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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