that of Stefano, his father. And his efforts in that matter succeeded so well, that he not only attained to, and even greatly improved on, the manner of Giotto, but also acquired the surname of Giottino, which he never lost. Nay, many have been of opinion that he was a son of Giotto,[1] judging from his manner as well as name, but they have been altogether in error, since it is certain, or to be more exact (for certainty in this matter is not to be attained respecting any man), it is the general belief, that Giottino was the son of the Florentine painter Stefano.
Giottino, then, was so earnestly devoted to the art of painting, and pursued it with so much diligence, that if we have not many works from his hand, yet those remaining to us suffice to show that his manner was excellent, and his productions admirable; the draperies, hair, beards, and various other parts of his pictures, exhibit so much softness and delicacy of finish, that the grace of harmony may be truly said to have been added to his art by this master, who possessed the qualities required for its production in a higher degree than either Giotto his master[2] or Stefano his father.[3] In his early youth, Giottino painted in the church of Santo Stefano al Ponte Vecchio in Florence, where he decorated a chapel near the side door, which still gives proof of great ability on the part of the artist, although the work is now much injured by the humidity of the place.[4] He next painted the two Saints Cosmo and Damiano, in the church of the Frati Ermini, which is situated near the mills: this work is also greatly injured by time, so that but little of its character can now be distinguished.[5] In the old church of Santo Spirito, in the same city of Florence, Giottino painted a chapel in fresco, which was destroyed when the church itself
- ↑ For certain remarks on the name, etc., of this painter, see Professor Bonaini, Memorie Inedite, p. 63.
- ↑ Tommaso Giottino could scarcely have been the scholar of Giotto, who died, according to Vasari himself, when Giottino was but thirteen years old. Tommaso was perhaps called the disciple of Giotto, rather because he so scrupulously imitated that master than because he was his pupil.
- ↑ This somewhat obscure passage is elucidated, to a certain extent, by the remarks of Rumohr on the manner of Giottino. See Ital. Forsch. ii, 82; see also Speth, Kunst in Italien, i, 336.
- ↑ This work has perished.
- ↑ Neither picture nor church now remain.
