History of mediæval art . annered treatment, and formswithout deep significance, became prominent; the more as the tech-nical ability, practice, and experience increased. Only in one Italian town, Siena, did any noteworthy indepen-dence appear, this being developed by a master whose artistic prin-ciples differed radically from those of Giotto, but who in many re-spects fully equalled the Florentine master. Mention has alreadybeen made of Duccio di Buoninsegna as emulating Cimabue. Thefame of Giotto was similarly rivalled by his younger contemporary, ITALY. 669 Simone di Martino, A. D. 1284 to
History of mediæval art . annered treatment, and formswithout deep significance, became prominent; the more as the tech-nical ability, practice, and experience increased. Only in one Italian town, Siena, did any noteworthy indepen-dence appear, this being developed by a master whose artistic prin-ciples differed radically from those of Giotto, but who in many re-spects fully equalled the Florentine master. Mention has alreadybeen made of Duccio di Buoninsegna as emulating Cimabue. Thefame of Giotto was similarly rivalled by his younger contemporary, ITALY. 669 Simone di Martino, A. D. 1284 to 1344, whose chief work, the largemural painting in the Town-hall of Siena, representing the Virginand Saints, was completed in 1315. The art of Simone has, on thewhole, more in common with Gothic principles than has that ofGiotto; he cared less for dramatic realism and characterization thanfor delicate expression combined with a high feeling for beauty,* such as is seldom found in the productions of the Florentine Fig. 407.—The Martyrdom of St. George. Fresco in the Capella S. Felice of S. Antonio at Padua. The types of the Madonna, of the Angels and Saints {Fig. 408), asseen in this picture, and the reverent and devotional attitude ofevery figure, are to be found in the Gothic sculptures of France, butnot in the works of the school of Giotto. The Sienese conceptionhere evident is altogether opposed to the Florentine: the schoolsstanding in such relation as that of Cologne to that of Flandersand Brabant. The same traits appear in the mural paintings of 670 PAINTING OF THE GOTHIC EPOCH. Avignon, in which town Simone passed the latter part of his artist, however, was by no means wanting in power, as is evi-dent from the equestrian portrait of General Guidoriccio Folignani,executed by Simone, A. D. 1328, in the Town-hall of Siena, on thewall opposite the Madonna before mentioned. His fame is foundedin great measure upon his portraits, chiefly those of women, w
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