.MTM5Ng.MTIwNzM4: Difference between revisions

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of the art of '[Jiotlo?]; such that notwithstanding  
of the art of Giotto; such that, notwithstanding  
the obstacle of the Florentine donor. I do not know if
the [[crossed out: presence]] obstacle of the Florentine donor. I do not know if
I would be [[unclear]] to suspect in this case are incorrect
it would be temerity to suspect in this case an incorrect
attribution that is somewhat confusing in connection with an attribution to so [[unclear]]
attribution. What is somewhat confusing in connection with an attribution to so impressive [[written above: momentous]]
a master, as is enjoyability to the sophisticated connoisseur; and from the last report on the Madonna of the cathedral, the presence of  
a master, is the restriction of its enjoyability to the sophisticated connoisseur; and from [[crossed out: the]]  [[?Doesca's?]] last [[crossed out: quotation]] report on the Madonna of the cathedral, the presence of  
qualities, especially chromatic; characteristics
qualities, especially chromatic; characteristic
of miniatures cannot fail to come to mind.  
of miniaturists cannot fail to come to mind.  
Not entirely devoid of difficulties is one last contact between Jiotto and Patriarch
  Not entirely devoid of difficulties is one last contact between Giotto and Petrarch
whose so called [[unclear unclear]]
whose so-called Itinerarium Syriacum
describing Napter from the era, [[unclear]] with the port and the royal palace, within which  
describing Naples from the sea, begins with the port and the royal palace, within which  
is the "Capella regis" entertaining the master-  
is the "Capella regis" containing the master-  
pieces left there by "[[unclear]] dim men
pieces left there by "conterraneous olim meus
[[unclear unclear unclear unclear]]". This is the freed
pictor nostri [[unclear]] princeps". This is the first
mention (1358) after the generic one of [[unclear]]
mention (1358) after the generic one of Ottimo
Comments ([[unclear unclear]]), of one of the  
Commento (Andrea Sancia?), of one of the [[crossed out: many]]
totally destroyed neopolitan [[unclear]] concluded by Jiolto under King Roberto, and the only
totally destroyed neapolitan works conducted by Giotto under King Roberto, and the only

Latest revision as of 05:24, 21 January 2022

of the art of Giotto; such that, notwithstanding the crossed out: presence obstacle of the Florentine donor. I do not know if it would be temerity to suspect in this case an incorrect attribution. What is somewhat confusing in connection with an attribution to so impressive written above: momentous a master, is the restriction of its enjoyability to the sophisticated connoisseur; and from crossed out: the ?Doesca's? last crossed out: quotation report on the Madonna of the cathedral, the presence of qualities, especially chromatic; characteristic of miniaturists cannot fail to come to mind.

  Not entirely devoid of difficulties is one last contact between Giotto and Petrarch

whose so-called Itinerarium Syriacum describing Naples from the sea, begins with the port and the royal palace, within which is the "Capella regis" containing the master- pieces left there by "conterraneous olim meus pictor nostri unclear princeps". This is the first mention (1358) after the generic one of Ottimo Commento (Andrea Sancia?), of one of the crossed out: many totally destroyed neapolitan works conducted by Giotto under King Roberto, and the only