,,august1 #aijb      ,,giotto           
,,price1 #be ,,cents      ,masters in   
,art    ,a ,series of ,illustrated      
,monographs    ,issued ,monthly         
,,giotto    ,,part #cb      ,,volume #c 
,bates and ,guild ,company              
,publishers    #add ,congress ,street   
,boston            ,,masters ,,in ,,art 
,a ,,series ,,of ,,illustrated          
,,monographs3 ,,issued ,,monthly        
,,part #cb      ,,august1 #aijb         
,,volume #c                             
,giotto                  ,,contents     
,plate ,i4     ,madonna ,enthroned      
,academy3 ,florence    ,plate ,,ii4     
,allegory of ,poverty                   
,lower ,church of                       
,st4 ,francis3 ,assisi    ,plate ,,iii4 
,allegory of ,chastity                  
,lower ,church of                       
,st4 ,francis3 ,assisi    ,plate ,,iv4  
,the ,nativity                          
,arena ,chapel3 ,padua    ,plate ,v4    
,the ,entombment                        
,arena ,chapel3 ,padua    ,plate ,,vi4  

,the ,resurrection                      
,arena ,chapel3 ,padua    ,plate ,,vii4 
,the ,death of ,st4 ,francis            
,bardi ,chapel1 ,church                 
of ,s4 ,croce3 ,florence    ,plate      
,,viii4  ,the ,birth of ,st4 ,john the  
,baptist  ,peruzzi ,chapel1 ,church     
of ,s4 ,croce3 ,florence    ,plate ,,ix4
    ,the ,feast of ,herod               
,peruzzi ,chapel1 ,church               
of ,s4 ,croce3 ,florence    ,plate ,x4  
,the ,raising of ,drusiana              
,peruzzi ,chapel1 ,church               
of ,s4 ,croce3 ,florence    ,portrait of
 ,giotto by ,paolo ,uccello3 ,louvre1   
,paris             ,page #bj      ,the  
,life of ,giotto                        
,page #ba                               
,julia ,cartwright      ,the ,art of    
,giotto                                 
,page #bg                 ,criticisms by
 ,vasari1 ,van ,dyke1 ,colvin1 ,ruskin1 
,symonds1 ,e4 ,h4 and ,e4 ,w4           
,blashfield1 ,quilter      ,the ,works  
of ,giotto3 ,descriptions of the ,plates

 and            ,page #ce               
a ,list of ,paintings    ,giotto        
,bibliography                           
,page #ci        ,photo-engravings by   
,folsom  ,sunergren3 ,boston4           
,press-work    by the ,everett ,press3  
,boston4                 ,,publishers'  
,,announcements    ,,masters ,,in ,,art 
is a series of concise handbooks1 each  
uniform in style  with this one1 devoted
 to all of the great painters and       
sculptors4    ,,the ,,price1 per copy1  
postage paid to any country in the      
postal union1 is  twenty-five cents4    
,,remittances should be made by postal  
or express money-order1 registered      
letter1 or1 in amounts up to #a4jj1 in  
one or two cent stamps4 ,on  personal   
checks drawn on banks outside of ,boston
 or ,new ,york1 #aj cents  should be    
added to cover collection charges4      
,,bound ,,volumes of nine complete years
 are offered at #d4jj for cloth1 and    
#d4ge for half-morocco1 express charges 
prepaid4    ,a ,,full ,,list ,,of       

,,subjects1 with illustrations of the   
bound volumes1 will  be sent on request4
      ,,bates  ,,guild ,,company1       
,,publishers    #add ,,congress         
,,street1 ,,boston1 ,,mass4             
,copyright1 #aijb1 by ,bates  ,guild    
,company1 ,boston      ,illustration3   
,,masters ,,in ,,art  ,,plate ,i        
,,giotto    ,,madonna ,,enthroned       
,,academy1 ,,florence                   
,illustration3 ,,masters ,,in ,,art     
,,plate ,,ii      ,,photograph ,,by     
,,alinari      ,,giotto    ,,allegory   
,,of ,,poverty    ,,lower ,,church ,,of 
,,st4 ,,francis1 ,,assisi               
,illustration3 ,,masters ,,in ,,art     
,,plate ,,iii      ,,photograph ,,by    
,,alinari      ,,giotto    ,,allegory   
,,of ,,chastity    ,,lower ,,church ,,of
 ,,st4 ,,francis1 ,,assisi              
,illustration3 ,,masters ,,in ,,art     
,,plate ,,iv      ,,giotto    ,,the     
,,nativity    ,,arena ,,chapel1 ,,padua 
,illustration3 ,,masters ,,in ,,art     
,,plate ,v      ,,photograph ,,by ,,raya

      ,,giotto    ,,the ,,entombment    
,,arena ,,chapel1 ,,padua               
,illustration3 ,,masters ,,in ,,art     
,,plate ,,vi      ,,photograph ,,by     
,,raya      ,,giotto    ,,the           
,,resurrection    ,,arena ,,chapel1     
,,padua          ,illustration3         
,,masters ,,in ,,art  ,,plate ,,vii     
,,photograph ,,by ,,anderson            
,,giotto    ,,the ,,death ,,of ,,st4    
,,francis    ,,bardi ,,chapel1 ,,church 
,,of ,s4 ,,croce1 ,,florence            
,illustration3 ,,masters ,,in ,,art     
,,plate ,,viii      ,,photograph ,,by   
,,anderson      ,,giotto    ,,the       
,,birth ,,of ,,st4 ,,john ,,the         
,,baptist    ,,peruzzi ,,chapel1        
,,church ,,of ,s4 ,,croce1 ,,florence   
,illustration3 ,,masters ,,in ,,art     
,,plate ,,ix      ,,photograph ,,by     
,,anderson      ,,giotto    ,,the       
,,feast ,,of ,,herod    ,,peruzzi       
,,chapel1 ,,church ,,of ,s4 ,,croce1    
,,florence          ,illustration3      
,,masters ,,in ,,art  ,,plate ,x        

,,photograph ,,by ,,anderson            
,,giotto    ,,the ,,raising ,,of        
,,drusiana    ,,peruzzi ,,chapel1       
,,church ,,of ,s4 ,,croce1 ,,florence   
,illustration3 ,,portrait ,,of ,,giotto 
,,by ,,paolo ,,uccello      ,,louvre1   
,,paris      ,this portrait of ,giotto  
was painted in the first half of the    
fifteenth    century by ,paolo ,uccello1
 a ,florentine artist4 ,it is a detail  
of a    picture containing five heads1  
representing1 besides ,giotto1 ,uccello 
himself1 ,donatello1 ,brunelleschi1 and 
,manetti4 ,vasari took the    engraving 
for his biography of ,giotto from this  
likeness1 which was    probably based   
upon some older portrait of the artist4 
,he is here    represented in a red     
cloak and head covering2 and it would   
seem that    ,uccello's brush has       
somewhat flattered him1 for we are told 
that he    was singularly ill-favored in
 outward appearance4          ,giotto di
 ,bondone    ,,born #abff7873 ,,died    
#accg    ,,florentine ,,school          

,,julia ,,cartwright      ',,the        
,,painters ,,of ,,florence'    ,in a    
village of ,etruria1 writes ,ghiberti1  
the oldest historian of the  ,florentine
 ,renaissance1 ,painting took her rise4 
,in other words1 ,giotto  di ,bondone#a 
was born1 between #abfe and #abgj1 at   
,colle1 in the ,commune  of ,vespignano1
 a village of the ,val ,mugello fourteen
 miles from  ,florence4 ,there the boy1 
who had been called ,angiolo1 after his 
grandfather1 and went by the nickname of
 ,angiolotto1 or ,giotto1 kept his      
father's flocks on the grassy slopes of 
the ,apennines1 and was found one  day  
by ,cimabue1 as he rode over the hills1 
drawing a sheep with a sharp  stone upon
 a rock4 ,full of surprise at the       
child's talent for drawing1  the great  
painter asked him if he would go back   
with him to ,florence2 to  which both   
the boy and his father1 a poor peasant  
named ,bondone1 gladly  agreed4 ,thus1  
at ten years old1 ,giotto was taken     
straight from the  sheepfolds and       

apprenticed to the first painter in     
,florence4 ,such is the  story told by  
,ghiberti and confirmed by ,leonardo da 
,vinci1 who1 writing  half a century    
before ,vasari1 remarks that ,giotto    
took nature for his  guide1 and began by
 drawing the sheep and goats which he   
herded on the  rocks4    ,footnote #a3  
,pronounced ,jottoe dee ,bon-doenay4    
,another version of the story of        
,giotto's boyhood is that he was        
apprenticed to a wool-merchant of       
,florence1 but that instead of going to 
work he spent his time in watching the  
artists in ,cimabue's shop2 upon  which 
his father applied to the master who    
consented to teach the boy  painting4   
,the natural vivacity and intelligence  
of the young student  soon made him a   
favorite in ,cimabue's workshop1 while  
his extraordinary  aptitude for drawing 
became every day more apparent4 ,the    
legends of his  marvelous skill1 the    
stories of the fly that ,cimabue vainly 
tried to  brush off his picture1 of the 

round ,o which he drew before the pope's
  envoy with one sweep of his pencil1   
are proofs of the wonder and  admiration
 which ,giotto's attempts to follow     
nature more closely excited  among his  
contemporaries4 ,this latter story is   
told by ,vasari as  follows3 ,the pope  
sent one of his courtiers to ,tuscany to
 ascertain  what kind of man ,giotto    
might be1 and what were his works2 that 
pontiff  then proposing to have certain 
paintings executed in the ,church of    
,st4  ,peter4 ,the messenger spoke first
 with many artists in ,siena2 then1     
having received designs from them1 he   
proceeded to ,florence1 and  repaired   
one morning to the workshop where       
,giotto was occupied with his  labors4  
,he declared the purpose of the pope1   
and finally requested to  have a drawing
 that he might send it to his holiness4 
,giotto1 who was  very courteous1 took a
 sheet of paper and a pencil dipped in a
 red  color1 then1 resting his elbow on 
his side to form a sort of compass1     

