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G-I
GIOTTO
The work of Giotto
Bondone had
di
the
two
from which
traditions
Roman
by warm
are characterized
School,
colors, statu-
concept of space
is
different
his contemporaries:
'
it
from
that of
'emerges" from
from the
relationship between full and empty areas.
This first volume of Giotto's paintings
contains an introductory essay by Roberto
the distribution of volumes,
Salvini,
details,
selected criticism,
biographical
and some of
his
paintings.
second
Many
detailed reproduc-
reader to appreciate
contribution to
more
fully Giotto's
art.
jacket illustration:
at the Golden Gate {detail)
Vadna, Arena Chapel
The Meeting
GIOTTO
Part
VOLUME EIGHTEEN
in the
Art
World Art
OF GIOTTO
Part
Text by
ROBERTO SALVINI
Translated by
VAUL COLACICCHI
HAWTHORN BOOKS,
Publishers
'
INC.
New York
&
A lanufactured
Jarrold
in
Great Britain by
CONTENTS
page
GIOTTO
di
BONDONE,
biographical notes
giotto's paintings
location of paintings
reproductions
life
and work
7
41
43
6l
65
GIOTTO
Dl
Life and
GIOTTO
is
known
BONDONE
Work
is supposed to have
bonds with the Middle Ages and to have
laid the foundations of modern painting. Ever since Cennino
Cennini saw in Giotto the translator of art "from Greek
into Latin" and ever since Ghiberti and Vasari proclaimed
that Giotto had overcome the "roughness of the Greeks,"
art historians have insisted on stressing the revolutionary
impact of his art on Byzantine tradition.
It is true that Giotto's vision of nature was distinct from
the ceremonial abstraction of Byzantine painting. But this
nature was still centered on man and reflected through absolute moral and religious law. Nor is the heritage of Byzantine civilization entirely lost, for the exact and hierarchical
system that governs Giotto's compositions has its remote
broken
all
Middle Ages. In contrasting to the absolute Byzantine chromaticism an equally absolute but opposed plasticity, in
moving from
harmony
to the
level of
sculpture
is
manner
of composing through an interplay of tensions and distensions appears as a new interpretation of the dynamic linearity
of the Gothic.
If one were to undertake a study of the artistic culture of
the Middle Ages as extensive as that carried out to discover
the sources of the Divine Corned)', one should conclude that
Giotto was almost a summa of the representational culture
of both the Western and Eastern Middle Ages, a definite
synthesis of the two discordant traditions from which Italian
art sprang.
Mugello
was a
local
able both from a historical point of view and from the style
of some of Giotto's early works. Nor should one forget that
Cimabue worked
at
his
side in
in
the
Assisi.
may
evidence
of
of Giotto's
In the
art.
may
on
Roman bed
his
of Joseph (plates 16
And what
and
18) against a
background of
hills.
on
a slope in
upper
with a modern sense
of plasticity one could almost say a purer geometry
which can only be found in other details of Giotto's works
in The Lamentation (plate 11) the composition based upon
several main lines converging toward the compact group
in the foreground, similar to a lunette, the cross-section
of the rock and the frozen flight of sorrowful angels
prefigure the dominant themes of the Padua Lamentation
(plate 143). There are also in this fresco some exchanges of
glances and an elegant sobriety of gestures which we shall
find again in many works by Giotto in Assisi and Padua.
The chromatic intonation, warm and lively, the types of
figures and the pauses in the composition certainly recall the
Stories of Isaac but, the stately composure of the cast having
By paying
body
(plates 12
and
upon
by Cima-
10
sensitivity, as
Space
is
handled
differently:
it is
no longer a
support
from
without
empty
which
some formal
cavity
areas.
perspective
from the
This
is
rela-
practically
tween
is
generated not so
a container
and
its
much from
of greater limpidity
women and
is
the rock;
to be
it
is
on the
and
float perilously
picture. Space,
becomes too
group is seen to
left
flat,
steep,
as a
From
grief.
one
else
returned to
formation.
stories.
What
him by
Cavallini?
Joseph,
and
coming
into
pictorial genius
set off
by
his
Francis,
We
them
all:
the
throughout
But
personality is obvious
becomes dominant
imprint of a
single
artistic
throughout.
