80 THE FINE ARTS. 
after Giotto was Masaccio, who flourished about the year 1400; his con- 
temporaries were Domenico of Venice, Vittore Pisano (Pisanello), Squar- 
cione, Mantegna, and several others, who by their example and instructions 
educated the great painters of the 16th century (the cinquecentists). We 
see in Masaccio’s pictures not merely bodies in motion, but these bodies 
have souls which breathe through their movements, while the figures are 
better brought out by means of good drawing and a proper distribution of 
light. In this period they first painted @ tempera (in which the colors 
were mixed with the white of an egg), and it was not till afterwards that 
they began to paint in oil on wood, plaster, and at length on canvas. 
1. Iraty.—a. The Roman School. Wereckon among the painters of the 
Roman school those born not only in Rome itself, but also in the Romagna 
or anywhere in the States of the Church, and this we are in a manner com- 
pelled to do as Rome has almost nothing of its own to show in the way of 
talent for painting; and hence it was much later than in Florence and 
elsewhere, and not till the reign of Julius IL, that art actually flourished 
there. The Roman school may be said to begin with Oderigi of Gubbio, 
who died in 1300 and was a good miniature painter: he along with Giotto 
and Franco Bolognese ornamented books with illuminations for Boniface 
VIII. He was succeeded by Guido Palmerucci and Pietro Cavallini, who 
lived about the year 1342, and by whom pictures are still extant in Rome, 
Assisi, and Florence. A favorite subject with artists at that time was the 
Annunciation. In these paintings the angels are always represented as 
youths with long flowing garments reaching to the feet and with a staff in 
their hand; for the light drapery of angels belongs to a much later date. 
Almost all the painters of that period added to their pictures legends in 
Gothic characters. To the 14th century belong Boccardo Fabriano, Alle- 
gretti Nutti, Andreas of Velletri, and several painters in Perugia. The 
series of painters of the 15th century opens with Octavian Martis and 
Gentile of Fabriano, whose distinguished merits were afterwards acknow- 
ledged by Michael Angelo himself. He was the instructor of Giacomo 
Bellini, whose sons Giovanni and Gentile are regarded as the founders of 
the great Venetian school. There are still good pictures in Florence by 
Gentile da Fabriana of the year 1423. His style was noble, and may be 
compared to that of Giovanni da Fiesole, only the latter excels him in the 
beauty of his female forms and uses gold less profusely. 
A characteristic difference between the pictures of this and the succeed- 
ing time is perceived in the grouping of the figures, the former exhibiting 
great simplicity in this respect, while the latter observe an almost stiff and 
rigidly symmetrical arrangement, which extends even to minute details. 
This was particularly the case in the time of Perugino, and even Raphael 
could not for a long time free himself from it. 
At the close of the 15th century Urbino was not destitute of good 
painters; among these are distinguished Lorenzo di San Severino and the 
father of Raphael, by whom there is an Annunciation in the chapel of St. 
John in St. Sebastian and in Sinigaglia, bearing the superscription “ Joh. 
Sanctis Urbin.” The style of this painter is dry, but shows already an 
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