with one turn of the hand he drew a     
circle1 so perfect and exact that it    
was a marvel to behold4 ,this done1 he  
turned smiling to the courtier1  saying1
 ',here is your drawing4' ',am ,i to    
have nothing more than this8'  inquired 
the latter1 conceiving himself to be    
jested with4 ',that is  enough and to   
spare1' returned ,giotto4 ',send it with
 the rest1 and you  will see if it will 
not be recognized4' ,the messenger1     
unable to obtain  anything more1 went   
away very ill-satisfied and fearing that
 he had been  fooled4 ,nevertheless1    
having despatched the other drawings to 
the pope  with the names of those who   
had done them he sent that of ,giotto   
also1  relating the mode in which he had
 made his circle1 without moving his    
arm and without compasses2 from which   
the pope1 and such of the  courtiers as 
were well versed in the subject1        
perceived how far ,giotto  surpassed all
 the other painters of his time4    ,no 
doubt the boldness and originality of   

his genius soon led ,giotto to  abandon 
the purely conventional style of art    
then in use1 and to seek  after a more  
natural and lifelike form of expression4
 ,and early in his  career he was       
probably influenced by the example of   
the sculptor  ,giovanni ,pisano1 who was
 actively engaged on his great works in 
,tuscany  and ,umbria at this time4 ,the
 earliest examples of ,giotto's style   
that  remain to us are some small panels
 at ,munich2 but a larger and           
better-known work is the ',madonna      
,enthroned1' in the ,academy at         
,florence1 which1 although archaic in   
type1 has a vigor and reality that  are 
wholly wanting in ,cimabue's ,madonna in
 the same room4 ,but it is to  ,assisi  
that we must turn for a fuller record of
 ,giotto's training and  development4   
,here1 in the old ,umbrian city where   
,st4 ,francis had lived and died1 was   
the great double church which the alms  
of ,christendom had raised above  his   
burial-place4 ,unfortunately the records

 of the ,franciscan convent  are silent 
as to the painters of the frescos which 
cover its walls1 and  neither ,cimabue  
nor ,giotto is once mentioned4 ,but     
,ghiberti1 ,vasari1 and  the later      
,franciscan historian1 ,rudolphus1 all  
agree in saying that  ,giotto came to   
,assisi with his master ,cimabue and    
there painted the  lower course of      
frescos in the nave of the ,upper       
,church4444    ,in #abih ,giotto was    
invited to ,rome by ,cardinal           
,stefaneschi1 the pope's  nephew and a  
generous patron of art4 ,at his bidding 
,giotto designed the  famous mosaic of  
the ',navicella1' or ',ship of the      
,church1' which hangs  in the vestibule 
of ,st4 ,peter's4 ,little trace of the  
original work now  remains4 ,more worthy
 of study is the altar-piece which he   
painted for  the cardinal1 and which is 
still preserved in the sacristy of ,st4 
,peter's4    ,pope ,boniface1 we are    
told by ,vasari1 was deeply impressed by
 ,giotto's  merits1 and loaded him with 

honors and rewards2 but the frescos     
which he  was employed to paint in the  
old basilica of ,st4 ,peter's perished  
long  ago1 and the only work of his now 
remaining in ,rome besides the          
',navicella1' is the damaged fresco of  
,pope ,boniface proclaiming the         
,jubilee1 on a pillar of the ,lateran   
,church4 ,this last painting proves     
that ,giotto was in ,rome during the    
year #acjj1 when both his               
fellow-citizens ,dante and the historian
 ,giovanni ,villani were present in  the
 ,eternal ,city4 ,the poet was an       
intimate friend of the painter2 and1    
after his return to ,florence1 ,giotto  
introduced ,dante's portrait in an      
altar-piece of ',paradise' which he     
painted for the chapel of the ,podest   
,palace4 ,but since this chapel was     
burned down in #accb1 and not rebuilt   
until after ,giotto's death1 the fresco 
of ,dante1 which was discovered  some   
years ago on the walls of the present   
building1 must have been  copied by one 

of his followers from the original      
painting4    ,it was probably during an 
interval of his journey back to         
,florence1 or  on some other visit to   
,assisi during the next few years1 that 
,giotto  painted his frescos in the     
,lower ,church of ,st4 ,francis in that 
city4  ,chief among these are the four  
great allegories on the vaulted roof    
above the high altar1 illustrating the  
meaning of the three monastic  ,virtues1
 ,obedience1 ,chastity1 and ,poverty1   
whom1 according to the  legend1 the     
saint met walking on the road to ,siena 
in the form of three  fair maidens1 and 
whom he held up to his followers as the 
sum of  evangelical perfection4         
,these allegories are not the only works
 which ,giotto executed in the  ,lower  
,church of ,assisi4 ,ghiberti's         
statement that he painted almost the    
whole of the ,lower ,church is confirmed
 by ,rudolphus1 who mentions the  series
 of frescos of the childhood of ,christ 
and the ',crucifixion' in  the right    

transept as being by his hand4 ,in their
 present ruined  condition it is not    
easy to distinguish between the work of 
the master  and that of his assistants2 
but the whole series bears the stamp of 
,giotto's invention4    ,the next       
important works which he painted were   
the frescos in the ,arena  ,chapel at   
,padua1 built in #acjc1 by ,enrico      
,scrovegno1 who two years later  invited
 ,giotto to decorate the interior with  
frescos4 ,when ,dante visited  ,padua1  
in #acjf1 he found his friend ,giotto   
living there with his wife1  ,madonna   
,ciut1 and his young family1 and was    
honorably entertained by  the painter in
 his own house4 ,the poet often watched 
,giotto at work1  with his children1 who
 were as ill-favored as himself1 playing
 around1  and wondered how it was that  
the creations of his brain were so much 
fairer than his own offspring4 ,giotto's
 small stature and insignificant        
appearance seem to have been constantly 
the subject of his friends'             

good-humored jests2 and ,petrarch and   
,boccaccio both speak of him as an      
instance of rare genius concealed under 
a plain and ungainly exterior4  ,but    
this unattractive appearance was        
redeemed by a kindly and joyous  nature1
 a keen sense of humor1 and unfailing   
cheerfulness1 which made  him the gayest
 and most pleasant companion4444    ,the
 fame which ,giotto already enjoyed     
beyond the walls of ,florence was       
greatly increased by his works in       
,padua1 and before he left there he     
received and executed many commissions4 
,from ,padua1 ,vasari tells us1 he  went
 on to the neighboring city of ,verona1 
where he painted the portrait  of       
,dante's friend and protector1 ,can     
,grande della ,scala1 as well as  other 
works in the ,franciscan church1 and    
then proceeded to ,ferrara and  ,ravenna
 at the invitation of the ,este and     
,polenta princes4 ,all his works  in the
 cities of ,north ,italy1 however1 have 
perished1 and it is to  ,florence that  

we must turn for the third and last     
remaining cycle of his  frescos4    ,the
 great ,franciscan church of ,santa     
,croce had been erected in the last     
years of the thirteenth century1 and the
 proudest ,florentine families  hastened
 to build chapels at their own expense  
as a mark of their  devotion to the     
popular saint4 ,four of these chapels   
were decorated with  frescos by         
,giotto's hand1 but were all whitewashed
 in #agad1 when ,santa  ,croce underwent
 a thorough restoration4 ,the frescos   
which he painted in  the ,guigni and    
,spinelli chapels have been entirely    
destroyed2 but within  the last fifty   
years the whitewash has been            
successfully removed from  the walls of 
the ,bardi and ,peruzzi chapels1 and the
 finest of ,giotto's  works that remain 
to us have been brought to light4 ,here 
his unrivaled  powers as a great epic   
painter are revealed1 and we realize his
 intimate  knowledge of human nature and
 his profound sympathy with every form  

of  life4    ,the exact date of these   
frescos remains uncertain1 but they were
  probably painted soon after #acbj4    
,recent research has as yet thrown      
little light upon the chronology of     
,giotto's life1 and all we can  discover
 is an occasional notice of the works   
which he executed1 or of  the property  
which he owned in ,florence4 ,vasari's  
statement1 that he  succeeded to        
,cimabue's house and shop in the ,via   
del ,cocomero1 ,florence1  is borne out 
by the will of the ,florentine citizen  
,rinuccio1 who1 dying  in #acab1        
describes the excellent painter ,giotto 
di ,bondone as a  parishioner of ,santa 
,maria ,novella1 and bequeathes a sum of
 five pounds  of small florins to keep a
 lamp burning night and day before a    
crucifix  painted by the said master in 
the ,dominican church4    ,of ,giotto's 
eight children1 the eldest1 ,francesco1 
became a painter1 and  when his father  
was absent from ,florence managed the   
small property  which ,giotto had       

inherited at his old home of            
,vespignano4 ,the painter's  family     
lived chiefly at this country home1 of  
which ,giotto himself was  very fond2   
and contemporary writers give us        
pleasant glimpses of the  great master's
 excursions to ,val ,mugello4 ,boccaccio
 tells us how one  day1 as ,giotto and  
the learned advocate ,messer ,forese1   
who1 like  himself1 was short and       
insignificant in appearance1 were riding
 out to  ,vespignano1 they were caught  
in a shower of rain and forced to borrow
  cloaks and hats from the peasants4    
,well1 ,giotto1 said the lawyer1 as     
they trotted back to ,florence clad in  
these old clothes and bespattered  with 
mud from head to foot1 if a stranger    
were to meet you now would he  ever     
suppose that you were the first painter 
in ,florence8 ,certainly he  would1 was 
,giotto's prompt reply1 if beholding    
your worship he could  imagine for a    
moment that you had learned your ,a ,b  
,c6 ,and the novelist  ,sacchetti       

relates how the great master rode out to
 ,san ,gallo one ,sunday  afternoon with
 a party of friends1 and how they fell  
in with a herd of  swine1 one of which  
ran between ,giotto's legs and threw him
 down4 ,after  all1 the pigs are quite  
right1 said the painter as he scrambled 
to his  feet and shook the dust from his
 clothes1 when ,i think how many        
thousands of crowns ,i have earned with 
their bristles without ever  giving them
 even a bowl of soup6    ,a more serious
 instance of ,giotto's power of satire  
is to be found in  his song against     
,voluntary ,poverty1 in which he not    
only denounces the  vice and hypocrisy  
often working beneath the cloak of      
monastic  perfection1 but honestly      
expresses his own aversion to poverty as
 a  thing miscalled a virtue4 ,the whole
 poem is of great interest1 coming as   
it does from the pen of the chosen      
painter of the ,franciscan ,order1 and  
as showing the independence of ,giotto's
 character4    ,the extraordinary       