Instead of drawing from the Franciscan iconography as
popularized in the third century, Giotto re-created even the
13
most familiar
scenes. This
man's actions.
phenomenon of
He
tends to
nature and
man
was
still
not yet achieved full control over his vision but more often
because the sense of the absolute was mixed with his lyrical
enthusiasm for a new and unexpected revelation of the world.
Dramatic rigor in short was modified by Giotto's astonish-
ment
It
in contemplating creation
itself.
emerges from Dante's famous lines: "Ne gli gravo vilta di cor
"
Adlnnocen^o aperse
le ciglia. Regalmen te sua dura intercom
("Nor did cowardice of heart make him lower his brow.
Proudly he revealed his firm resolve to Pope Innocent.")
1
But
it is
which
in early
wonder
art.
Every aspect of Giotto's representational language is related to these fundamental sources, which would quickly
become apparent from an analytic study of his paintings.
His space, as we have seen in The Lamentation, is born
from the interplay of volumes. It does not exist before
them, ideally speaking, and cannot be conceived without
them. The composition, meanwhile, refers constantly to a
And
relationship
between
full
and empty
groups of
the
room
set
is
minimum
all
natural pro-
we have
(plate 44) in
The Expulsion of
to the figure of St
15
Sylvester is obtained by suddenly interrupting the axial convergence of the Duomo and the walled city. Here, too, the
in a balance of
down
let it
be
said, as abstract
or "metaphysical"
This vision of space, as a fact natural to the plastic substance of things, was similar to Arnolfo's. Giotto's acquaintance with the Florentine sculptor is confirmed by several
details of form and theme repeatedly pointed out by critics,
and we need not insist upon it here. It has been claimed,
however, and rightly so, that among Giotto's decisive
experiences before he began The Legend of St Francis was a
study of Arnolfo's art and architecture. It is possible that,
having completed the frescoes in the basilica's upper course,
the master went to Rome to examine Arnolfo's canopies. He
probably visited the Santa Reparata building site in Florence,
where Arnolfo was directing the construction of the new
cathedral and carving the figures for its facade while he
was painting the Crucifix in the Church of Santa Maria
Novella.
Nor
is
the principle
differently
applied in the
more
governed by an
boundary but
a solid
life.
all
momentum is
suddenly blocked
Spatial
which within
below in the
of space as it occurs
is
Giotto's treatment of landscapes, much as their discovery moved him, never allows for wide horizons: any
impression of reality emanating from them is not derived
from a rich display of nature but, on the contrary, from the
Even
the
munion with
it is
made obvious by
the
little
apt
on the
comment on
scene. Notice
how
its
central
primitive. It
its
poetic
had a precedent
Roman
softness of contours
and stressed
his
school
from Caval-
own
concision
it
hard light, as is the case here with the face of the knight.
This can only derive from Cimabue.
But Cimabue's influence upon Giotto was also revealed
how
how it leaps
it
expresses in
full,
in terms
by
ing the
his left
hand.
It is
at the
same time
its
turn,
is
visual terms
appropriate gesture.
We
must remark
undeniable effectiveness of
mime
in Giotto
is
raised
from
when a gesture
articulated.
in that
it
Saint's
back
is
preparation
plane
in
its
Saint.
is
Each neces-
thus translated
in terms of the purest form, and the whole composition depends on the delicate yet decisive action of separating the
figure of the Saint from that of his friar against the motionless background of nature. This immediate visual impression
is the essence of the painting.
Exalting the plasticity of all things was therefore Giotto's
ultimate end in terms of style. But his volumes, seen at first
in their elementary inarticulate absoluteness, break out of
their isolation and establish a live relationship with one
another through the sober though effective function of his
contours. This, then, is the dynamic law of his compositions:
the correlation of volumes by means of a plane. One could
20
Dream
His
ceremoniously grave
others
drawn
in a
at times, as in
The Miracle at
Greccio, at
as in the case
such as Christ
Among
the
Elders (plate
20),
the
left
still
sitting at table
air
friar
to the
by the
21
marked contours,
group at the
where all tension
ends. This passage, on the other hand, does not take place
without interruptions and resumptions, such as the cloaked
figure who seems to steer the Saint frontwards and the arched
backs of the two women forming a lunette around the knight.
