GIOVANNI See also:

• GIOVANNI CIMABUE (1240 to about 1302)

CIMABUE (1240 to about 1302)  , See also:

• ITALIAN

Italian painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence of a respectable See also:

• FAMILY

family, which seems to have See also:

• BORNE, KARL LUDWIG (1786–1837)

borne the name of Gualtieri, as well as that of See also:

• CIMABUE, GIOVANNI (1240 to about 1302)

Cimabue (Bullhead) . He took to the arts of See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design by natural inclination, and sought the society of men of learning and accomplishment . See also:

• VASARI, GIORGIO (1511-1571)

Vasari, the historian of Italian See also:

• PAINTING

painting, zealous for his own native See also:

• STATE
• STATE, GREAT OFFICERS OF

state of Florence, has See also:

• LEFT

left us the generally current See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of Cimabue, which later researches have to a See also:

• GREAT

great extent invalidated . We cannot now accept his assertion that See also:

• ART

art, See also:

• EXTINCT

extinct in See also:

• ITALY
• ITALY (Italia)

Italy, was revived solely by Cimabue, after he had received some training from See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek artists invited by the Florentine See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government to paint the See also:

• CHAPEL

chapel of the Gondi in the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of S . Maria Novella; for native Italian art was not then a nullity, and this church was only begun when Cimabue was already See also:

• FORTY

forty years old: Even See also:

• LANZI, LUIGI (1732–1810)

Lanzi's qualifying statement that Greek artists, although they did not paint the chapel of the Gondi, did execute See also:

• RUDE, FRANCOIS (1784–1855)

rude decorations in a chapel below the existing church, and may thus have inspired Cimabue, makes little difference in the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main facts . What we find as the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general upshot is that some Italian painters preceded Cimabue—particularly Guido of See also:

• SIENA

Siena and Giunta of See also:

• PISA
• PISA, COUNCIL OF (1409)

Pisa; that he worked on much the same principle as they, and to a like result; but that he was nevertheless the most advanced See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of his See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time, and, by his own See also:

• WORKS

works, and the training which he imparted to his mighty See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil See also:

• GIOTTO

Giotto, he left the art far more formed and more capable of growth than he found it (see PAINTING) . The undoubted admiration of his contemporaries would alone demonstrate the conspicuous position which Cimabue held, and deserved to hold . For the chapel of the Rucellai in S . Maria Novella he painted in See also:

• TEMPERA (the Italian term), or DISTEMPER

tempera a See also:

• COLOSSAL

colossal " Madonna and See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

Child with Angels," the largest altarpiece produced up to that date; before its removal from the studio it was visited with admiration by See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles of See also:

• ANJOU

Anjou, with a See also:

• HOST

host of eminent men and See also:

• GENTLE (through the Fr. gentil, from Lat. gentilis, belonging to the same gens, or family)

gentle ladies, and it was carried to the church in a festive procession of the See also:

• PEOPLE

people and trumpeters . Cimabue was at this time living in the Borgo See also:

• ALLEGRI, GREGORIO

Allegri, then outside the walls of Florence; the See also:

• LEGEND (through the French from the med. Lat. legenda, things to be read, from legere, to read)

legend that the name Allegri (Joyous) was bestowed on the locality in consequence of this striking popular display is more attractive than accurate, for the name existed already . Of this celebrated picture, one of the great landmarks of See also:

• MODERN

modern and sacred art, some details may be here given, which we condense from the See also:

• HISTORY

History of Painting in Italy by See also:

• CROWE, EYRE EVANS (1799-1868)
• CROWE, SIR JOSEPH ARCHER (1828-1896)

Crowe and Cavalcaselle . " The Virgin in a red See also:

• TUNIC (0. Eng. tunice, tunical, taken, before the Norman con-quest, directly from Lat. tunica, of which the origin is unknown)

tunic and See also:

• BLUE (common in different forms to most European languages)

blue See also:

• MANTLE

mantle, with her feet resting on an open-worked See also:

• STOOL

stool, is sitting on a See also:

• CHAIR (in. Mid. Eng. chcere, through O. Fr. chaire or chaiere, from Lat. cathedra, later caledra, Gr. xaOi3pa, seat, cf. "cathedral"; the modern Fr. form chaise, a chair, has been adopted in English with a particular meaning as a form of carriage; chaire

chair hung with a See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white drapery flowered in See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold and blue, and carried by six angels kneeling in threes above each other .

