.MTM5Ng.MTIwNzM4: Difference between revisions
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of the art of | of the art of Giotto; such that notwithstanding | ||
the obstacle of the Florentine donor. I do not know if | the obstacle of the Florentine donor. I do not know if | ||
it would be temerity to suspect in this case an incorrect | |||
attribution that is somewhat confusing in connection with an attribution to so | attribution that is somewhat confusing in connection with an attribution to so impressive | ||
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, as is enjoyability to the sophisticated connoisseur; and from the last report on the Madonna of the cathedral, the presence of | ||
qualities, especially chromatic; characteristics | qualities, especially chromatic; characteristics | ||
of miniatures cannot fail to come to mind. | of miniatures cannot fail to come to mind. | ||
Not entirely devoid of difficulties is one last contact between | Not entirely devoid of difficulties is one last contact between Giotto and Petrarch | ||
whose so called | whose so-called Itinerarium Syriacum | ||
describing | 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" entertaining the master- | ||
pieces left there by "[[unclear]] dim men | pieces left there by "[[unclear]] dim men | ||
[[ | pictor nostri [[unclear]] princeps". This is the first | ||
mention (1358) after the generic one of | mention (1358) after the generic one of Ottimo | ||
Commento (Andrea Sancia?)), of one of the | |||
totally destroyed | totally destroyed neapolitan [[unclear]] concluded by Jiolto under King Roberto, and the only | ||
Revision as of 16:46, 20 January 2022
of the art of Giotto; such that notwithstanding the obstacle of the Florentine donor. I do not know if it would be temerity to suspect in this case an incorrect attribution that is somewhat confusing in connection with an attribution to so impressive a master, as is enjoyability to the sophisticated connoisseur; and from the last report on the Madonna of the cathedral, the presence of qualities, especially chromatic; characteristics of miniatures 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" entertaining the master- pieces left there by "unclear dim men pictor nostri unclear princeps". This is the first mention (1358) after the generic one of Ottimo Commento (Andrea Sancia?)), of one of the totally destroyed neapolitan unclear concluded by Jiolto under King Roberto, and the only