Giotto, therefore, in this and other Assisi works, was searching for an intermittent rhythm.
This happens, too, in the beautiful Lament of the Poor
Clares, the main lines of which were certainly by Giotto even
if the actual execution was the work of pupils. Color as well,
in Assisi,
is
more
The whole
is
The
that he
was
greatly helped
by
show
of
The
Navicella
mosaic instead
(see
work of
that period,
is
now
Florence
the
alia
This argument
is
own
personality.
domi-
chromatism.
line,
23
against
flat
planes; they
background because of violent lights, as in Assisi. His dramatic feeling was now perhaps stronger than ever, but the
spirit in which he expressed it was more serene. His masses
became broader without prejudice to their effectiveness;
his compositions more complex but also more compact, more
closely concatenated in a slower rhythm.
room
in
24
silence
is
however,
is
pended
does not
in mid-air, in a
exist.
rather than
sus-
human warmth we
we gaze
upon
Dream
The
central
each other. Further on, after the first two Stories of the Virgin,
we have the three scenes of the Marriage (plates 102-104);
all are connected by the mysterious cross-section of the
church and based on a slow, horizontal movement of masses
suggesting the inevitability of
fate.
The Prayerfor the Blossoming of the Rods (plate 103), the surface
of blue coming down upon the heads of the kneeling crowd
is similar to a held note in song and adds suspense and
trepidation to the scene.
In the middle
tier
we
find the
first
the
Magi
[plates
26
(plate
124)
we
women
most
effectively
the picture's focal point towards the side, while the lesser
compositional
high-light
Lazarus appears as
orchestration.
Still
centered
counterpart
upon
the
swaddled
suggesting a greater
the
concept
is
unbroken tension
in
creates space
through
before
and
cept of
28
many
lines
tangible world
more
personal con-
it is
The composition
are lively
how
The
of special
his
comment
(plate 153).
knowledge of the
possibilities
of space.
From
all
the deep
between
real
two secret
on Giotto's
into a realm that is not quite his own. Let us see what
function is in the whole of the triumphal arch. They
to consider the
their
29
terms of perspective,
which not only protrude, but converge, whereas the interiors of the two chapels
diverge towards separate points. The synthesis of these
are, in fact, a necessary counterpart, in
to the
two niches of
opposites
is
the Annunciation,
The unearthly
is
ment governing
the entire
Chapel.
There
is
upon
lowest
is
of a super-world, of the infinite, of God, remains a description or a symbol; it is never translated into another, or
a different poetic reality."
Some time
after the
paint the great Madonna and Child in Glory for the Church of
Ognissanti in Florence, now in the Uffizi Gallery (plates
185-189). The panel shares with the Padua frescoes some
thick outlines, blended in chiaroscuro, so different from the
Not even
unity, turning
eyes.
still
tightly
constructed balance
style to that
of the
(ancient records
Frescoes in the
3i
One can
still
and
their composition
plastic
The
we came
know
in
and
their
dynamic void,
monumentality
The
is
as in The Ascension.
removed from
at the
we
find
earlier ten-
time of exe-
window
at the left, as
evidenced from
Life of Christ,
Magi
relief
an intimate atmosphere, due to its bascomposition, and the horizontal rhythm of The Pre-
by the perspective pavement and canopy, is fascinaSpace is made to look hard and clear in The Pentecost
created
ting.
33
(plate 244) while the figures of The Deposition (plate 242) are
softly modulated under the low skyline with hills. One can
hardly believe that these scenes were conceived by a pupil,
though
Chapels.
all
tension
is
stilled in
an absolute
two
excellent restoration
World
(plate 196)
which the
assistants' work is decidedly obvious, those solemn masterpieces were largely devised and painted by Giotto alone. All
the main scenes take place inside well defined frontal areas,
and The
so that space
34
itself, clearly
and constant relationship with the plane, in a
perfect fusion such as once before, in the last works at the
Arena Chapel, had produced magnificent results. Througha peaceful
Croce.
new width by
35
enough
is
also a softness of
form and
color, miti-
even in
SS
(plates 224-225).
36
John
This
the Evangelist
last
work
is plastically so
modulated
among
some of
whom
King of Naples. He
one could
attribute (Salmi)
at
and
fortifications."