industry of the man is seen by the long 
list of  panel-pictures as well as      
wall-paintings which are mentioned by   
early  writers4 ,these have fared even  
worse than his frescos4 ,the picture of 
',the ,commune' in the great hall of the
 ,podest ,palace1 which ,vasari         
describes as of very beautiful and      
ingenious invention1 the small  tempera 
painting of the ',death of the ,virgin1'
 on which ,michelangelo  loved to gaze1 
in the ,church of ,ognissanti1          
,florence1 the ',madonna'  which was    
sent to ,petrarch at ,avignon1 and which
 he left as his most  precious          
possession to his friend ,francesco di  
,carrara1 have all  perished4 ,one      
panel1 however1 described by ,vasari1 is
 still in  existence--an altar-piece    
originally painted for a church in      
,pisa1 and  now in the ,louvre4    ,in  
#accj ,giotto was invited to ,naples by 
,king ,robert1 who received him  with   
the highest honor1 and issued a decree  
granting this chosen and  faithful      

servant all the privileges enjoyed by   
members of the royal  household4        
,ghiberti tells us that ,giotto painted 
the hall of ,king  ,robert's palace1 and
 ,petrarch alludes in one of his        
epistles to the  frescos with which he  
adorned the royal chapel of the         
,castello dell'  ,uovo4 ,do not fail1 he
 writes1 to visit the royal chapel1     
where my  contemporary1 ,giotto1 the    
greatest painter of his age1 has left   
such  splendid monuments of his pencil  
and genius4 ,all these works have been  
destroyed1 and another series of        
frescos1 which he executed in the       
,franciscan church of ,santa ,chiara1   
were whitewashed in the last century  by
 order of a ,spanish governor1 who      
complained that they made the church    
too dark6    ,king ,robert appreciated  
the painter's company as much as his    
talent1 and  enjoyed the frankness of   
his speech and ready jest4 ,well1       
,giotto1 he  said1 as he watched the    
artist at work one summer day1 if ,i    

were you ,i  would leave off painting   
while the weather is so hot4 ,so would  
,i were  ,i ,king ,robert1 was ,giotto's
 prompt reply4 ,another time the king   
asked  him to introduce a symbol of his 
kingdom in a hall containing portraits  
of illustrious men1 upon which ,giotto1 
without a word1 painted a donkey        
wearing a saddle embroidered with the   
royal crown and scepter1 pawing  and    
sniffing at another saddle lying on the 
ground bearing the same  device4 ,such  
are your subjects1 explained the artist1
 with a sly  allusion to the fickle     
temper of the ,neapolitans4 ,every day  
they seek a  new master4    ,in #accc   
,giotto was still in ,naples1 and ,king 
,robert1 it is said1  promised to make  
him the first man in the realm if he    
would remain at  his court2 but early in
 the following year he was summoned back
 to  ,florence by the ,signory1 and1 on 
the twelfth of ,april1 #accd1 was       
appointed ,chief ,architect of the      
,state and ,master of the ,cathedral    

,works4 ,since the death of its         
architect1 ,arnolfo1 in #acaj1 the      
progress  of the cathedral had          
languished2 but now the magistrates     
declared their  intention of erecting a 
bell-tower which in height and beauty   
should  surpass all that the ,greeks and
 ,romans had accomplished in the days of
  their greatest pride4 ,for this       
purpose1 the decree runs1 we have       
chosen ,giotto di ,bondone1 painter1 our
 great and dear master1 since  neither  
in the city nor in the whole world is   
there any other to be  found so well    
fitted for this and similar tasks4      
,giotto lost no time in  preparing      
designs for the beautiful ,campanile    
which bears his name2 and  on the eighth
 of ,july the foundations of the new    
tower were laid with  great solemnity4  
,villani describes the imposing         
processions that were  held and the     
immense multitudes which attended the   
ceremony1 and adds  that the            
,superintendent of ,works was ,maestro  

,giotto1 our own citizen1  the most     
sovereign master of painting in his     
time1 and the one who drew  figures and 
represented action in the most lifelike 
manner4 ,giotto  received a salary of   
one hundred golden florins from the     
state for his  excellence and goodness1 
and was strictly enjoined not to leave  
,florence again without the permission  
of the ,signory4 ,in #acce1 however1  we
 hear of him in ,milan1 whither he had  
gone by order of the ,signory at  the   
urgent request of their ally ,azzo      
,visconti1 ,lord of ,milan4 ,here1 in   
the old ducal palace1 ,giotto painted a 
series of frescos of which no  trace now
 remains1 and then hurried back to      
,florence to resume his work  on the    
,campanile4    ,another invitation      
reached him from ,pope ,benedict ,,xii41
 who offered him  a large salary if he  
would take up his residence at the papal
 court at  ,avignon4 ,but it was too    
late2 and1 as an old chronicler writes1 
,heaven  willed that the royal city of  

,milan should gather the last fruits of 
this noble plant4 ,soon after his return
 to ,florence ,giotto fell  suddenly    
ill1 and died on the eighth of ,january1
 #accg4 ,he was buried  with great honor
 in the cathedral4    ,more than a      
hundred years later1 when ,florence had 
reached the height of  splendor and     
prosperity under the rule of the        
,medici1 ,lorenzo the  ,magnificent     
placed a marble bust on ,giotto's tomb1 
and employed ,angelo  ,poliziano to     
compose the ,latin epitaph which gave   
proud utterance to the  veneration in   
which the great master was held alike by
 his  contemporaries and by posterity3  
,lo1 ,i am he by whom dead ,painting was
 restored to life2 to whose right  hand 
all was possible2 by whom ,art became   
one with ,nature4 ,none ever  painted   
more or better4 ,do you wonder at yon   
fair tower which holds the  sacred      
bells8 ,know that it was ,i who bade her
 rise towards the stars4  ,for ,i am    
,giotto--what need is there to tell of  

my work8 ,long as verse  lives1 my name 
shall endure6          ,the ,art of     
,giotto      ,,giorgio ,,vasari         
',,lives ,,of ,,the ,,painters'    ,the 
gratitude which the masters in painting 
owe to nature is due1 in my  judgment1  
to the ,florentine painter ,giotto1     
seeing that he  alone--although born    
amidst incapable artists and at a time  
when all  good methods in art had long  
been entombed beneath the ruins of      
war--yet1 by the favor of ,heaven1 he1  
,i say1 alone succeeded in              
resuscitating ,art1 and restoring her to
 a path that may be called the  true    
one4      ,,john ,c4 ,,van ,,dyke       
',,history ,,of ,,painting'    ,it would
 seem that nothing but self-destruction 
could come to the  struggling1 praying1 
throat-cutting population that          
terrorized ,italy  during the medieval  
period4 ,the people were ignorant1 the  
rulers  treacherous1 the passions       
strong2 and yet out of the ,dark ,ages  
came  light4 ,in the thirteenth century 

the light grew brighter4 ,the spirit of 
learning showed itself in the founding  
of schools and universities4  ,dante1   
,petrarch1 and ,boccaccio1 reflecting   
respectively religion1  classic         
learning1 and the inclination toward    
nature1 lived and gave  indication of   
the trend of thought4 ,finally the      
arts--architecture1  sculpture1         
painting--began to stir and take upon   
themselves new  appearances4    ,in     
painting1 though there were some        
portraits and allegorical scenes        
produced during the ,gothic period1 the 
chief theme was ,bible story4 ,the      
,church was the patron1 and art was only
 the servant1 as it had been from  the  
beginning4 ,it had not entirely escaped 
from symbolism4 ,it was still  the      
portrayal of things for what they meant 
rather than for what they  looked4      
,there was no such thing then as art for
 art's sake4 ,it was art  for religion's
 sake4    ,the demand for painting      
increased1 and its subjects multiplied  

with the  establishment at this time of 
the two powerful orders of ,dominican   
and  ,franciscan monks4 ,the first      
exacted from the painters more learned  
and  instructive work2 the second wished
 for the crucifixions1 the  martyrdoms1 
the dramatic deaths wherewith to move   
people by emotional  appeal4 ,in        
consequence painting produced many      
themes1 but1 as yet1 only  after the    
,byzantine style4 ,the painter was more 
of a workman than an  artist4 ,the      
,church had more use for his fingers    
than for his creative  ability4 ,it was 
his business to transcribe what had gone
 before4 ,this he  did1 but not without 
signs here and there of uneasiness and  
discontent  with the pattern4 ,there was
 an inclination toward something truer  
to  nature1 but as yet no great         
realization of it4 ,the study of nature 
came  in very slowly4    ,the advance of
 ,italian art in the ,gothic age was an 
advance through the  development of the 
imposed ,byzantine pattern4 ,when people

 began to stir  intellectually the      
artists found that the old ,byzantine   
model did not  look like nature4 ,they  
began not by rejecting it but by        
improving it1  giving it slight         
movements here and there1 turning the   
head1 throwing  out a hand1 or shifting 
the folds of drapery4 ,the ,eastern type
 was  still seen in the long pathetic   
face1 oblique eyes1 green flesh-tints1  
stiff robes1 thin fingers1 and absence  
of feet2 but the painters now  began to 
modify and enliven it4 ,more realistic  
,italian faces were  introduced2        
architectural and landscape backgrounds 
encroached upon the  ,byzantine gold    
grounds2 even portraiture was taken up4 
,the painters were  taking notes of     
natural appearances4 ,no one painter    
began this movement4  ,the whole        
artistic region of ,italy was at that   
time ready for the  advance4    ,cimabue
 seems the most notable instance in     
early times of a  ,byzantine-educated   
painter who improved upon the           

traditions4 ,he has been  called the    
father of ,italian painting2 but        
,italian painting had no  father4       
,cimabue was simply a man of more       
originality and ability than  his       
contemporaries1 and departed further    
from the art teachings of the  time     
without decidedly opposing them4 ,he    
retained the ,byzantine pattern1  but   
loosened the lines of drapery somewhat1 
turned the head to one side1  and       
infused the figure with a little        
appearance of life4    ,cimabue's pupil1
 ,giotto1 was a great improver on all   
his predecessors  because he was a man  
of extraordinary genius4 ,he would have 
been great  in any time1 and yet he was 
not great enough to throw off wholly the
  ,byzantine traditions4 ,he tried to do
 it4 ,he studied nature in a general    
way1 changed the type of face somewhat1 
and gave it expression and  nobility4   
,to the figure he gave more motion1     
dramatic gesture1 life4 ,the  drapery   
was cast in broader1 simpler masses with

