Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/207

 Study at Concarneau (1882); The Winnowers, Corner of the Market (1883); Bout de la cour, Summer (1884); Mother and Child, Number Two, Low Tide (1885); Number Two, Mother and Child, Number Three, Un déjeuner—Spain (1886).

SIMON, FRIEDRICH, born at Heidelberg in 1809. Genre painter, pupil of Munich Academy, and also studied after the masterpieces in the Pinakothek; cultivated very successfully comical genre, and was particularly effective in his popular scenes by lamp or candle light. Many of them are in private collections in Munich. Works: Shoemaker's Apprentice in financial Embarrassment (1837); Vegetable Vender with Multiplication Table (1838); Two Poachers (1839);	Girl at the Window, Miser by Candle-light, Old Man with Dog performing (1840);	Return from Christmas Market; Girl feeding Cat; Poet in the Garret; Peasant Girl expecting her Lover (1841); Host examining Glass; Night Watchman and Drunken Man (1842); Journeyman Travelling; Poacher in Alpine Hut (1843); Music Lesson (1844); Priest on his Way to a Dying Man (by torchlight); Poet trying to chase Cats from the Roof (1845); Apprentice with Journeyman's Bundle before Mirror (1851).

SIMONE DI MARTINO (Martini) born in 1285 (?), died at Avignon, July, 1344. Sienese school; son of one Martino and brother-in-law to Lippo Memmi, whence Vasari's error in calling him Simone Memmi. Sometimes called also Simone da Siena. Vasari probably errs in making him the pupil of Giotto, he being obviously a follower of the purely Sienese manner improved by Duccio. This is clear from the earliest of his frescos in the Sala del Consiglio of the Palazzo Pubblico, Siena, dated 1315. In 1320 he painted for S. Caterina of Pisa an altarpiece in seven compartments, now dismembered, six of the panels being in the Seminario Vescovile of old S. Caterina, and the seventh in the Academy. This picture is in Simone's best manner, the tones being both powerful and clear, yet it shows how imperfectly he could express the idea of relief. Another altarpiece, dated 1320, painted for S. Domenico of Orvieto, is now in the Fabbricieria of the Duomo, where is also another equally fine Madonna of the same period. In Assisi Simone decorated the whole Chapel of St. Martin with frescos from the legend of that saint. In 1328 he painted in the Sala del Consiglio in the Palazzo Pubblico, Siena, a fresco representing Guidoriccio Fogliani de' Ricci on horseback, and in 1333, with the aid of Lippo Memmi, completed the Annunciation now in the Uffizi, Florence. There is nothing to confirm the assertion of Vasari that Simone painted in Rome and in Florence, and the frescos in the Campo Santo ascribed to him are obviously by another hand. In 1338-39 Simone went to Avignon, where he met Petrarch, who immortalized him in two of his sonnets (xlix. and l. or lvi. and lvii.), and Laura, whose portrait he painted. This picture is now lost. Simone adorned the portico of the Cathedral at Avignon with frescos, and the Hall of the Consistory and two chapels in the Papal Palace, but most of his work is nearly obliterated. A Christ among the Doctors, painted at Avignon and dated 1342, is in the Royal Institution, Liverpool. An altarpiece, once dismembered and placed in different churches, is now in the Pisa Gallery. The works of his son Donato, who accompanied him to France, have perished.—Vasari, ed. Le Mon., ii. 86, 91; ed. Mil., i. 545; C. & C., Italy, ii. 60; Burckhardt, 95, 97, 498, 514; W. & W., i. 463; Dohme, 2i.; Sienesische Malerschule; Lübke, Gesch. ital. Mal., i. 169; Kunst-Chronik, xix. 219; Zeitsch. f. b. K., x. 65.

SIMONE DA PESARO. See Cantarini, Simone.

SIMONE DA SIENA. See Simone di Martino.

SIMONETTA, LA BELLA, Sandro Botticelli, Palazzo Pitti, Florence; canvas, H. 2 ft. × 1 ft. 4 in. Profile, in a cap and simple attire. Portrait of Simonetta de' Vespucci,