PIETRO LAURATI, PAINTER OF SIENA.[1]
[born....—died 1350.]
Pietro Laurati,[2] an excellent Sienese painter, had ample experience in the course of his life of the great happiness derived by the truly distinguished in art, from the knowledge that their works are prized and sought for by all men, whether in their own country or in foreign lands. The paintings which this master executed in fresco for the Scala, an hospital of Siena,[3] having first made him known, he was invited to different cities, being honourably received and caressed by all Tuscany. In these frescoes, the manner of Giotto, then extensively promulgated through all Italy, was so closely imitated, that all with reason believed Laurati likely to become a better master than Cimabue, Giotto, and others, had been, as was afterwards proved to be the case. In the figure of the Virgin, who is represented ascending the steps of the temple, accompanied by Joachim and Anna, and received by the priest; as also in the Sposalizio, there is so much grace and beauty, with so charming an expression in all the heads of the composition, and the draperies are so simply and easily folded, that the whole work gives evidence of a truly admirable manner.[4] It was in consequence of this performance, then, which first brought the good method of painting into Siena,[5] giving light to so many noble spirits, which in all succeeding times have flourished in that city, that Laurati was invited to Monte Oliveto di Chiusuri, where he executed a picture in distemper, which is now in the lower church.[6] He also
- ↑ See Lanzi, History of Painting, vol. i, Sienese School, epoch 1. page 282.
- ↑ The name of this artist was Pietro di Lorenzo, and he was brother to Ambrogio di Lorenzo or Lorenzetti, whose life follows.
- ↑ This work he executed in concert with his brother Ambrogio.— See the life of the latter, which follows.
- ↑ This biography vindicates Vasari from the charge of vilifying all artists who were not Tuscans; for though Pietro was of Siena, between which city and Florence there reigned perpetual rivalry and discord, yet the whole life of Laurati, as here given by Vasari, is a continued panegyric.—Roman ed. 1759.
- ↑ An assertion altogether untenable.
- ↑ This painting, of which the condition was long lamented by the lovers of art, has now totally perished.