 some regard for line1  and the form and
 movement of the body were somewhat     
emphasized through  it4 ,in methods     
,giotto was more knowing1 but not       
essentially different  from his         
contemporaries2 his subjects were from  
the common stock of  religious story1   
but his imaginative force and invention 
were his own4  ,bound by the            
conventionalities of his time1 he could 
still create a work  of nobility and    
power4 ,he came too early for the       
highest achievement4 ,he  had genius1   
feeling1 fancy--almost everything except
 accurate knowledge  of the laws of     
nature and of art4 ,his art was the best
 of its time1 but  it was still lacking1
 nor did that of his immediate followers
 go much  beyond it technically4        
,,sydney ,,colvin      ',,encyclop,,dia 
,,britannica'    ,giotto1 relatively to 
his age one of the greatest and most    
complete of  artists1 fills in the      
history of ,italian painting a place    
analogous to  that which seems to have  

been filled in the history of ,greek    
painting by  ,polygnotus4 ,that is to   
say1 he lived at a time when the        
resources of his  art were still in     
their infancy1 but considering the      
limits of those  resources his          
achievements were the highest possible4 
,at the close of  the ,middle ,age he   
laid the foundations upon which all the 
progress of  the ,renaissance was       
afterwards securely based4 ,in the days 
of ,giotto the  knowledge possessed by  
painters of the human frame and its     
structure  rested only upon general     
observation and not upon any minute1    
prolonged1  or scientific study2 while  
to facts other than those of humanity   
their  observation had never been       
closely directed4 ,of linear perspective
 they  possessed few ideas1 and these   
elementary and empirical1 and scarcely  
any ideas at all of arial perspective or
 of the conduct of light and  shade4    
,as far as painting could ever be       
carried under these conditions1 so far  

it was carried by ,giotto4 ,in its      
choice of subjects his art is entirely  
subservient to the religious spirit of  
his age4 ,even in its mode of           
conceiving and arranging those subjects1
 it is in part still trammeled  by the  
rules and consecrated traditions of the 
past4 ,thus it is as far  from being a  
perfectly free as from being a perfectly
 accomplished form  of art4 ,many of    
those truths of nature to which the     
painters of  succeeding generations     
learned to give accurate and complete   
expression1  ,giotto was only able to   
express by way of imperfect symbol and  
suggestion4 ,but in spite of these      
limitations and shortcomings1 and       
although he had often to be content with
 expressing truths of space and  form   
conventionally or inadequately1 and     
truths of structure and action          
approximately1 and truths of light and  
shadow not at all1 yet among the        
elements over which he had control he   
maintained so just a balance that  his  

work produces in the spectator less     
sense of imperfection than that  of many
 later and more accomplished masters4   
,he is one of the least  one-sided of   
artists1 and his art1 it has been justly
 said1 resumes and  concentrates all the
 attainments of his time not less truly 
than all the  attainments of the        
crowning age of ,italian art are resumed
 and  concentrated in ,raphael4    ,in  
some particulars the painting of ,giotto
 was never surpassed1--in the  judicious
 division of the field and massing and  
scattering of groups1 in  the union of  
dignity in the types with               
appropriateness in the  occupations of  
the personages1 in strength and         
directness of  intellectual grasp and   
dramatic motive1 in the combination of  
perfect  gravity with perfect frankness 
in conception1 and of a noble severity  
in  design with a great charm of harmony
 and purity in color4 ,the earlier      
,byzantine and ,roman workers in mosaic 
had bequeathed to him the high  abstract

 qualities of their practice--their     
balance1 their  impressiveness1 their   
grand instinct of decoration2 but while 
they had  compassed these qualities at  
an entire sacrifice of life and         
animation1  it is the glory of ,giotto  
to have been the first among his        
countrymen to  breathe life into art1   
and to have quickened its stately       
rigidity with  the fire of natural      
incident and emotion4    ,it was this   
conquest1 this touch of the magician1   
this striking of the  sympathetic notes 
of life and reality1 that chiefly gave  
,giotto his  immense reputation among   
his contemporaries1 and made him the fit
  exponent of the vivid1 penetrating1   
and practical genius of emancipated     
,florence4 ,his is one of the few names 
in history which1 having become  great  
while its bearer lived1 has sustained no
 loss of greatness through  subsequent  
generations4      ,,john ,,ruskin       
',,giotto ,,and ,,his ,,works ,,in      
,,padua'    ,in the one principle of    

close imitation of nature lay ,giotto's 
great  strength and the entire secret of
 the revolution he effected4 ,it was not
  by greater learning1 nor by the       
discovery of new theories of art2 not by
  greater taste1 nor by ideal principles
 of selection that he became the  head  
of the progressive schools of ,italy4   
,it was simply by being  interested in  
what was going on around him1 by        
substituting the  gestures of living men
 for conventional attitudes1 and        
portraits of  living men for            
conventional faces1 and incidents of    
every-day life for  conventional        
circumstances1 that he became great1 and
 the master of the  great4      ,,john  
,,addington ,,symonds                   
',,renaissance ,,in ,,italy'    ,the    
tale told about ,giotto's first essay in
 drawing might be chosen as a  parable3 
he was not found beneath a church roof  
tracing a mosaic1 but on  the open      
mountain1 trying to draw the portrait of
 the living thing  committed to his     

care4 ,what1 therefore1 ,giotto gave to 
art was1 before  all things else1       
vitality4 ,his ,madonnas are no longer  
symbols of a  certain phase of pious    
awe1 but pictures of maternal love4 ,the
 ,bride of  ,god suckles her divine     
infant with a smile1 watches him playing
 with a  bird1 or stretches out her arms
 to take him when he turns crying from  
the hands of the circumcising priest4   
,by choosing incidents like these  from 
real home life1 ,giotto1 through his    
painting1 humanized the  mysteries of   
faith1 and brought them close to common 
feeling4 ,nor was  the change less in   
his method than his motives4 ,before his
 day painting  had been without         
composition1 without charm of color1    
without suggestion  of movement or the  
play of living energy4 ,he first knew   
how to  distribute figures in the given 
space with perfect balance1 and how to  
mass them together in animated groups   
agreeable to the eye4 ,he caught  varied
 and transient shades of emotion1 and   

expressed them by the  posture of the   
body and the play of feature4 ,the hues 
of morning and of  evening served him4  
,of all painters he was most successful 
in preserving  the clearness and the    
light of pure1 well-tempered colors4    
,his power of  telling a story by       
gesture and action is unique in its     
peculiar  simplicity4 ,there are no     
ornaments or accessories in his         
pictures4 ,the  whole force of the      
artist has been concentrated on         
rendering the image  of the life        
conceived by him4 ,relying on his       
knowledge of human nature1  and seeking 
only to make his subject intelligible1  
no painter is more  unaffectedly        
pathetic1 more unconsciously majestic4  
,while under the  influence of his      
genius we are sincerely glad that the   
requisite science  for clever imitation 
of landscape and architectural          
backgrounds was not  forthcoming in his 
age4 ,art had to go through a toilsome  
period of  geometrical and anatomical   

pedantry before it could venture1 in the
  frescos of ,michelangelo and ,raphael1
 to return with greater wealth of       
knowledge on a higher level to the      
divine simplicity of its childhood in   
,giotto4    ,in the drawing of the      
figure ,giotto was surpassed by many    
meaner artists  of the fifteenth        
century4 ,nor had he that quality of    
genius which  selects a high type of    
beauty and is scrupulous to shun the    
commonplace4  ,the faces of even his    
most sacred personages are often almost 
vulgar4 ,in  his choice of models for   
saints and apostles we already trace the
  ,florentine instinct for contemporary 
portraiture4 ,yet1 though his  knowledge
 of anatomy was defective and his taste 
was realistic1 ,giotto  solved the great
 problem of figurative art far better   
than more learned  and fastidious       
painters4 ,he never failed to make it   
manifest that what  he meant to         
represent was living4 ,even to the      
non-existent he gave the  semblance of  

reality4 ,we cannot help believing in   
his angels leaning  waist-deep from the 
blue sky1 wringing their hands in agony 
above the  ,cross1 pacing like deacons  
behind ,christ when he washes the feet  
of his  disciples1 or sitting watchful  
and serene upon the empty sepulcher4 ,he
  was1 moreover1 essentially a          
fresco-painter1 working with rapid      
decision  on a large scale1 aiming at   
broad effects1 and willing to sacrifice 
subtlety to clearness of expression4    
,the health of ,giotto's whole nature   
and his robust good sense are           
every-where apparent in his solid1      
concrete1 human work of art4 ,there is  
no trace of mysticism1 no ecstatic      
piety1 nothing morbid or hysterical  in 
his imagination4 ,imbuing whatever he   
handled with the force and  freshness of
 actual existence1 he approached the    
deep things of the  ,christian faith and
 the legend of ,st4 ,francis in the     
spirit of a man  bent simply on         
realizing the objects of his belief as  

facts4 ,his  allegories of ',poverty1'  
',chastity1' and ',obedience1' at       
,assisi1 are as  beautiful and          
powerfully felt as they are carefully   
constructed4 ,yet  they conceal no      
abstruse spiritual meaning1 but are     
plainly painted for  the poor laity of  
love to read4 ,the artist-poet who      
colored the  virginal form of ,poverty1 
with the briars beneath her feet and the
 roses  blooming round her forehead1    
proved by his well-known canzone that he
  was free from monastic ,quixotism and 
took a practical view of the value  of  
worldly wealth4 ,his homely humor saved 
him from the exaltation and  the        
childishness that formed the weakness of
 the ,franciscan revival4  ,giotto in   
truth possessed a share of that power   
which belonged to the  ,greek sculptors4
 ,he embodied myths in physical forms   
adequate to their  intellectual meaning4
      ,e4 ,h4 ,,and ,e4 ,w4 ,,blashfield
      ',,italian ,,cities'    ,when we  
ask1 where did ,giotto get the wonderful

 power of expression that  he shows in  
his work8 we reply1 a little from       
masters and a great deal  from himself2 
but if we are asked1 how did he learn to
 make a wall  effective by color and    
patterns8 we must answer that he worked 
upon  traditional lines1 that some of   
his immediate forerunners were nearly as
  effective as he1 and that some of his 
remote forerunners were more  effective4
    ,when we say enthusiastically of    
,giotto1 ,there was a decorator for you6
  ,there was a muralist far more purely 
decorative than some later and  even    
greater men6 we are thinking1 not of the
 superiority of his  drawing and        
composition1 but of the simple flatness 
of his masses1 free  from any elaborate 
modeling1 the lightness and purity of   
his color1 the  excellence of his       
silhouette and his pattern4 ,but the    
essentially  decorative qualities did   
not belong especially to ,giotto2 they  
belonged  to the history and development
 of mural painting1 to the ,greeks1 the 

