al
gift, seeing that his figures were subordinate to the part that they had
to play. And thereby it is shown that he had a very good, if not a
perfect judgment; and the same is seen in the others after him, as in
the colouring of Taddeo Gaddi, who is both sweeter and stronger, giving
better tints to the flesh and better colour to the draperies, and more
boldness to the movements of his figures. In Simone Sanese there is seen
dignity in the composition of stories; and Stefano the Ape[8] and his
son Tommaso brought about great improvement and perfection in design,
invention in perspective, and harmony and unity in colouring, ever
maintaining the manner of Giotto. The same was done for mastery and
dexterity of handling by Spinello Aretino and his son Parri, Jacopo di
Casentino, Antonio Viniziano, Lippo, Gherardo Starnina, and the other
painters who laboured after Giotto, following his feeling, lineaments,
colouring, and manner, and even improving them somewhat, but not so much
as to make it appear that they were aiming at another goal. Whosoever
considers this my discourse, therefore, will see that these three arts
were up to this time, so to speak, only sketched out, and lacking in
much of that perfection that was their due; and in truth, without
further progress, this improvement was of little use and not to be held
in too great account. Nor would I have anyone believe that I am so dull
and so poor in judgment that I do not know that the works of Giotto, of
Andrea Pisano, of Nino, and of all the others, whom I have put together
in the First Part by reason of their similarity of manner, if compared
with those of the men who laboured after them, do not deserve
extraordinary or even mediocre praise; or that I did not see this when I
praised them. But whosoever considers the character of those times, the
dearth of craftsmen, and the difficulty of finding good assistance, will
hold them not merely beautiful, as I have called them, but miraculous,
and will take infinite pleasure in seeing the first beginnings and those
sparks of excellence that began to be rekindled in painting and
sculpture. The victory of Lucius Marcius in Spain was certainly not so
great that the Romans did not have many much greater; but in
consideration of the time, the place, the circumstances, the men, and
the numbers, it was held stupendous, and even to-day it is held worthy
of the infinite and most abundant praises that are given to it by
writers. To m