. A new history of painting in Italy, from the II to the XVI century; . THE STROZZI CHAPEL 359 of Giotto. It is less obvious who taught him to paint; perhapshis brother Bernardo, as Vasari states ; but, evidently, he com-bined Florentine and Sienese qualities, and at S. Maria Novella, heunited the great maxims of Florentine composition, its dramaticforce, with the Sienese tenderness, and practice of colour. In thishe marks a new phase of art. It was admitted in his own time ^that he was the greatest painter who had lived since Giotto; andthough Taddeo Gaddi was inclined to beheve that painting
. A new history of painting in Italy, from the II to the XVI century; . THE STROZZI CHAPEL 359 of Giotto. It is less obvious who taught him to paint; perhapshis brother Bernardo, as Vasari states ; but, evidently, he com-bined Florentine and Sienese qualities, and at S. Maria Novella, heunited the great maxims of Florentine composition, its dramaticforce, with the Sienese tenderness, and practice of colour. In thishe marks a new phase of art. It was admitted in his own time ^that he was the greatest painter who had lived since Giotto; andthough Taddeo Gaddi was inclined to beheve that painting haddeclined after the death of his master, this was true only of himselfand of those Avho, hke him, were but humble imitators. Sacchettihas preserved the memory of a meeting of artists at S. Miniato,where, after a pleasant dinner and much drinking of wine, Orcagna,being at that time capo-maestro of Orsanniichele, suggested as asubject for debate Who, setting aside Giotto, was the greatestmaster in painting ? No one appears to have hinted that OrcagnaAvas himself the
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