,romans1 the ,byzantines1 who had       
learned--centuries before ,st4 ,francis1
  centuries even before the ,master whom
 ,francis served1 came into the         
world--had learned1 we say1 that dimly  
lighted interiors require flat1  pure   
colors with little modeling4    ,now    
nearly all the interiors of the ancient 
world were dimly lighted2  the medieval 
,italian churches with their narrow     
lancet windows of low  toned jewel-like 
glass were as dark as any of the antique
 buildings1 so  that the use of flat    
masses of pure color1 the planning of an
 agreeable  disposition of spots and of 
a handsome silhouette to these spots1   
became the canons of medieval painting4 
,these early artists had mastered       
thoroughly the great controlling        
principle of decoration1 the principle  
of the harmony of the painting with the 
surrounding architecture4  ,because the 
fourteenth century had not gone beyond  
this fortunate  simplicity to the       
complexity of the fifteenth1 and because

 it had  attained to a science of       
draughtsmanship unknown to the          
thirteenth  century and earlier times1  
we call the fourteenth century the      
golden age  of the mural painter4 ,the  
layman not infrequently supposes that   
this  condition of things obtained      
because ,giotto deliberately eschewed   
elaborate modeling1 and said to mural   
painting1 ,thus far and no farther      
shalt thou go6 ,in eight cases out of   
ten this misconception comes  because   
the layman has been reading ,ruskin2 in 
the other two cases1  because he has    
been reading ,rio or ,lord ,lindsay4 ,in
 reality1 ,giotto said  nothing of the  
sort2 he was a great artist1 he saw and 
felt with  simplicity and dignity2      
doubtless he would1 under any           
circumstances1  have modeled with       
restraint1 but if he had known how to do
 so he would  have put more modeling in 
his figures than he did4    ,fifty years
 ago ,john ,ruskin made ,giotto the     
fashion4 ,the connoisseurs of  the      

seventeenth century1 the men whose      
fathers had perhaps seen ,raphael1  had 
surely seen the ,urbinate's great rival1
 made small account of the  earlier     
painters2 to them the ,giotteschi were  
barbarous1 rubbish4 ,with  ,ruskin1     
however1 the great son of ,bondone took 
his place upon a throne4  ,he sat there 
rightfully by virtue of the greatest    
talent which was given  to any painter  
between ,masaccio and the last great    
,greek or ,roman artist  of imperial    
days2 but his ministrant swung the      
censer before him with  such misplaced  
enthusiasm that the face of the great   
,tuscan was clouded  for half a century1
 until modern criticism dared to say nay
 to the poet  of the ',stones of        
,venice' and the ',modern ,painters4'   
,ruskin never  admired anything that was
 unworthy1 though he often fiercely     
contemned  the worthy4 ,he saw and      
praised ,giotto's simplicity of         
treatment1 but how  strangely he        
praised1 how utterly he misunderstood   

the artist's aim and  insisted upon     
bringing back to the marksman game that 
was no spoil of  his6 ,ruskin mistook   
timidity for reverence1 and ascribed to 
the painter  as a deliberate choice that
 which was in reality forced upon him by
  inexperience4    ,the reasoning which 
,ruskin1 ,rio1 and others of their      
school followed is  peculiar4 ,we will  
take as an example a fresco in which    
heavily draped  figures stand before a  
city gate upon greensward4 ,in the said 
greensward  every little blade and leaf 
is made out2 there is no effect2 you and
 ,i  with our modern ideas would not    
like it at all4 ,the critic1 on the     
contrary1 is enraptured4 ,he cries1     
,only see1 ,giotto has painted every    
leaf2 he felt that everything that ,god 
made should be lovingly and  carefully  
studied6 ,the draperies1 on the         
contrary1 are rather broadly  and simply
 handled1 and the author implies that it
 is because the artist  knew that the   
stuffs1 which were only artificial1 not 

natural1 were  unworthy the careful     
study he had given the leaves4 ,such    
criticism as  this utterly misled a     
portion of the ,english reading world   
for at least  thirty years4 ,the right  
treatment by the painter was wrongly    
praised by  the writer4 ,giotto was     
lauded especially for leaving out that  
which he  was incapable of putting in2  
his figures are but little modeled1 and 
this slight modeling happens to be      
admirably suited to the kind of         
decoration which he was doing1 but it   
was slight because he did not know  how 
to carry it further4 ,when he painted a 
,madonna on a panel to be seen  and     
examined at close quarters that which   
was a virtue in his decoration  became a
 fault in his easel-picture4 ,take the  
grass and draperies just  mentioned2    
,giotto had not yet learned to paint    
drapery realistically1  but he had the  
sentiment of noble composition1 and he  
arranged his folds  simply and grandly  
and painted them as well as he knew how1

 pushing them  as far as he could4 ,when
 he came to the grass1 he found it much 
easier  to draw a lot of little hard    
blades and leaves than to generalize    
them  into an effect4 ,he did not know  
how to generalize complicated detail4   
,the drapery was one piece1 and he could
 arrange it in a few folds1 but  the    
blades of grass were all there1 and he  
thought he must draw every  one4        
,ruskin1 and ,rio1 and ,lord ,lindsay1  
all regard this incapacity as a  special
 virtue based upon a spiritual          
interpretation of the relative          
importance of things in nature and art4 
,they account as truth in ,giotto  what 
was really the reverse of truth4 ,in    
looking at such a scene as that         
represented in the fresco no human being
 could see every blade of grass         
separately defined4 ,a general effect of
 mass would be truth1 and ,giotto  would
 have grasped it if he could have done  
so1 but he was not yet a  master of     
generalization4    ,a whole class of    

writers upon ,christian art is like the 
prior in  ,browning's poem1 who says to 
,fra ,lippo ,lippi3--          ,your    
business is to paint the souls of men4  
,give us no more of body than shows     
soul2    but these writers1 while       
appreciating the effect of certain      
qualities in  ,giotto and his followers1
 wholly misunderstood their intention4  
,he did  not leave his figures half     
modeled for the praise of ,god or for   
the sake  of expressing soul4 ,we might 
just as well say that it was for the    
sake  of spiritual aspiration that his  
foreshortened feet stood on the points  
of their toes1 or that his snub profiles
 were intended to suggest  meekness4444 
,it is an important fact in painting1   
especially in decorative painting1  that
 in measure as an artist refines his    
work he may with advantage  suppress one
 detail after another of its modeling4  
,but this knowing what  to leave out is 
one of the most subtle1 one of the last 
kinds of  knowledge that come to the    

painter4 ,this system of elimination    
argues  upon his part the possession of 
a high degree of technical              
accomplishment4 ,when he can draw and   
paint every detail of his subject1      
then1 and not till then1 he can suppress
 judiciously4 ,great painters  have thus
 instinctively commenced by making      
minutely detailed studies4  ,now1       
,giotto never made one such in his life2
 he did not know how4 ,he was  a        
beginner possessing magnificent natural 
gifts1 still a beginner1 a  breaker of  
new paths4 ,he drew and painted the     
human body exactly as well  as he knew  
how to1 leaving out elaborate modeling  
simply because he was  unable to        
accomplish it4 ,one lifetime would not  
have sufficed this  pioneer of art for  
the achievement of all that he did and  
for the  compassing of a skilful        
technique as well4444    ,if we pass on 
to those qualities of a painter which   
were particular to  ,giotto1 not merely 
as a muralist but as an individual man1 

we find that  like other masters of his 
time he cannot yet subtly differentiate 
expression1 but that1 unlike others1 his
 expression is more intense1  more      
forceful1 more varied4 ,his heads have  
long narrow eyes1 short snub  noses1    
firm mouths1 square jaws1 and powerful  
chins2 he divides them1  not            
individually1 but typically1 into       
adolescent1 adult1 and aged heads4  ,his
 feet are unsteady2 his hands not yet   
understood2 his draperies are  for their
 time wonderful--simply1 even grandly   
arranged1 and if they do  not express   
the body1 at least they suggest it and  
echo its movements4    ,his animals1 too
 small and often faulty enough1 are     
sometimes excellent2  and1 like every   
other medieval artist1 if he wanted to  
put in a sheep or  a horse or a camel1  
he put it in without any misgivings as  
to knowledge  of the subject4 ,neither  
did this architect entertain any        
scruples  regarding architecture when he
 chose to paint it1 and1 like his       

fellows1  he set ,greek temple of       
,assisi1 ,romanesque convent1 and       
,gothic church1  all upon the same      
jackstraw-like legs1--that is to say1   
columns which  made toys of all         
buildings1 big or little4 ,first and    
last and best1 we  see him as a miracle 
of compositional and dramatic capacity1 
and with  this last quality he took his 
world by storm4    ,men before him had  
tried to tell stories1 but had told them
  hesitatingly1 even uncouthly2 ,giotto 
spoke clearly and to the point4  ,this  
shepherd boy1 whose mountain pastures   
could be seen from her  ,campanile1     
taught grammar to the halting art of    
,florence4 ,he taught the  muse of the  
fourteenth century to wear the buskin1  
so that his  followers1 however confused
 their composition might be1 were at    
least  clear in the telling of their    
story4 ,indeed he was such a            
dramaturgist  that men for a full       
hundred years forgot1 in the fascination
 of the  story told1 to ask that the    

puppets should be any more shapely1 that
  they should look one whit more like   
men and women4      ,,harry ,,quilter   
',,giotto'    ,the main characteristics 
of ,giotto's style are1 first1 a        
lighter1 purer  tone of color than had  
been in use before the time of ,cimabue1
 and a  greater variety and purity of   
tint than had been attained by that     
master2 second1 the introduction into   
his compositions of a certain  amount of
 natural detail which had been before   
totally neglected1 and  the substitution
 of the portraits of actual men and     
women for the  imaginary beings that had
 formerly filled up the backgrounds of  
the  ,byzantine pictures2 third1 the    
power of illustrating the real meaning  
of  his subject1 not merely suggesting  
it as had formerly been the case2 and   
fourth1 his unrivaled dramatic power4   
,this dramatic power shows itself in    
almost every work that ,giotto has  left
 us1 and even survives in the           
achievements of his pupils4 ,his        

pictures are not scenes alone1 they are 
situations4 ,besides their              
appropriateness of gesture and oneness  
of feeling1 they possess the  great     
characteristic of dramatic art in making
 the scene live before  you1 subduing   
its various incidents into one strain of
 meaning1 yet  keeping each incident    
complete and individual1 as well as     
making it help  the main purpose4 ,a    
minor point in which the same quality   
shows is in  the amount of emotion which
 this painter is capable of expressing  
by a  single gesture--an amount so great
 that it occasionally runs some danger  
of lapsing into caricature1 as is       
especially plain in such pictures as    
',the ,entombment' in the ,arena        
,chapel4 ,but in all his scenes ,giotto 
has  succeeded1 not only in choosing the
 most appropriate figures for           
illustrating his meaning1 but in seizing
 the very moment which is most          
significant4    ,but1 after all1 the    
main characteristic of ,giotto's style  

