painted in their place architecture and landscape. Hemade his figures human ; and rid figure and apparel oftheir Byzantine rigidity. Duccios most famous work is the huge altar-piece,64 II SIMONE MARTINI1283 1344 SIENESE SCHOOL CHRIST BEARING HIS CROSS(Jesus-Christ marchant au Calvaire) (Louvre) Christ, preceded by the executioner, soldiers, and two children, is bearingHis Cross to Calvary. He is attended by a large crowd, in which may berecognised the Virgin Mary, in blue robes, supported by St. John ; Magdalene in red, with her long hair falling over her shoulders,raises her hands in grief. Painted in tempera on panel. 10 in. x 4 in. (0-25 x 010).. OF PAINTING the Maesta, painted on the panels of the reredos for the WHEREIN cathedral, to-day in the Opera del Duomo of Siena, which, WE SEE being completed in 1311, was carried through the streets THE RE- to be placed in the cathedral on the oth of the Tune of NAISSANCE FLITthat year in solemn procession, to the ringing of bells, Tunniiru the city making public holiday, all shops and offices closed, cirrvraand the people turning out in gala dress. And it is likelyenough that this event was stolen by Florentine Vasari to fixupon Florence the credit of the Rucellai Madonna, and, forthe same reason, the Florentine probably filched the credit ofDuccio, in order to put the picture upon his fellow-towns-man Cimabue. It is at least strange that there is no recordof so great an event in the Florentine chronicles of theday—no hint of so important an event amidst the archivesthat record far lesser things ; still more strange that theprocession is repeated detail by d
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Keywords: ., bookcentury1900, bookde, booksubjectpainters, booksubjectpainting
