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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