A delicately engraved nimbus surrounds her See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head, and that of the See also:

• INFANT (in early forms enfaunt, enfant, through the Fr. enfant, from Lat. infans, in, not, and fans, the present participle of fari, to speak)

infant Saviour on her See also:

• LAP

lap, who is dressed in a white tunic, and See also:

• PURPLE

purple mantle shot with gold . A dark-coloured See also:

• FRAME

frame surrounds the gabled square of the picture, delicately traced with an See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament interrupted at intervals by See also:

• THIRTY

thirty medallions on gold ground, each of which contains the See also:

• HALF

half-figure of a See also:

• SAINT (lat. sanctus, " holy ")

saint . In the See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face of the Madonna is a soft and See also:

• MELANCHOLY (Gr. µe)tayXotia, from µEtas, black, and Xotii, bile)

melancholy expression; in the See also:

• FORM (Lat. forma)

form of the infant, a certain freshness, animation and natural proportion; in the See also:

• GROUP

group, See also:

• AFFECTION (Lat. ad, and facere, to do something to, sc. a person)

affection—but too rare at this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period . There is sentiment in the attitudes of the angels, energetic mien in some prophets, See also:

• COMPARATIVE

comparative clearness and soft See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony in the See also:

• COLOURS, MILITARY

colours . A certain loss of See also:

• BALANCE (derived through the Fr. from the Late Lat. bilantia, an apparatus for weighing, from bi, two, and lanx, a dish or scale)

balance is caused by the overweight of the head in the Virgin as compared with the slightness of her frame . The features are the old ones of the 13th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century; only softened, as regards the expression of the See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye, by an exaggeration of elliptical form in the See also:

• IRIS

iris, and closeness of the curves of the lids . In the angels the See also:

• ABSENCE (Lat. absentia)

absence of all true notions of See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition may be considered striking; yet their movements are more natural and pleasing than hitherto . One indeed, to the spectator's right of the Virgin, combines more See also:

• TENDER

tender reverence in its glance than any that had yet been produced . Cimabue gave to the flesh-tints a clear and carefully fused See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour, and imparted to the forms some of the rotundity which they had lest . With him vanished the See also:

• SHARP, GRANVILLE (1735-1813)
• SHARP, JAMES (1618-1679)
• SHARP, JOHN (1645-1714)
• SHARP, RICHARD (1759-1835)
• SHARP, WILLIAM (1749-1824)
• SHARP, WILLIAM (1856-1905)

sharp contrasts of hard See also:

• LIGHTS, CEREMONIAL USE OF

lights, half-tones and shadows." In a general way, it may be said that Cimabue showed himself forcible in his paintings, as especially in heads of aged or strongly characterized men; and, if the then existing development of art had allowed of this, he might have had it in him to See also:

• EXPRESS (through the French from the past participle of the Lat. exprimere, to press out, by transference used of representing objects in painting or sculpture, or of thoughts, &c. in words)

express the beautiful as well . He, according to Vasari, was the first painter who wrote words upon his paintings,—as, for instance, See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round the head of See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ in a picture of the Crucifixion, the words addressed to See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary, Mulier ecce filius tuns . Other paintings still extant by Cimabue are the following:—In the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

academy of Arts in Florence, a " Madonna and Child," with eight angels, and some prophets in niches, better than the Rucellai picture in composition and study of nature, but more archaic in type, and the colour now spoiled (this See also:

• WORK

work was painted for the Badia of S .

