THE SCHOOL OF SIMONE MARTINI
There was little room for a movement carrying out Simone's ideals in Siena, as the more discursive painting of the Lorenzetti soon dominated the school.
Memmi, -- ?-1357 ?.--Yet there are several followers of importance, among whom the closest imitator is Lippo Memmi, a master who inherited an exquisite craft and shows gracious feeling, but is entirely without independence. This is seen in the Majestas1 of S. Gemignano ( 1317), which copies, in a harder style, the Majestas of Simone painted two years earlier. Among many small votive Madonnas, that in the Berlin Gallery is the most winning and life-like, but we may also mention the Madonna of the Belle Arti, Siena (formerly of the Church of the Servi), and the signed Madonna of Mercy, Orvieto Cathedral, an attractive but feeble work.
Barna (active c. 1369- 1380), best known for his series of impressive, if constrained, Frescoes in S. Gemignano, is the most archaic, and among the most serious of this group. He reminds one of Duccio and Simone at times, as in the panel of Christ Bearing the Cross (Benson collection, London), and is evidently influenced by Pietro Lorenzetti, but is an independent and strong painter in his own way.
Traini, middle of 14th century.2--Francesco Traini is another. He worked at Pisa, and has left there several altarpieces, as the S. Thomas Aquinas, a strange and rather imposing archaic work. His style approaches that of the Florentine Orcagna in its classic severity, relieved by considerable genre feeling in the treatment of small episodes.
And in the same group should be mentioned the archaic but gracious LIPPO DI VANNI (not to be confounded with the later Andrea Vanni). The important frescoes of the Seven Sacraments, etc. (Church of the Incoronata, Naples),3 are of the school, and are, indeed, close to Simone himself. They should further be____________________