is so  intangible that it can only be   
felt1 not described4 ,this              
characteristic  is the simple faith in  
which each of these compositions        
abounds2 the  feeling conveyed to the   
spectator that thus1 and not otherwise1 
did the  occurrence take place1 and that
 the painter has not altered it a jot or
  tittle for his own purpose4           
,the ,works of ,giotto    ,,descriptions
 ,,of ,,the ,,plates      ',,madonna    
,,enthroned'      ,,plate ,i    ,this   
panel-picture1 an early work1 was       
painted for the ,church of  ,ognissanti1
 ,florence1 and is now in the ,academy  
of that city4  ,notwithstanding the fact
 that ,giotto has adhered to the        
conventional  composition of the        
,byzantine masters1 there is a freshness
 and more  lifelike appearance in this  
work than is observable in those of his 
predecessors2 and in the more natural   
attitudes of the figures--notably  in   
the kneeling angels--as well as in the  
greater freedom in the  treatment of the

 draperies1 we see the advance that he  
has already made  in the development of 
art4    ,the ,madonna1 clad in a white  
robe and long bluish mantle1 and holding
  the ,child1 whose tunic is of a pale  
rose color1 upon her knee1 is seated    
upon a throne placed against a gold     
background4 ,the angels kneeling in     
front with vases of lilies in their     
hands are robed in white2 those just    
above them1 bearing a crown and box of  
ointment1 are in green4 ,saints  and    
angels are grouped on either side4      
,the color of the picture has darkened  
and lost much of its original           
freshness1 and shows little of the      
purity of tint seen in many of          
,giotto's frescos4      ',,allegory ,,of
 ,,poverty'      ,,plate ,,ii    ,among 
,giotto's most famous works are the four
 frescos which cover the  arched        
compartments of the vaulting of the     
,lower ,church of ,st4 ,francis  at     
,assisi4 ,one represents the saint      
enthroned in glory2 the others are      

allegorical depictions of the three vows
 of the ,franciscan  ,order1--,poverty1 
,chastity1 and ,obedience4 ,the finest  
of the series is  that reproduced in    
this plate1 in which ,giotto has        
represented the  mystic marriage of ,st4
 ,francis with ,poverty4 ,hope and ,love
 are the  bridesmaids1 angels are the   
witnesses1 and ,christ himself blesses  
the  union4 ,the bride's garments are   
patched1 ragged and torn by brambles1   
children throw stones at her and mock   
her1 and a dog barks at her2 but  the   
roses and lilies of paradise bloom about
 her1 and ,st4 ,francis looks  with love
 upon his chosen bride4 ,to the left a  
young man gives his cloak  to a beggar2 
on the opposite side a miser grasps his 
money-bag1 and a  richly clad youth     
scornfully rejects the invitation of the
 angel at his  side to follow in the    
train of holy ,poverty4 ,above1 two     
angels1 one  bearing a garment and a bag
 of gold1 the other a miniature         
palace--symbolical of worldly goods     

given up in charity--are received by    
the hands of the ,almighty4             
',,allegory ,,of ,,chastity'            
,,plate ,,iii    ,this fresco1 in the   
,lower ,church of ,st4 ,francis at      
,assisi1 is one of the  series to which 
that reproduced in the previous ,plate  
also belongs4 ,it  represents the       
different stages of perfection in the   
religious life4 ,on  the left ,st4      
,francis receives three aspirants to the
 ,franciscan ,order2  on the right three
 monks are driving evil spirits into the
 abyss below2  and in the central group 
angels pour purifying water upon the    
head of a  youth standing naked in a    
baptismal font4 ,two figures leaning    
over the  wall behind present him with  
the banner of purity and shield of      
fortitude1 and two angels standing near 
bear the convert's garments4 ,the       
mail-clad warriors1 holding lash and    
shield1 are emblematic of the  warfare  
and self-mortification of those who     
follow ,st4 ,francis4 ,in the  tower of 

the crenelated fortress in the          
background is seated ,chastity1  veiled 
and in prayer1 to whom two angels bring 
an open book and the palm  of holiness4 
',,nativity1' ',,entombment1' ,,and     
',,resurrection'      ,,plates ,,iv1 ,v1
 ,,and ,,vi    ,the ,arena ,chapel1     
,padua1 was built in the year #acjc by  
,enrico ,scrovegno1  a wealthy citizen  
of that place1 upon the site of a ,roman
 amphitheater  or arena4 ,the outside of
 this little building is devoid of all  
architectural embellishment1 but any    
exterior bareness is more than          
counterbalanced by the interior1 the    
decoration of which was1 in #acje or    
#acjf1 intrusted to ,giotto1 at that    
time the acknowledged master of         
painting in ,italy4 ,with the exception 
of the frescos in the choir1 which  were
 added by his followers in later years1 
all the paintings in the                
chapel--thirty-eight in number--are by  
his hand1 and present a scheme of       
decoration that is unsurpassed even in  

the churches of ,italy4 ,though  they   
lack the subtleties of later technical  
development1 write ,vasari's  recent    
editors1 these frescos of the ,arena    
,chapel1 in their  composition1 their   
simplicity1 their effectiveness as pure 
decoration1  and in their dramatic      
force1 are some of the finest things in 
the whole  history of art1 ancient or   
modern4    ,arranged in three tiers on  
the side walls of the chapel1 ,giotto's 
frescos illustrate the apocryphal       
history of ,joachim and ,anna1 the life 
of the ,virgin1 scenes from the life of 
,christ1 and below1 allegorical  figures
 of the ,virtues and ,vices4 ,on the    
entrance wall is a ',last  ,judgment1'  
and opposite1 a ',christ in ,glory4'    
,the vaulted ceiling1  colored blue and 
studded with gold stars1 is adorned with
 medallions of  ,christ and the ,virgin1
 saints and prophets4 ,wherever the eye 
turns1  writes ,mr4 ,quilter1 it meets a
 bewilderment of color pure and radiant 
and yet restful to the eye1 tints which 

resemble in their perfect  harmony of   
brightness the iridescence of a shell4  
,the whole interior1  owing perhaps to  
its perfect simplicity of form and      
absence of all other  decoration than   
the frescos1 presents less the aspect of
 a building  decorated with paintings   
than that of some gigantic opal in the  
midst of  which the spectator stands4   
',,the ,,nativity1' reproduced in ,plate
 ,,iv1 is the first of the second tier  
of frescos4 ,it is painted almost wholly
 in a quiet harmony of blue and  gray4  
,ruskin has called attention to the     
natural manner in which the  ,virgin    
turns upon her couch to assist in laying
 down the ,child brought  to her by an  
attendant1 and to the figure of ,st4    
,joseph seated below in  meditation4 ,on
 the right are the shepherds1 their     
flocks beside them1  listening to the   
angels who1 all exulting1 and as it were
 confused with  joy1 flutter and circle 
in the air like birds4 ,on the left the 
ox and  ass stretch their heads towards 

the ,virgin's couch4    ',,the          
,,entombment1' ,plate ,v1 is impressive 
in its passionate intensity4  ,the women
 seated on the ground supporting the    
dead ,christ are  overwhelmed with      
grief1 other mourners are grouped       
around2 and in the  figure of ,st4 ,john
 with his arms extended ,giotto has     
preserved the  antique gesture of       
sorrow4 ,angels wheel and circle through
 the air in a  frenzied agony of grief4 
,in the background a barren hill and the
  leafless branches of a tree are       
relieved against a darkening sky4       
',,the ,,resurrection1' ,plate ,,vi1    
shows us the soldiers in deep sleep     
beside  the red porphyry tomb on which  
two majestic1 white-robed angels are    
seated4 ,mary ,magdalene1 in a long     
crimson cloak1 kneels with  outstretched
 arms at the feet of the risen ,christ1 
who by his expressive  gesture warns    
her1 ,noli me tangere6    ,this fresco  
and that of ',the ,resurrection' are    
among the most impressive  in the       

chapel1 and are comparatively little    
injured by time and  dampness4          
',,the ,,death ,,of ,,st4 ,,francis'    
,,plate ,,vii    ,the last in the series
 of eight frescos painted by ,giotto in 
the ,bardi  ,chapel of the ,church of   
,santa ,croce1 ,florence1 this picture1 
which is by  many considered his        
masterpiece1 shows us the closing scene 
in the life  of ,st4 ,francis of        
,assisi4 ,julia ,cartwright writes of   
it3 ,the great  saint is lying dead on  
his funeral bier1 surrounded by weeping 
friars  who bend over their beloved     
master and cover his hands and feet with
  kisses4 ,at the head of the bier a    
priest reads the funeral rite2 three    
brothers stand at the foot bearing a    
cross and banner1 and the  incredulous  
,girolamo puts his finger into the      
stigmatized side1 while  his companions 
gaze on the sacred wounds with varying  
expressions of awe  and wonder2 and one1
 the smallest and humblest of the group1
 suddenly  lifts his eyes and sees the  

soul of ,st4 ,francis borne on angel    
wings to  heaven4 ,even the hard        
outlines and coarse handling of the     
restorer's  brush have not destroyed the
 beauty and pathos of this scene4 ,in   
later  ages more accomplished artist    
often repeated the composition1 but none
  ever attained to the simple dignity   
and pathetic beauty of ,giotto's        
design4      ',,the ,,birth ,,of ,,st4  
,,john ,,the ,,baptist'      ,,plate    
,,viii    ,the ,peruzzi ,chapel in the  
,church of ,santa ,croce1 ,florence1 was
 decorated  by ,giotto with scenes from 
the lives of ,st4 ,john the ,baptist and
 ,st4  ,john the ,evangelist4 ,the      
frescos in this chapel have suffered    
greatly  from repainting1 writes ,mr4   
,f4 ,mason ,perkins1 but the monumental 
style  in which they were originally    
conceived is still unmistakably         
apparent2  and they are certainly to be 
considered as products of the most      
mature  period of ,giotto's activity1 in
 all probability later in date by some  