On
July 19 he laid
the foundation stone of the Campanile which, though constill preserves his name and the mark of
Between 1335 and 1336 he went to Milan where he
painted, in the palace of Azzo Visconti, a Vana Gloria
{Worldly Glory) surrounded by the "most illustrious ancient
tinued by others,
his style.
his students.
style
37
now
be seen in
4-2 5
to include in
the master's corpus^ but they are obviously the product of his
development
may be
frescoes of the
two
directly
from the
was
and
and of man's
39
BIOGRAPHICAL NOTES
i26y(?). Giotto di Bondone is born
at Colle, near Vcspignano, a few
miles north of Florence. His father,
who,
had died
due to
301.
1304-6.
Frescoes
in
the
Arena
document of November of
1305.
that year states that Giotto owned
a house, leased to a saddler, in
Florence, in the quarter of San
Pancra2io, Parish of Santa Maria
Novella.
Florence.
15
1297-99.
1 3
14.
is
1300. Is in
Rome, where he
paints
Boniface the VIII Proclaiming the
Jubilee of 1300 in the Basilica of St
John Lateran. It is doubtful that
at this time he also executed the
Navicella mosaic in St Peter's.
Documents prove
that Giotto
in Florence.
1315,
October. Fights
a legal battle
41
1320.
is
Documents prove
that Giotto
in Florence.
1 33 1
Francesco
Pesciolo
i320-25(?). In this period Giotto is
thought to have painted the
frescoes in the Peruzzi and Bardi
sells a
small farm at
on behalf of
his father.
1325.
di Vespignano.
1326.
on May
12.
4*
334,
April
12.
Giotto
is
appointed
by
On July
19, as stated
foundation stone
of the Campanile is laid.
Villani, the
1337,
as his
widow.
GIOTTO'S PAINTINGS
THE
ASSISI
FRESCOES
BIBLICAL STORIES
(Plates 1-19
and 230-233)
With regard
New
The
3X4
plates.)
Testament scenes
it
is
our
Maria Novella
at Florence
furthermore, one
assigns to the master the La?nent and
the Resurrection, then one should
accept his authorship of all the other
frescoes under the fourth vaulting
(Baptism of Christ, Christ among the
Elders above and, on the opposite
wall, Stories of Cain and Abel and
Stories of Joseph). Contrary to our
previously published statements, we
are now convinced that the Stories of
Isaac are also by Giotto. Our argument was then that the concept of
space in those frescoes was so different from that of The Legend of St
Francis as to make any rapprochement
in Santa
(plates 22-23).
If,
We
impossible.
must acknowledge
in the face of the many clear
now,
affinities
of physiognomy and
mime
pages
1 1
-1 3.)
Plate
(See also
plate 2.)
43
44
Plate 2
Plate 15
Detail:
THE RESURRECTION.
Jacob's head.
Plate 16
.
Plate ^2
/^
(See also
JOSEPH
REN>
IS
(See also
pkte I?0
plates 4-5.)
Plate 17
Plate 4
Detail:
Isaac's bust.
Plate
JOSEPH
ren.
IS
Detail:
Plate 18
19.)
Plate 6
(See
Plate 19
two bystanders.
crucifix.
Plate 8
CHRIST
Plate 9
bust of Jesus.
Plate 10
THE
LAMENTATION.
(See
also
plates 12-14.)
Plate 12
the lamentation.
Detail:
St
John's head.
Plate 13
the lamentation.
Detail:
Vir-
gin's head.
Plate 14
the lamentation.
of two mourning
Detail: busts
women.
Joseph's
brothers.
Detail:
Plate 20
Panel, J78
rence,
Mugnaio,
money
last
war, as
in his Libro
mentioned
in
Riccuccio's will.
In
fact, critics
by those
all
who would
reject totally
45
More recently, while Offner {Corpus, III, Vol. VI, 1956) assigns it
to a "Master of the Cross in Santa
Maria Novella," together with the
Madonna of San Giorgio alia Costa
(plate 80), Brandi has modified his
stand on this Crucifix and now admits
that it could be attributed to Giotto
in about 1300, though he ascribes the
two doleful half-length figures, one
at each extremity of the arms of the
Cross, to the artist who painted The
Lamentation and other frescoes at
Assisi, which Brandi assigns to an
older man than Giotto, but certainly
influenced by him.
