When the Archduchess Joanna of Austria made her official entry into Florence on 16 December 1565 as the bride of Francesco de' Medici, one of the first things she saw, at the gate of the city, was a painting showing the famous artists of Tuscany. In the distance was Cimabue holding a small lantern, and nearby Giotto with a larger lantern, surrounded by his immediate followers; towards the foreground there were two groups of 15th-century artists, and finally, at the very front and in the full light of day, Michelangelo and his companions, the great masters of the modern period from Leonardo da Vinci to the immediate past. The basic arrangement was obviously derived from Vasari's Lives, published in 1550, although there were some surprising differences in the detailed classification. As a scheme it reflected the conventional attitude of Italians in general to the art of their predecessors, the belief that the masters of the 14th and 15th centuries had worked to a greater or lesser degree in the dark, and that perfection had only been achieved in the High Renaissance.

LRB 19 June 1980 | PDF Download