Trinita, Florence); in the See also:

• NATIONAL

National See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery, See also:

• LONDON

London, a "Madonna and Child with Angels," which came from the Ugo See also:

• BALDI, BERNARDINO (1533-1617)

Baldi collection, and had probably once been in the church of S . Croce, Florence; in the Louvre, a " Madonna and Child," with twenty-six medallions in the frame, originally in the church of S . See also:

• FRANCESCO
• FRANCESCO, 210

Francesco, Pisa . In the See also:

• LOWER

lower church of the See also:

• BASILICA

Basilica of S . Francesco at See also:

• ASSISI (anc. Asisium)

Assisi, Cimabue, succeeding Giunta da Pisa, probably adorned the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

south See also:

• TRANSEPT (from Lat. trans, across, and septum, enclosure; synonymous terms in other languages are Fr. croisee, nef transversee; Ital. crociata; Ger. Querbau, Quersch&)

transept, —painting a colossal " Virgin and Child between four Angels," above the See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar of the Conception, and a large figure of St See also:

• FRANCIS
• FRANCIS (FRarrcols) OF SALES, ST (1567-1622)
• FRANCIS (Lat. Franciscus, Ital. Francesco, Span. Francisco, Fr. Francois, Ger. Franz)
• FRANCIS, SIR PHILIP (174o-1818)

Francis . In the upper church, See also:

• NORTH
• NORTH, BARONS
• NORTH, MARIANNE (1830—1890)
• NORTH, ROGER (1653-1734)
• NORTH, SIR THOMAS (1535?-16o1?)

north transept, he has the " Saviour Enthroned and some Angels," and, on the central See also:

• CEILING (from a verb " to ceil," i.e. to line or cover; of disputed etymology, but apparently connected with Fr. ciel, Lat. caelum, sky)

ceiling of the transept, the " Four Evangelists with Angels." Many other works in both the lower and the upper church have been ascribed to Cimabue, but with very scanty See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence; even the above-named can be assigned to him only as See also:

• MATTER

matter of See also:

• PROBABILITY (Lat. probabilis, probable or credible)

probability . Numerous others which he indisputably did paint have perished,—for instance, a See also:

• SERIES (a Latin word from serere, to join)

series (earlier in date than the Rucellai picture) in the See also:

• CARMINE

Carmine church at See also:

• PADUA (Lat. Patavium ; Ital. Padova)

Padua, which were destroyed by a See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire . From Assisi Cimabue returned to Florence . In the closing years of his See also:

• LIFE

life he was appointed capomaestro of the mosaics of the See also:

• CATHEDRAL

cathedral of Pisa, and was afterwards, hardly a See also:

• YEAR

year before his See also:

• DEATH

death, joined with Arnolfo di Cambio as architect for the cathedral of Florence . In Pisa he executed a See also:

• MAJESTY (Fr. majeste; Lat. majestas, grandeur, greatness, from the base mag-, as in magnus, great, major, greater, &c.)

Majesty in the See also:

• APSE
• APSE (Gr. alkir, a fastening, especially the felloe of a wheel; Lat. absis)

apse,—" Christ in See also:

• GLORY (through the O. Fr. glorie, modern gloire, from Lat. gloria, cognate with Gr. KXebs, abets)

glory between the Virgin and Johnthe Evangelist," a See also:

• MOSAIC (corresponding to Lat. opus musivum, from Gr. µovoeiov, an artificial grotto often decorated with mosaics; the word is only found in the sense of mosaic in late Greek, which generally uses k oXI yrlµa)

mosaic, now much damaged, which stamps him as the leading artist of his time in that material . This was probably the last work that he produced . The See also:

• DEBT (Lat. debitum, a thing owed)

debt which art owes to Cimabue is not limited to his own performances .

