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MARTINI, SIMONE (1283-1344)

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Originally appearing in Volume V17, Page 801 of the 1911 Encyclopedia Britannica.

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MARTINI, See also:
SIMONE (1457—1508)
SIMONE (1283-1344) , Sienese painter, called also Simone di Martino, and more commonly, but not correctly, See also:

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. 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

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 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 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 he was already an artist of repute throughout See also:

Italy. In S. Lorenzo See also:

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

Maggiore of See also:

Naples he painted a See also:

LIFE

life-sized picture of See also:

King See also:

Robert crowned by his See also:

BROTHER

brother See also:

Lewis, See also:

bishop of See also:

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 of S. Caterina in See also:

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

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

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 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 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 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 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, now preserved in the Ambrosian library of See also:

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 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 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, representing the See also:

TRIUMPH (triumphus)

Triumph of See also:

Religion through the work of the Dominican See also:

order, &c. (W. M.

End of Article: MARTINI, SIMONE (1283-1344)

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