In our view the style of the Crucifix
is fully consistent with Giotto's early
crucifix.
crucifix.
crucifix.
Plate 23
Detail: St John.
Plate 22
46
about
by Meiss
in style
Padua
the
governing the two cycles. The oppoand in our opinion the right
theory which for reasons of space
cannot be fully developed here
shall triumph when the whole of
Giotto's corpus will have been submitted to a thorough critical reconstruction in which the spacial conceptions and pictorial languages of
the Padua and Florence frescoes will
be shown to be admittedly different,
because they are, but not irreconcilable with those of the Assisi Legend.
site,
The
Luzzatto,
Cecchi,
Gnudi and
others.
Toesca,
Brandi,
of the
Church
in Assisi.
This can
only
refer
Another argument
is
provided by
away
Assisi?
recently (in Burlington MagaZ*ne, 1956) White observed that the
Boston St Francis Receiving the Stig-
More
we
was
47
fourteenth century to be
no longer
valid.
to a
good many
The
last
three
compartments are
and rightly so
at least
(plate 76).
fresco.
after the
48
Plate 24
ST
FRANCIS
BEING
HONORED
most
They
vestes
career, this
Christian
found.
beato
Plate 31
THE CRUCIFIX OF
ST
DAMIAN
the
Blessed Francis prayed by the Crucifix, a voice from the Cross repeated
three times: 'Francis, go, repair my
home which is being destroyed,'
alluding to the Church of Rome."
Plate 32
ST
world. "How
goods to
Plate 33
29.)
Plate 28
scape.
Plate 34
Plate 29
poor knight.
Plate 30
Plate 35
night, the
Blessed Francis having fallen asleep,
he saw a splendid palace, adorned
with arms of war, bearing the symbol
of the Savior's Cross; when he asked
to whom they belonged a celestial
voice answered that they would all
37-)
Plate 36
49
Plate 38
THE
SANCTIONING
THE
OF
were
commanding the
with
the
Saint
friars
who
fashion
preach the
to
Word
Plate 39
THE
SANCTIONING
rule.
OF
THE
Plate 44
Plate 40
THE
of plate 49.
friars in
some
were
Plate 41
THE
VISION
chariot.
OF
THE
FIERY
Plate 42
"How
Plate 46
city.
Color Plate
Plate 47
faith in Christ
offer to
his
go
Plate 48
ST
"How
50
made him
Detail
THE
Plate 43
demons.
Plate 49
MIRACLE
AT
GRECCTO.
Plate 57
F
is
repast;
fessed
Plate 50
rear
view of the
Crucifix.
bosom of God."
Plate
8-
590
the Priest.
Plate 58
Plate 52
Plate 53
two
friars
and the
ass.
Plate 54
Plate 59
Detail:
weeping woman.
Plate 60
ST
man.
Plate 61
Plate 55
ST
birds.
ST
honorius in.
Detail:
head of a
papal assistant.
Plate 62
56.)
THE
APPARITION
AT
ARLES.
"How,
fort
Plate 56
ST
from
it."
Color Plate
II
you,'
lowed
form of a
Plate 64
Plate 65
Plate 66
FRANCIS ASCENDING TO
heaven. "How, when the Blessed
ST
fol-
Plate 69
Assisi to
Plate 70
Plate 71
Madonna.
Plate 67
FRANCIS ASCENDING TO
ST
heaven. Detail: kneeling friar.
LAMENT
OF THE POOR
Clares. "The crowd that had con-
THE
candles,
Plate 68
APPARITIONS
TO
THE
BISHOP AND TO FRIAR AUGUSTINE. The fresco illustrates two epi-
THE
THE
THE
was lying
ill
his speech,
52
Plate 73
LAMENT
clares.
Detail:
OF
THE
POOR
two nuns.
Plate 74
LAMENT
clares.
Detail:
OF
THE
boy upon a
POOR
tree.
Plate 75
THE
CANONIZATION
francis. "How
the
OF
ST
Holy Pope
him among
the Saints."
Plate 76
"As
the
Rome,
The Loggia,
as stated by Panvinio
(1570), was erected under Boniface
and called Tbalamum or Pulpitum
signed by
moved
in
now
far as this
Bonifacii.
his
hand
is
concerned
recognizable only in the
fragment
is
Color Plate
III
to the cloister.
general idea
of the complete picture can be had
from a drawing in the Ambrosiana
Plate 79
(?).
