mony, and invention.[1] The drawings of Andrea Orgagna were executed with infinite care, as may be seen in our book.
THE FLORENTINE PAINTER TOMMASO, CALLED GIOTTINO.
[born 1324—was living in 1368.]
When the arts of design contend among themselves in emulative strife, when artists labour each to surpass the other, there can be no doubt that the many subtle spirits thus incited to study and aroused to exertion, will constantly make new discoveries for the satisfaction of all the varied wishes and tastes of men. And to speak on this occasion more particularly of painting; some, producing works in a dark and unaccustomed manner, but making clearly evident all the difficulties they have overcome, cause the light of their genius thus to shine forth from the shadow. Others display the utmost softness and delicacy, thinking that these must needs be more pleasing to the eye of the spectator, and as this method displays the forms in more striking relief, so it does, without doubt, more readily attract the attention of the multitude: others, in fine, depicting their subjects with graceful harmony, softening their colours and keeping their lights and shadows in due subjection, deserve the warmest praise, and display the treasures of their genius, while they also prove the rectitude of their judgment, as did Tommaso di Stefano, called Giottino.
This master was born in the year 1324, and received the first rudiments of art from his father; but, while still young, he determined to imitate the manner of Giotto, rather than
- ↑ Leclanche tells us that there is a Nativity of the Virgin, by Andrea Orgagna, in the Louvre; but Schorn expresses doubt of its authenticity, and does not consider it to be by Orgagna. The latter commentator mentions a picture of the Annunciation, in the Florentine Academy, and intimates an opinion that this may be the lost painting from St. Romeo. See ante page 214.
