See also:Simone di Martino, and more commonly, but not correctly,
See also:Simon Memmi,' was
See also:born in 1283 . He followed the manner of
See also:painting proper to his native
See also:Siena, as improved by Duccio, which is essentially different from the stylg of
See also:Giotto and his school, and the idea that Simone was himself a
See also:pupil of Giotto is therefore wide of the mark . The Sienese
See also:style is less natural, dignified and reserved than the Florentine; it has less unity of impression, has more tendency to
See also:pietism, and is marked by exaggerations which are partly related to the obsolescent
See also:Byzantine manner, and partly seem to forebode certain peculiarities of the fully
See also:art which we find prevalent in Michelangelo . Simone, in especial, tended to an excessive and rather affected tenderness in his
See also:female figures; he was more successful in single figures and in portraits than in large compositions of incident . He finished with scrupulous minuteness, and was elaborate in decorations of patterning,
See also:gilding, &c . The first known
See also:fresco of Simone is the vast one which he executed in the
See also:hall of the Palazzo Pubblico in Siena—the " Madonna Enthroned, with the
See also:Infant," and a number of angels and
See also:saints; its date is 1315, at which
See also:period he was already an artist of repute throughout Italy . In S . Lorenzo Maggiore of Naples he painted a
See also:life-sized picture of
See also:King Robert crowned by his
See also:bishop of Toulouse; this also is extant, but much damaged . In 1320 he painted for the high
See also:altar of the
See also:church of S . Caterina in Pisa the Virgin and
See also:Child between six saints; above are archangels, apostles and other figures . The compartmented portions of this
See also:work are now dispersed, some of them being in the academy of Siena . Towards 1321 he executed for the church of S .
See also:Orvieto a picture of the bishop of
See also:Savona kneeling before the Madonna attended by saints, now in the Fabriceria of the
See also:cathedral . Certain frescoes in
See also:Assisi in the
See also:chapel of
See also:San Martino, representing the life of that
See also:saint, ascribed by
See also:Vasari to Puccio Capanna, are now, upon
See also:internal evidence, assigned to Simone . He painted also, in the south
See also:transept of the
See also:lower church of the same edifice, figures of the Virgin and eight saints . In 1328 he produced for the sala del consilio in Siena a striking equestrian portrait of the victorious general Guidoriccio Fogliani de'
See also:Ricci . Simone had married in 1324 Giovanna, the daughter of Memmo (Guglielmo) di Filippuccio . Her brother, named Lippo Memmi, was also a painter, and was frequently associated with Simone in his work; and this is the only reason why Simone has come down to us with the
See also:family-name Memmi . They painted together in 1333 the "
See also:Annunciation " which is now in the Uffizi gallery . Simone kept a bottega (or
See also:shop), undertaking any ornamental work, and his gains were large . In 1339 he settled at the papal
See also:court in
See also:Avignon, where he made the acquaintance of
See also:Petrarch and Laura; and he painted for the poet a portrait of his
See also:lady, which gave occasion for two of Petrarch's sonnets, in which Simone is eulogized . He also illuminated for the poet a copy of the commentary of Servius upon Virgil, now preserved in the Ambrosian library of Milan . He was largely employed in the decorations of the papal buildings ' The ordinary account of Simone is that given by Vasari, and since repeated in a variety of forms .
See also:research shows that it is far from correct, the incidents being erroneous, and the paintings attributed to Simone in various
See also:principal instances not his .
We follow the authority ofCrowe and Cavalcaselle . Some of the
See also:works with which Simone's name and fame have been generally identified are not now regarded as his . Such are the compositions, in the Campo Santo of Pisa, from the
See also:legend of S . Ranieri, and the "
See also:Assumption of the Virgin "; and the
See also:great frescoes in the Cappellone degli Spagnuoli, in S . Maria Novella, Florence, representing the
See also:Triumph of Religion through the work of the Dominican
See also:order, &c . (W . M .
GIOVANNI BATTISTA MARTINI (1706–1784)
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