He was the master of Giotto, whom (such at least is the tradition) he found a shepherd boy of ten, in the pastures of Vespignano, See also:

• DRAWING

drawing with a See also:

• COAL

coal on a See also:

• SLATE (properly CLAY SLATE; in M. Eng. slat or sclat, from O. Fr. esclat, a small piece of wood used as a tile; esclater, to break into pieces, whence modern Fr. eclat, the root being seen also in Ger. schleissen, to split)

slate the figure of a See also:

• LAMB (a word common to Teutonic languages; cf. Ger. Lamm)
• LAMB, CHARLES (1775–1834)

lamb . Cimabue took him to Florence, and instructed him in the art; and after his death Giotto occupied a See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house which had belonged to his master in the Via del Cocomero . Another painter with whom Cimabue is said to have been intimate was Gaddo See also:

• GADDI

Gaddi . It had always been supposed that the bodily semblance of Cimabue is preserved to us in a portrait-figure by See also:

• SIMON, ABRAHAM (1622-1692)
• SIMON, JULES FRANCOIS (1814–1896)
• SIMON, RICHARD (1638–1712)
• SIMON, SIR JOHN (1816–1904)
• SIMON, THOMAS (c. 1623-1665)

Simon Memmi painted in the Cappella degli Spagnuoli, in S . Maria Novella, a thin hooded face in See also:

• PROFILE

profile, with small See also:

• BEARD (A.S. beard, O. H. and Mod. Ger. Bart, Dan. beard, Icel. bar, rim, edge, beak of a ship, &c., O. Slay. barda, Russ. barodd. Cf. Welsh barf, Lat.. barba, though, according to the New English Dictionary, the connexion is for phonetic reasons doubtful)
• BEARD, WILLIAM HOLBROOK (1825-1900)

beard, reddish and pointed . This is, however, extremely dubious . See also:

• SIMONE (1457—1508)

Simone See also:

• MARTINI, GIOVANNI BATTISTA (1706–1784)
• MARTINI, SIMONE (1283-1344)

Martini of Siena (commonly called Memmi) was born in 1283, and would therefore have been about nineteen years of See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age when Cimabue died; it is not certain that he painted the work in question, or that the figure represents Cimabue . The Florentine master is spoken of by a nearly contemporary commentator on See also:

• DANTE

Dante (the so-called Anonimo, who wrote about 1334) as arrogance e disdegnoso; so " arrogant and scornful " that, if any one. or if he himself, found a See also:

• FAULT (Mid. Eng. faute, through the French, from the popular Latin use of fallere, to fail; the originallof the Latin being replaced in English in the 15th century)

fault in any work of his, however cherished till then, he would abandon it in disgust . This, however, to a modern mind, looks more like an aspiring and fastidious See also:

• DESIRE

desire for perfection than ally such form of " arrogance and scorn " as blemishes a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man's See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character . Giovanni Cimabue was buried in the cathedral of Florence, S . Maria del Fiore, with an See also:

• EPITAPH (Gr. it oa¢cos, sc. X/yos, from bri, upon, and ra¢os, a tomb)

epitaph written by one of the Nini: " Credidit ut Cimabos picturae castra tenere, Sic tenuit vixens; nunc tenet astra poli." Here we recognize distinctly a parallel to the first clause in the famous triplet of Dante: Credette Cimabue nella pintura Tener lo campo; ed ora ha Giotto it grido, Si the la See also:

• FAMA (Gr. cI i.a1, "Ovoa)

fama di colui s' oscura." Besides Vasari, and Crowe and Cavalcaselle (re-edited by See also:

• LANGTON, JOHN (d. 1337)
• LANGTON, S
• LANGTON, STEPHEN (d. 1228)
• LANGTON, WALTER (d. 1321)

Langton), the following works may be consulted: P . See also:

• ANGELL, GEORGE THORNDIKE (1823-1909)

Angell, Storia della basilica d' Assisi; See also:

• COLE, SIR HENRY (1808–1882)
• COLE, THOMAS (1801–1848)
• COLE, TIMOTHY (1852– )
• COLE, VICAT (1833–1893)

Cole and See also:

• STILLMAN, WILLIAM JAMES (1828—1901)

Stillman, Old Italian Masters (1892); Mrs Ady, Painters of Florence (190o) .

(W . M .