Plate 80
Plate 81
reconstruction
in
Corpus,
III,
Vol. VI, 1956, by R. Offner), was
attributed by Offner himself (1927)
to a Giottesque artist known as the
"Master of St Cecilia." This view was
shared by Toesca. The attribution to
Giotto was due to Oertel (1937), who
dated the panel early 1300, after
Assisi and Rome, and before Padua.
Oertel also noted the extensive collaboration of assistants.
The authorship of Giotto is now
accepted only by Longhi, Bauch,
Gnudi, Battisti and me, while Offner,
rectifying
his
first
impressions,
assigns the panel to the "Master of
the Crucifix of Santa Maria Novella."
The time is variously established between the very early date of Longhi,
who believes the panel to be previous to or simultaneous with the
Crucifix in Santa Maria Novella, that
of Oertel in c. 1 301-3, and the
intermediate one of Gnudi who
favors a date immediately before the
Legend of St Francis, therefore about
1296. This is a difficult problem because, while the archaic organization
of the picture, and the angels of the
Roman school, so reminiscent of the
"Master of St Cecilia," belong to
the thirteenth century, the heads
of the Virgin and Child seem to prefigure clearly the Ognissanti Madonna
and Child in Glory (plate 185) of about
1 3 10. It would not seem absurd to
infer that Giotto executed this panel
at two different periods, but only a
much desirable cleaning operation
could establish the validity of this
assumption. (See also plate 81.)
Plate 82
Panel,
340. Florence, Museo dell'Opera
di Santa Croce. The panel consists of
five figures: at the center the Virgin
and Child; at the right St Peter and
St Benedict; at the left St Nicholas
and St John the Evangelist. As Ugo
Procacci has proved, the polyptych
comes from the main altar of the
91
the work of one pupil (Siren, Volbach, Rintelen, Van Marie, Berenson,
Offner, Brandi, Toesca). Judgment
was not helped by surface injuries
who
Plate 83
Detail:
St Peter (right).
Plate 83
54
Coletti and
partially
Longhi accepted the attribution.
Most scholars called it a "workshopGiotto" (Oertel, Salmi) or saw it as
Beenken,
(left).
Detail:
Plate 85
Plate 84
Detail:
Detail:
THE FRESCOES
IN
These
56.)
is
distributed in
from the
Birth to
The Virgin's Return Home (plates 98105). Two pictures of the Annunciation follow on the sides of the triumphal arch; they are surmounted by
the "Celestial Prologue" in which
God the Father entrusts the Archangel Gabriel with the message to
Mary
The central
part of this, showing God the Father,
is a panel inserted in the fresco.
the right side of the arch, under the
(plates 106-107).
On
admire The
Visitation.
we can
"prehistory."
On
wall,
Ufe
come
stories,
(plates 140-152).
saves
caselle).
55
56
its
complemented by
bas-relief illustra-
all
the alle-
by a single
figure.
The
entrance
174)
(plate 173).
wall
is
entirely
The purchase
work
in the
walls
admits
from
gives
1304.
the
Work
Gnudi
impression
of
57
was able
to shift
Arena
58
and
escort
her,
the
details.
(plate 154)
palace,
was
at the right
Plate 86
away by Ruben because of his marriage to Anne. Both he and his wife
are now aged and have no children.
(See also plate 87.)
Judgment.
alone,
Other
hands are discernible in some Stories
of the Virgin, in The Entry into Jerusalem, in The Last Supper, in The Proassistants here than at Assisi.
cession
master,
to
however,
over
plete control
exercised
com-
Plate 87
and
lives in
89.)
Plate 89
two shepherds.
Detail:
chapel.
the
Measurements:
Scrovegni
Chapel is 2926 in length, 848 in width
and 1280 in height (to the uppermost
The
lateral
Plate 90
THE ANNUNCIATION TO
The angel
ST
ANNE.
Anne
91.)
Plate 91
THE ANNUNCIATION TO
ST
ANNE
Plate 92
In
the desert
59
Color Plate IV
Plate 104
Detail of plate
1 1 1
Plate 94
upon
it.
