See also:

• SIMONE (1457—1508)

SIMONE See also:

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

MARTINI (1283-1344)  , Sienese painter, called also See also:

• SIMONE (1457—1508)

Simone di Martino, and more commonly, but not correctly, 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,' was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in 1283 . He followed the manner of See also:

• PAINTING

painting proper to his native See also:

• SIENA

Siena, as improved by Duccio, which is essentially different from the stylg of See also:

• GIOTTO

Giotto and his school, and the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea that Simone was himself a 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 of Giotto is therefore wide of the See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark . The Sienese See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style is less natural, dignified and reserved than the Florentine; it has less unity of impression, has more tendency to See also:

• PIETISM

pietism, and is marked by exaggerations which are partly related to the obsolescent See also:

• BYZANTINE

Byzantine manner, and partly seem to forebode certain peculiarities of the fully See also:

• DEVELOPED

developed See also:

• ART

art which we find prevalent in See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo . Simone, in especial, tended to an excessive and rather affected tenderness in his See also:

• FEMALE

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

gilding, &c . The first known See also:

• FRESCO (Ital. for cool, " fresh ")

fresco of Simone is the vast one which he executed in the See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

hall of the Palazzo Pubblico in Siena—the " Madonna Enthroned, with 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," and a number of angels and See also:

• SAINTS, BATTLE OF THE

saints; its date is 1315, at which See also:

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

period he was already an artist of repute throughout See also:

• ITALY
• ITALY (Italia)

Italy . In S . Lorenzo See also:

• MAGGIORE, LAGO (Lacus Verbanus of the Romans; Fr. Lac Majeur; Ger. Langensee)

Maggiore of See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples he painted a See also:

• LIFE

life-sized picture of See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert crowned by his See also:

• BROTHER

brother See also:

• LEWIS, HENRY CARVILL
• LEWIS, JOHN FREDERICK (180 1876)
• LEWIS, MATTHEW GREGORY (1775-1818)
• LEWIS, MERIWETHER (1774-1809)
• LEWIS, SIR GEORGE CORNEWALL, BART

Lewis, See also:

• BISHOP (A.S. bisceop, from Lat. episcopus, Gr. irio-Korros, " overlooker " or " overseer ")
• BISHOP, ISABELLA (1832-1904)
• BISHOP, SIR HENRY ROWLEY (1786-1855)

bishop of See also:

• TOULOUSE
• TOULOUSE, LOUIS ALEXANDRE DE BOURBON, COUNT OF (1678-1737)

Toulouse; this also is extant, but much damaged . In 1320 he painted for the high 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 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 . Caterina in See also:

• PISA
• PISA, COUNCIL OF (1409)

Pisa the Virgin 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 between six saints; above are archangels, apostles and other figures . The compartmented portions of this See also:

• WORK

work are now dispersed, some of them being in the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

academy of Siena . Towards 1321 he executed for the church of S .

Domenico in See also:

• ORVIETO (anc. Volsinii (q.v.)

Orvieto a picture of the bishop of See also:

• SAVONA

Savona kneeling before the Madonna attended by saints, now in the Fabriceria of the See also:

• CATHEDRAL

cathedral . Certain frescoes in See also:

• ASSISI (anc. Asisium)

Assisi in the See also:

• CHAPEL

chapel of See also:

• SAN

San Martino, representing the life of that See also:

• SAINT (lat. sanctus, " holy ")

saint, ascribed by See also:

• VASARI, GIORGIO (1511-1571)

Vasari to Puccio Capanna, are now, upon See also:

• INTERNAL

internal See also:

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

evidence, assigned to Simone . He painted also, in 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 of the See also:

• LOWER

lower church of the same edifice, figures of the Virgin and eight saints . In 1328 he produced for the See also:

• SALA, GEORGE AUGUSTUS HENRY (1828-1895)

sala del consilio in Siena a striking equestrian portrait of the victorious See also:

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

general Guidoriccio Fogliani de' See also:

• RICCI, MATTEO (1552-1610)

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 See also:

• REASON (Lat. ratio, through French raison)

reason why Simone has come down to us with the See also:

• FAMILY

family-name Memmi . They painted together in 1333 the " See also:

• ANNUNCIATION

Annunciation " which is now in the Uffizi See also:

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

gallery . Simone kept a bottega (or See also:

• SHOP

shop), undertaking any ornamental work, and his gains were large . In 1339 he settled at the papal See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court in See also:

• AVIGNON

Avignon, where he made the acquaintance of See also:

• PETRARCH (1304-1374)

Petrarch and Laura; and he painted for the poet a portrait of his See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

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 See also:

• VIRGIL (PUBLIUS VERGILIUS MARC)
• VIRGIL, POLYDORE (c. 1470-1555)

Virgil, now preserved in the Ambrosian library of See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan . He was largely employed in the decorations of the papal buildings ' The See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary See also:

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

account of Simone is that given by Vasari, and since repeated in a variety of forms . See also:

• MODERN

Modern See also:

• RESEARCH (O. Fr. recerche, from recercher, re- and cercer, mod. chercher, to search; Late Lat. circare, to go round in a circle, to explore)

research shows that it is far from correct, the incidents being erroneous, and the paintings attributed to Simone in various See also:

• PRINCIPAL

principal instances not his .

We follow the authority of See also:

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

Crowe and Cavalcaselle . Some of the See also:

• WORKS

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

legend of S . Ranieri, and the " See also:

• ASSUMPTION, FEAST OF

Assumption of the Virgin "; and the See also:

• GREAT

great frescoes in the Cappellone degli Spagnuoli, in S . Maria Novella, See also:

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

Florence, representing the See also:

• TRIUMPH (triumphus)

Triumph of See also:

• RELIGION
• RELIGION, FOLKLORE, CUSTOM

Religion through the work of the Dominican See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order, &c . (W . M .