.MTM5Ng.MTIwNzM4: Difference between revisions
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of the art of Giotto; 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 | ||
it would be temerity to suspect in this case an incorrect | it would be temerity to suspect in this case an incorrect | ||
attribution | attribution. What is somewhat confusing in connection with an attribution to so impressive [[written above: momentous]] | ||
a master, | 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; | qualities, especially chromatic; characteristic | ||
of | of miniaturists cannot fail to come to mind. | ||
Not entirely devoid of difficulties is one last contact between Giotto and Petrarch | Not entirely devoid of difficulties is one last contact between Giotto and Petrarch | ||
whose so-called Itinerarium Syriacum | whose so-called Itinerarium Syriacum | ||
describing Naples from the sea, begins 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" | is the "Capella regis" containing the master- | ||
pieces left there by " | pieces left there by "conterraneous olim meus | ||
pictor nostri [[unclear]] princeps". This is the first | pictor nostri [[unclear]] princeps". This is the first | ||
mention (1358) after the generic one of Ottimo | mention (1358) after the generic one of Ottimo | ||
Commento (Andrea Sancia? | Commento (Andrea Sancia?), of one of the [[crossed out: many]] | ||
totally destroyed neapolitan | 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