The
betrothal
now
takes
Escorted
place.
Plate 105
returns
Plate 95
dream.
joachim's
Plate 106
long
separation
parents'
Galilee.
Plate 96
After
her
the
Detail:
sleeping Joachim.
gate.
Mary
home in
by seven virgins
to
Detail: a bystander.
Plate 107
Details of the two frescoes of the
Annunciation: the Archangel Gabriel
and the Annunciate Virgin.
Plate 98
Plate 108
Plate 99
THE
PRESENTATION
virgin.
OF
THE
00-101.)
also plate
the end of
the cycle the episodes follow the
Gospel narrative.
Plate 100
THE
PRESENTATION
virgin.
OF
THE
and St
Plate 109
Detail: head of
the visitation.
the Virgin.
Anne.
no
Plate
THE
01
PRESENTATION
virgin.
Detail:
two
OF
THE
spectators.
Plate 102
Plate
(See also plate 112.)
the nativity.
Plate in
THE ADORATION OF THE MAGI.
the nativity.
Child.
will be
shall
blossom
and
Joseph.
and of
St
LOCATION OF PAINTINGS
AMSTERDAM
BOSTON
GOUDSTIKKER COLLECTION
St Francis (attribution).
St John the Baptist (attribution).
ASSISI
Lower
Church
San
of
Francesco
Franciscan Allegories (attribution).
Stories
of Mary Magdalene
(plate
San
of
1-19 and
230-233; the frescoes in the second
Biblical Stories
BOVILLE ERNICA
(FROSINONE)
Church of San Pietro
(plates
group
are attributions).
Medallions (plates 24-25).
The Legend of St Francis (plates 2677 and color plates I and II).
(plate 179a).
BRUSSELS
Stoclet Collection
The Crucifixion (attribution).
The Nativity (attribution).
CAMBRIDGE (MASSACHUSETTS)
Fiumi Collection
Two
St Francis Receiving
Is-
pano
Angel in Mosaic
235-237; attribution).
Upper Church
Francesco
Museum
the
Stigmata
(attribution).
BERLIN
CHAALIS (FRANCE)
Staatliches Museen
The Death of the Virgin (plates 218221.
attri-
bution).
FLORENCE
BOLOGNA
PlNACOTECA NAZIONALE
Virgin and Child FLnthroned with
Four Saints
bution).
Musee Jacquemart-Andre
St John the Evangelist (plate 224).
St Lawrence (plate 225).
(plates
245-246;
attri-
from
the Life
of St Francis
(plates 196-215).
St Clare (plate 216).
6l
Berenson Collection
attribution).
Two St
Johns (plates
Franciscan
Saint
(plate
234;
LONDON
National Gallery
Church of Ognissanti
The
Crucifix (attribution).
bution).
Pentecost
(plate
attri-
244;
Rothmere Collection
(attri-
MUNICH
Alte Pinakothek
Crucifix (attribution).
tion).
The Descent
to
Limbo
(plate 243;
attribution).
Uffizi Gallery
Madonna and Child in Glory (plates
185-189 and color plate VI).
Private Collection
Christ in the
bution).
Museo
Act
of Blessing
Dell'
NEW YORK
Metropolitan Museum of
Art
The Adoration of
(attri-
the
Magi
(plate
238; attribution).
WlLDENSTEIN COLLECTION
Opera
di
Santa Croce
The Badia Polyptych (plates 82-85).
Horne Museum
Saints
attribution).
PADUA
Chapter of Sant'Antonio
plate VIII.)
St Francis Receiving
(attribution).
The
the
Stigmata
Saints (attribution).
Arena Chapel
Bardini Collection
St Benedict (attribution).
plates III,
Stories
62
IV and
V).
PARIS
Museo Petriano
Angel in Mosaic
SAN DIEGO
(CALIFORNIA)
Fine Arts Gallery
The
Eternal
Father
and
Angels
Louvre
St Francis deceiving
Stigmata
the
(attribution).
STRASBOURG
Stern Collection
Two Angels
(plate 179b)
MUSEES MUNICIPAUX
(attribution).
Private Collection
St Paul with Twelve
attri-
bution).
Worshippers
(attribution).
