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By Raimond Van Marle

The pictorial construction which, in Tuscany, belongs to the cosmopolitan Gothic variety, indicates convinced peculiarities which differentiate it from the opposite neighborhood teams. the reason for this phenomenon has to be hunted for within the creative circulation in th Florence and Siena sooner than the start of the I5 century. it's glaring that during those cities creative currents have been verified that have been in an effort to say self reliant and supplied in themselves a powerful response opposed to any open air impression. additionally, opposite to the areas of Northern Italy, either the cities of Florence and Siena have been too a ways far away from different international locations to suppose the results of the evolution that came about within the box of figurative paintings. it's actual that sure districts to the south of Tuscany have been inspired via international faculties yet this is often accounted for by way of the feebleness of neighborhood centres of any significance, if now not their complete absence.

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Extra resources for The Development of the Italian Schools of Painting: Volume IX

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John and Mary Magdalene and six other saints below. In the envi· rons of Florence, S. Biagio a Petriolo, frescoes (Poggi, Toscana, p. 49); Vecchio di Rimaggio, S. Lorenzo, mystic marriage of St. Catherine in the midst of four saints, with five other saints below (1. Vavassour Elder, op. ). Loro Ciuifenna, Badia di Sopra, Annunciation (Salmi,op. ). Paris, Cluny Museum (1741), Madonna and four saints. Pes cia, S. Antonio Abate, choir, part of the frescoes illustrating the life of St. Antony, sometimes ascribed to Lorenzo di Bicci (v.

251. O. Siren, Compagno di Bicci, L' Arte, VII, 1904, p. 352. The Same, Lorenzo Monaco, p. 175. Thieme Becker, Kunstler Lexikon, XII, p. 315. (3) Poggi, Supino e Ricci, op. , p. 55. (4) Poggi, Supino e Ricci p. 57. (1) 53 AND SOME CONTEMPORARIES Fig. 29. Rossello di ]acopo Franchi, the Coronation of the Virgin and saints, 1420. Accademia, Florence . Photo Brogi. to an anonymous painter he baptized the "Compagno di Bicci". The identification of this master with Rossello is unquestionable after the discovery of two works signed by this artist; the one is a Coronation of the Virgin dated 1439 which was formerly in the Toscanelli collection, Pisa; it passed into that of Mr.

These paintings still exist in a loggia outside the church and are obviously not from the hand of Bicci di Lorenzo. At Fiesole we find a large altar-piece ordered by Bishop Benozzo Federighi shortly before his death, which took place in 1450; the predella which showed the founder's coat of arms has disappeared (3). The central figure of the altar-piece is that of the Virgin seated on a simple Gothic throne with two angels kneeling before her. To the sides are depicted SS. Alexander bishop and martyr, Peter, Romulus and Donatus while the medallions above are adorned with the figures of the two SS.

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