years at least than those in the ,bardi 
,chapel4 ,the fresco here  reproduced   
represents the birth and the naming of  
,st4 ,john the ,baptist4  ,in one room  
,st4 ,elizabeth is seen reclining on her
 couch and waited upon  by her          
attendants2 in an adjoining chamber     
,zacharias is seated writing  upon a    
tablet the name by which the new-born   
child is to be called4      ',,the      
,,feast ,,of ,,herod'      ,,plate ,,ix 
,this fresco in the ,peruzzi ,chapel in 
the ,church of ,santa ,croce1           
,florence1 is one of the most celebrated
 of ,giotto's works4 ,herod and his     
guests are represented at table under a 
portico suggestive in its  classic      
decorations of the later ,renaissance4  
,salome1 a lyre in her  hand1 has been  
dancing to the music of a violin played 
by a youth in a  striped tunic--a figure
 which has been the subject of          
enthusiastic  praise from ,mr4 ,ruskin  
and other writers4 ,the girl pauses in  
her dance  as a soldier in a ,roman     

helmet brings the head of ,john the     
,baptist into  the hall and presents it 
to ,herod4 ,through an open door ,salome
 is seen  again1 kneeling before her    
mother and bearing the charger upon     
which  rests the head of ,st4 ,john4 ,in
 the distance1 at the other side of the 
picture1 we see the barred window of the
 tower where the ,baptist has  been     
imprisoned4    ,although little more    
than its outlines are left1 writes      
,kugler1 this  work unites with all     
,giotto's grander qualities of          
arrangement1  grouping1 and action1 a   
closer imitation of nature than he had  
before  attained4 ,seldom1 even in later
 times1 have fitter action and features 
been rendered that those which          
characterize the viol-player as he plies
  his art and watches the dancing       
,salome4      ',,the ,,raising ,,of     
,,drusiana'      ,,plate ,x    ,the     
story of the incident which ,giotto has 
here portrayed has been told  as        
follows3 ,when ,st4 ,john had sojourned 

in the island of ,patmos a year  and a  
day he returned to his church at        
,ephesus2 and as he approached the      
city1 being received with great joy by  
inhabitants1 lo6 a funeral  procession  
came forth from the gates2 and of those 
who followed weeping  he inquired1 ',who
 is dead8' ,they said1 ',drusiana4' ,now
 when he heard  that name he was sad1   
for ,drusiana had excelled in all good  
works1 and  he had formerly dwelt in her
 house2 and he ordered them to set down 
the  bier1 and having prayed earnestly1 
,god was pleased to restore ,drusiana   
to life4 ,she arose up and the apostle  
went home with her and dwelt in  her    
house4    ,this fresco in the ,peruzzi  
,chapel in the ,church of ,santa ,croce1
  ,florence1 shows ,giotto in all his   
strength and greatness1 write ,crowe    
and ,cavalcaselle4 ,life and animation  
are in the kneeling women at the        
,evangelist's feet1 but particularly in 
the one kneeling in profile1  whose     
face1 while it is obvious that she      

cannot see the performance of  the      
miracle on ,drusiana1 expresses the     
faith which knows no doubt4 ,see  how   
true are the figure and form of the     
cripple2 how fine the movement  of      
,drusiana2 how interesting the group on 
the right in the variety of  its        
movements2 how beautiful the play of    
lines in the buildings which  form the  
distance2 how they advance and recede in
 order to second the  lines of the      
composition and make the figures stand  
out4      ,a ,,list ,,of ,,the          
,,principal ,,paintings ,,by ,,giotto1  
,,with ,,their ,,present  ,,locations   
,transcriber's ,note3 ,subsection       
headings surrounded by '' characters2   
for example1 ,paris1 ,louvre            
,,england4 ,alnwick ,castle1 ,duke of   
,northumberland's ,collection3 ,panel   
with ,sposalizio1 ,st4 ,francis         
receiving the ,stigmata1 etc4--,,france4
  ,paris1 ,louvre3 ,st4 ,francis        
receiving the ,stigmata--,,germany4     
,munich  ,gallery3 ,small ,panels of    

,crucifixion1 ,last ,supper1            
etc4--,,italy4  ,assisi1 ,church of ,st4
 ,francis1 upper church3 ,frescos from  
the ,life of  ,st4 ,francis2 ,lower     
,church3 ,allegorical ,frescos of       
,chastity1 ,obedience1  and ,poverty1   
and ,st4 ,francis in ,glory 7see ,plates
 ,,ii and ,,iii72 ,frescos  from the    
,lives of ,christ and the ,virgin1 and  
,miracles of ,st4  ,francis--,bologna1  
,academy3 ,saints and                   
,angels--,florence1 ,academy3  ,madonna 
,enthroned 7,plate ,i7--,florence1      
,church of ,santa ,croce1 ,bardi        
,chapel3 ,frescos from the ,life of ,st4
 ,francis 7see ,plate ,,vii72 ,peruzzi  
,chapel3 ,frescos from the ,lives of    
,st4 ,john the ,baptist and ,st4 ,john  
the  ,evangelist 7see ,plates ,,viii1   
,,ix1 and ,x7--,padua1 ,arena ,chapel3  
,frescos  from the ,lives of ,christ and
 the ,virgin 7see ,plates ,,iv1 ,v1 and 
,,vi72 ,last  ,judgment2 ,christ in     
,glory2 ,allegorical ,figures of the    
,virtues and ,vices2  sacristy3         

,crucifix--,padua1 ,church of ,sant'    
,antonio3 ,frescos of  ,saints--,rome1  
,church of ,san ,giovanni ,laterano3    
,pope ,boniface ,,viii4  proclaiming the
 ,jubilee--,,united ,,states4 ,boston1  
,mrs4 ,j4 ,l4 ,gardner's  ,collection3  
,presentation in the ,temple4           
,giotto ,bibliography      ,a ,,list    
,,of ,,the ,,principal ,,books ,,and    
,,magazine ,,articles ,,dealing ,,with  
,,giotto    ,,alexandre1 ,a4 ,histoire  
populaire de la peinture3 cole          
italienne4  7,paris1                    
#ahid7--;,,baldinucci1 ,f4 ,notizie dei 
professori del disegno da  ,cimabue in  
qu4 7,florence1 #afha7--;,,berenson1 ,b4
 ,florentine ,painters of  the          
,renaissance4 7,new ,york1              
#ahif7--;,,blashfield1 ,e4 ,h4 and ,e4  
,w4 ,italian  ,cities4 7,new ,york1     
#aijj7--;,,breton1 ,e4 ,ambrogio        
,bondone dit le ,giotto4  7,st4         
,germain-en-,laye1                      
#ahea7--;,,burckhardt1 ,j4 ,der         
,cicerone1 edited by ,w4  ,bode4        

7,leipsic1 #ahih7--;,,callcott1 ,,lady4 
,description of the ,chapel of the      
,annunziata dell' ,arena in ,padua4     
7,london1 #ahce7--;,,cartwright1 ,j4    
,the  ,painters of ,florence4 7,london1 
#aija7--;,,cennini1 ,c4 ,treatise on    
,painting3  ,trans4 by ,mrs4            
,merrifield4 7,london1                  
#ahdd7--;,,colvin1 ,s4 ',giotto' in     
',encyclopdia ,britannica4' 7,edinburgh1
 #ahhc7--;,,crowe1 ,j4 ,a41 ,,and       
,,cavalcaselle1 ,g4 ,b4 ,history of     
,painting in ,italy4 7,london1          
#ahff7--;,,dobbert1 ,e4 ',giotto' in    
',dohme's ,kunst und ,knstler1' etc4    
7,leipsic1 #ahgh7--;,,fea1 ,c4          
,descrizione della cappella di ,s4      
,francesco  d',assisi4 7,rome1          
#ahbj7--;,f,,rster1 ,e4 ,beitrge zur    
neuern ,kunstgeschichte4  7,leipsic1    
#ahce7--;,,frantz1 ,e4 ,geschichte der  
christlichen ,malerei4  7,freiburg im   
,breisgau1 #ahhg-id7--;,,ghiberti1 ,l4  
,commentario sulle arti4  7,extracts    
from manuscript copy are quoted by      

,milanesi1 ,cicognara1  ,perkins1 and   
,frey7--,,gordon1 ,l4 ,d4 ,the ,story of
 ,assisi4 7,london1  #aijj7--;,,hoppin1 
,j4 ,m4 ,great ,epochs in ,art ,history4
 7,boston1  #aija7--;,,jameson1 ,a4     
,memoirs of ,italian ,painters4         
7,boston1  #ahif7--;,,janitschek1 ,h4   
,die ,kunstlehre ,dante's und ,giotto's 
,kunst4  7,leipsic1 #ahib7--,,kugler1   
,f4 ,t4 ,italian ,schools of ,painting4 
,revised by  ,a4 ,h4 ,layard4 7,london1 
#aijj7--,,kuhn1 ,p4 ,a4 ,allgemeine     
,kunst-,geschichte4  7,einsiedeln1 #ahia
 et seq47--,,lee1 ,v4 ,euphorion4       
7,london1 #ahhd7--,,lindsay1  ,,lord4   
,sketches of the ,history of ,christian 
,art4 7,london1 #ahhe7--,l,,bke1  ,w4   
,history of ,art4 7,new ,york1          
#ahgh7--,,mantz1 ,p4 ,chefs-d'oeuvre de 
la  peinture italienne4 7,paris1        
#ahgj7--,m,,ntz1 ,e4 ,histoire de l'    
,art pendant  la ,renaissance3 ,les     
,primitifs4 7,paris1 #ahhi7--,,oliphant1
 ,,mrs4 ,the ,makers  of ,florence4     
7,london1 #ahhh7--,,perkins1 ,f4 ,m4    

,giotto4 7,london1  #aija7--,,quilter1  
,h4 ,giotto4 7,london1 #ahhj7--,,rio1   
,a4 ,f4 ,de l' ,art  chrtien4 7,paris1  
#ahfa-g7--,,rumohr1 ,c4 ,f4 ,v4         
,italienische ,forschungen4  7,berlin1  
#ahbg7--,,ruskin1 ,j4 ,giotto and his   
,works in ,padua4 7,london1             
#ahed7--,,ruskin1 ,j4 ,fors ,clavigera4 
7,orpington1 #ahhc7--,,ruskin1 ,j4      
,mornings  in ,florence4 7,orpington1   
#ahge7--,,ruskin1 ,j4 ,modern ,painters4
 7,london1  #ahdf-fj7--,,sacchetti1 ,f4 
,delle ,novelle4 7,florence1            
#agbd7--,,schnaase1 ,c4  ,geschichte der
 bildenden ,knste4 7,dsseldorf1         
#ahdc-d7--,,selvatico1 ,p4 ,e4  ,sulla  
cappellina degli ,scrovegni nell' ,arena
 di ,padova4 7,padua1                   
#ahcf7--,,stillman1 ,w4 ,j4 ,old        
,italian ,masters4 7,new ,york1         
#ahib7--,,symonds1  ,j4 ,a4 ,renaissance
 in ,italy4 7,london1 #ahge7--,,taine1  
,h4 ,voyage en ,italie4  7,paris1       
#ahff7--,,thode1 ,h4 ,franz von ,assisi4
 7,berlin1 #ahhe7--,,thode1 ,h4         

