Summary

Giorgio Vasari,  Lives of the Most Excellent Painters… (1850)

“ This advantage is above all to be desired by those who practise the arts of design, and most especially by the painter, since his work, lying simply on the surface, and being dependent on colours which cannot endure, may not hope for that perpetuity which is secured to the sculptor by his bronze and marble, as it is to the architect by the durability of his erections. Great, then, was the good fortune of Simon, in that he lived at the same time with Messer Francesco Petrarca, and that he further chanced to meet that love-devoted poet at the court of Avignon. ”
Source: Wikisource

Giorgio Vasari,  Lives of the Most Excellent Painters… (1850)

“ SIMON AND LIPPO MEMMI, [1] PAINTERS, OF SIENA
[born 1285?—died 1344.] [born...—died 1357.]
Most truly may those men be called happy who are by nature disposed to the cultivation of the arts, for not only may they derive great honour and profit therefrom in their
lives, but what is more important, they secure never-dying fame. Still more fortunate are they who to such dispositions add a character and manners calculated to render them acceptable to all men
”
Source: Wikisource

Giorgio Vasari,  Lives of the Most Excellent Painters… (1850)

“ It will be seen by the specimens preserved in our book that Simon was not particularly excellent in design, but nature had well endowed him with inventive power, and he delighted in drawing from the life; in this respect he was considered so much the best master of his time, that Signor Pandolfo Malatesti despatched him to Avignon for the purpose of painting Messer Francesco Petrarca, at the request of whom Simon Memmi, so greatly to his own honour, then executed the portrait of Madonna Laura. [30] ”
Source: Wikisource

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