still be performing, an infinite number of miracles.
This
last-mentioned work I do not intend to pronounce Cavallini’s
best, although it has so great a name throughout all Italy, but
I am entirely and fully convinced, from the mode of its execution, that this picture is from the hand of Pietro,[1] whose
most praiseworthy life, and piety towards God, were worthy
to be imitated by all men. Nor let any one suppose that a
man ever attains a truly honourable station, without purity
of life and the fear of God, for that is well-nigh impossible,
as our daily experience fully proves. Giovanni of Pistoja,
who painted some pictures, but of no great importance, in
his native city, was a disciple of Pietro Cavallini. The
latter died at Rome, in the 85th year of his age, of pleurisy, caused by his labours in fresco, and by the damp to
which he was exposed, in a too long continued exercise of
his occupation.
He painted about the year 1364, and was honourably interred in the church of St. Paul, without the walls of Rome, where the following epitaph was placed on his tomb:—
“ Quantum Romanae Petrus decus addidit urbi
Pictura, tantum dat decus ipse polo.”
I have been unable to discover any likeness of this artist, in spite of all the pains I have taken for that purpose.[2]
SIMON AND LIPPO MEMMI,[3] PAINTERS, OF SIENA
[born 1285?—died 1344.] [born...—died 1357.]
Most truly may those men be called happy who are by nature disposed to the cultivation of the arts, for not only may they derive great honour and profit therefrom in their
- ↑ It will be readily comprehended, that Pietro here speaks of that figure of the most holy Annunciation, which is still venerated in the church of the Servites, in Florence.—Bottari. See also Lanzi, vol. i, p. 332.
- ↑ A portrait of Cavallini was discovered at a later period, and may be seen in the Bolognese edition of Vasari; the third namely, published in 1647.
- ↑ See Lanzi, History of Painting, vol. i, p. 278.