,giotto4 7,leipsic1 #ahii7--,,tikkanen1 
,j4 ,j4 ,der ,malerische ,styl          
,giotto's4  7,helsingfors1              
#ahhd7--,,vasari1 ,g4 ,lives of the     
,painters4 7,new ,york1                 
#ahig7--,,woltmann1 ,a41 ,,and          
,,woermann1 ,k4 ,history of ,painting3  
,trans4 by  ,clara ,bell4 7,new ,york1  
#ahie7--,,zimmermann1 ,m4 ,g4 ,giotto   
und die ,kunst  ,italiens in            
,mittelalter4 7,leipsic1 #ahii74        
,,magazine ,,articles    ,,archivio     
,,storico ,,dell',,arte1 #ahib3 ',die   
,kunstlehre ,dante's und ,giotto's      
,kunst' di ,janitschek 7,c4 de          
,fabriczy7--,,century ,,magazine1 #ahhi3
 ,giotto  7,w4 ,j4                      
,stillman7--,,jahrbuch ,,der            
,,preussischen ,,kunstsammlungen1 #ahhe 
and  #ahhf3 ,studien zu ,giotto 7,k4    
,frey7--,,monthly ,,review1 #aijj3 ,art 
before  ,giotto 7,r4 ,e4 ,fry74 #aijj3  
,giotto 7,r4 ,e4 ,fry74 #aija3 ,giotto  
7,r4 ,e4  ,fry7--,,nuova ,,antologia1   
#ahfg3 ,giotto 7,c4 ,laderchi74 #ahge3  

,aneddoto dell'  ,o e la supposta gita  
di ,giotto ad ,avignone 7,g4 ,b4        
,cavalcaselle74 #ahhj3  ,la chiesa di   
,giotto nell' ,arena di ,padova 7,c4    
,boito74 #ahha3 ,san  ,francesco1 ,dante
 e ,giotto 7,g4 ,mestica74 #aijj3 ,dante
 e ,giotto 7,a4  ,venturi7--,,penn      
,,monthly1 #ahha3 ,cimabue and ,giotto  
7,w4 de ,b4  ,fryer7--,,portfolio1      
#ahhb3 ,assisi 7,j4                     
,cartwright7--,,repertorium ,f,r        
,,kunstwissenschaft1 #ahig3 ,die        
,heimath ,giotto's 7,r4 ,davidsohn74    
#ahii3 ,die  ,fresken im ,querschiff der
 ,unterkirche ,san ,francesco 7,p4      
,schubring7--,,revue ,,de ,l',,art      
,,chr,,tien1 #ahgc3 ,evolutions de      
l',art chrtien  7,g4 d4                 
,saint-,laurent74 #ahhe3 ,giotto4       
,naturalisme et mysticisme 7,e4         
,cartier74 #ahhe3 ,le ,pome de ,giotto4 
7,e4 ,cartier7--,,zeitschrift ,f,r      
,,bildende ,,kunst1 #ahih and #ahii3    
,die malerische ,dekoration der ,s4     
,francesco-kirche in ,assisi 7,a4       

,aubert74          ,three ,beautiful    
,books    ,by ,,philip ,l4 ,,hale       
,three valuable handbooks on great      
portraits and ,madonnas of the world4   
,printed in beautiful type1 on heavy    
antique paper with broad margins1  and  
daintily bound in buckram of special    
weave1 with title-design  stamped in    
gold4 ,each book contains about #hj     
pages #h  #aa inches in  size1 including
 twenty exquisite full-page             
reproductions of famous  paintings1 some
 of which have rarely been reproduced4  
,the author1 ,mr4 ,philip ,l4 ,hale1 a  
son of the late ,edward ,everett ,hale1 
is himself a painter and art critic of  
reputation4 ,the text is unique1        
comprising a critical analysis and      
comparison of the work of the master    
painters1 not from the too common       
view-point of a critic who walks the    
galleries1 but from that of a painter1  
who with brushes in hand is even  now   
working on the same problems those he   
writes about have worked on4  ,it has   

all the charm and spontaneity of an     
informal studio chat2 and  gives a new  
and fresh appreciation of art4          
,price1 ,each1 ,boxed and ,postage      
,prepaid1 #a4ej      ,the ,madonna    ,a
 critical analysis of the way the master
 painters pictured the ,madonna1        
illustrated with full-page reproductions
 of the following masterpieces3         
,sistine ,madonna1 ,madonna of the      
,chair1 ,madonna of the ,house of ,alba1
  ,raphael2 ,virgin of the ,rocks1 ,st4 
,anne1 the ,virgin1 and ,christ-child1  
,da  ,vinci2 ,assumption of the ,virgin1
 ,madonna of the ,pesaro ,family1       
,madonna  with the ,cherries1 ,titian2  
,virgin adoring the ,christ-child1      
,correggio2  ,madonna of the ,sack1 ,del
 ,sarto2 ,immaculate ,conception1       
,murillo2 ,virgin  and ,child1          
,crivelli2 ,nativity1 ,correggio2 ,meyer
 ,madonna1 ,holbein2  ,madonna of       
,castelfranco1 ,giorgione2 ,madonna of  
the ,two ,trees1 ,bellini2  ,vow of     
,louis ,,xiii41 ,ingres2 ,coronation of 

the ,virgin1 ,botticelli2  ,madonna and 
,child with ,two ,angels1 ,fra ,filippo 
,lippi2 ,madonna and ,three  ,dominican 
,saints1 ,tiepolo4      ,great          
,portraits3 ,women    ,an essay on the  
painting of women's portraits1          
illustrated by twenty  full-page plates 
reproducing the following great         
portraits3    ,mona ,lisa1 ,da ,vinci2  
,countess ,potocka1 ,artist ,unknown2   
,mrs4 ,sheridan1  ,mrs4 ,siddons1       
,gainsborough2 ,nelly ,o',brien1        
,reynolds2 ,unknown ,princess1  ,da     
,vinci2 ,bust of ,unknown ,lady1 in     
,louvre2 ,parson's ,daughter1 ,romney2  
,sarah ,bernhardt1 ,bastien-,lepage2    
,his ,mother1 ,whistler2 ,madame        
,destouches1 ,ingres2 ,madame           
,mol-,raymond1 ,lebrun2 ,miss ,farren1  
,lawrence2  ,shrimp ,girl1 ,hogarth2    
,madame ,rcamier1 ,david2 ,violante1    
,palma ,vecchio2  ,doa ,isabel ,corbo de
 ,porcel1 ,goya2 ,princess ,christina1  
,holbein2 ,his  ,daughter ,lavinia1     
,titian2 ,queen ,henrietta1 ,van ,dyck4 

,great ,portraits3 ,children    ,a      
treatment of the subject of children's  
portraits similar to that of  women's   
portraits1 with twenty full-page plates 
of these beautiful  canvases3           
,portrait of ,countess ,mollien1        
,greuse2 ,louis1 ,dauphin of ,france1   
,la ,tour2  ,madame ,louise of ,france1 
,nattier2 ,rubens's ,sons1 ,rubens2 ,the
 ,blue ,boy1  ,gainsborough2 ,don       
,garcia with a ,bird1 ,bronzino2 ,queen 
of ,sicily1 ,goya2  ,boy with a ,sword1 
,manet2 ,strawberry ,girl1 ,reynolds2   
,st4 ,john the  ,baptist1 ,donatello2   
,william ,,ii4 of ,nassau1 ,van ,dyck2  
,holbein's ,wife and  ,children1        
,holbein2 ,madame ,vige ,lebrun and     
,daughter1 ,lebrun2 ,the ,broken        
,pitcher1 ,greuse2 ,portrait of ,miss   
,alexander1 ,whistler2 ,king of ,rome1  
,lawrence2 ,infanta ,margarita1 ,maids  
of ,honor1 ,don ,baltasar ,carlos on    
,horseback1 ,velasquez2 ,child with     
,blond ,hair1 ,fragonard4      ,,bates  
,,guild ,,company    #add ,congress     

,st41 ,boston1 ,mass4                   
,,klassiker ,,der ,,kunst    ,the       
,german ,series of ,art ,monographs     
,each volume contains practically the   
complete work of the painter to  whom it
 is devoted1 with a biographical sketch 
7in ,german74 ,we recommend  these      
books1 on account of their completeness 
in the way of  illustrations1 as        
supplementary to ,,masters ,,in ,,art4  
,prices given are net1 and on mail      
orders postage must be added4 ,the list 
to date follows4 ,new volumes are       
constantly being published1 and prices  
of these will be sent on request4       
,i ,raphael 7#bge pictures7             
#b4jj1 postage extra1 #bh cents     ,,ii
 ,rembrandt1 ,paintings 7#fdc pictures7 
#c4ej               #ej       ,,iii     
,titian 7#bgd pictures7                 
#a4ge               #bh        ,,iv     
,drer 7#dgc pictures7                   
#b4ej               #ch         ,v      
,rubens 7#eea pictures7                 
#c4jj               #dd        ,,vi     

,velasquez 7#agb pictures7              
#a4ge               #be       ,,vii     
,michelangelo 7#afi pictures7           
#a4ej               #bf      ,,viii     
,rembrandt1 ,etchings 7#djb pictures7   
#b4jj               #cb        ,,ix     
,schwind 7#a1bfe pictures7              
#c4ge               #ef         ,x      
,correggio 7#aif pictures7              
#a4ge               #be        ,,xi     
,donatello 7#bgg pictures7              
#b4jj               #bh       ,,xii     
,uhde 7#bhe pictures7                   
#b4ej               #cd      ,,xiii ,van
 ,dyck 7#ecg pictures7                  
#c4ge               #dh       ,,xiv     
,memlinc 7#aig pictures7                
#a4ge               #bh        ,,xv     
,thoma 7#hgd pictures7                  
#c4ge               #eb       ,,xvi     
,mantegna 7#bgj pictures7               
#b4jj               #bh      ,,xvii     
,rethel 7#bhj pictures7                 
#b4be               #bh         ,,bates 
,,guild ,,company    #add ,,congress    

,,street1 ,,boston