VATICAN CITY
RIMINI
Tempio Malatestiano
Basilica of St Peter
Basilica
of
St
John
Lateran
Boniface
VIII Proclaiming
the Jubilee
(See also
Angel
in
PlNACOTECA VATICANA
(plates 78-79).
ROME
Museo Petriano
VATICAN
CITY)
Maggiore
Medallions with Prophets and The
Eternal Father in the Act of Blessing
(plates 226-229; attribution).
WASHINGTON
D.C.
(plate 223).
63
REPRODUCTIONS
Bencini
233; Anderson,
Rome:
Plate
i.
Assisi,
Francesco
Plate
2.
Detail of plate i
Plate
x.
Assisi,
Francesco
9HB
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Assisi,
Francesco
Plate
7.
Detail of plate 6
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Plate
8.
Assisi,
Upper Church of
-x
:-
Plate
10.
Assisi,
Francesco
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Plate
ii.thelamentation,
Assisi,
^v
fci
1
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Plate 15.
the resurrection,
Assisi,
Francesco
Plate
6.
Joseph
is
Assisi,
Upper Church
Plate
8.
IN
Assisi,
/<
Plate 20.
crucifix,
F^T
2jte
-W\0Yqp^
Plate 23. Detail of plate 20
Plate
24.
Assisi.
Plate 25.
Assisi,
Upper Church of
Plate 26. ST
Assisi,
Plate 27. ST
1
I
Plate 30.
Assisi,
Upper
Plate 31.
THE CRUCIFIX OF
Assisi,
Plate 32. st
Assisi,
Upper
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Plate 35.
Assisi,
Upper Church
Plate 38.
Assisi,
Upper Church of
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Plate
40.
Assisi,
Upper
Plate 42.
Assisi,
Upper Church of
Plate 44.
Assisi,
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Plate 46. Detail of plate 44
,,-
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.
FIE3
Plate
47.
Assisi,
Francesco
Plate 48. st
francis in ecstasy,
Assisi,
Francesco
Plate 49.
Assisi,
Upper Church of
49
Plate 52.
Assisi,
Upper Church of
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Plate 62.
Assisi,
Upper Church of
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Plate 63. ST
Assisi,
Upper
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Plate
66.
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Assisi,
Upper
Plate
68.
Plate 69.
Assisi,
Upper Church
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Plate 71. Detail of plate 69
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Plate 72.
Assisi,
Upper Church
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Plate 74. Detail of plate 72
Plate
75.
THE CANONIZATION OF
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Plate 76.
ix, Assisi,
Upper Church
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Plate
78.
BONIFACE
VIII
Basilica of St
John Lateran
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Plate
86.
Plate 88.
Padua, Arena
Plate 90.
the annunciation to
st
anne,
Plate
92.
Chapel
lie
1
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Plate 94.
HftiHiiM!
Plate 95. Detail of plate 94
Plate 96.
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Plate 98.
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Plate 104.
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Plate
08.
the visitation,
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Plate 109. Detail of plate 108
Plate
Plate
in. the
Complete Library
of World Art
PIETER BRUEGEL
by Valentin Denis
LEONARDO DA VINCI
by Costantino Baroni
GIORGIONE
by Luigi
Coletti
MASACCIO
by Ugo Procacci
CARAVAGGIO
by Costantino Baroni
RAPHAEL'S PAINTINGS
(Two Volumes)
by Ettore Camesasca
RAPHAEL'S FRESCOES
(Two Volumes)
by Ettore Camesasca
MICHELANGELO'S PAINTINGS
by Enzo
Carli
MICHELANGELO'S SCULPTURES
by Franco Russoli
HA1WTHORN BOOKS
NEW YORK
Printed in Great Britain
result of international
series, the
volume by
has coUefiOT
volume, allfrakrui
art,
orks of all
nd
the major^tfif
white,
plates
the
togethe
work a
life,
xtensive
notes on e
at
and works
the
are lost
artist,
n up-to-date
the location" of
bibliography are
The
archi-
contain
tects
aistAtwU*'
and
art-lovers everywhere.
John Rothenstein
fl
New
York
_
'
Director of the Brera Gallery, A Ulan, and Secretary-General of the Venice Biennale
Dr Paolo Lecaldano
Director of the Biblioteca d'Arte R/^o//, Milan