Identifier: giotto00dese (find matches)
Title: Giotto
Year: 1905 (1900s)
Authors: De Selincourt, Basil, 1876-
Subjects: Giotto, 1266?-1337
Publisher: London : Duckworth and Co. New York, C. Scribner's Sons
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
nd, in the outstretched arms, asense even of the irrevocableness of the departed spirit.This reserve, we must remark, is Giottos rule, the Pietcbat Padua being, perhaps, the only picture in whichgrief, as he represents it, loses its restraint. The drawn,distorted features, so often associated with his name, arealmost invariably traceable to that fresco as a source,critics now, like pupils then, being only too apt to bestruck by his occasional violence more than by hisnormal moderation. The woman here, for example,who kneels and digs her nails into her cheeks will pro-bably be thought the most Giottesque. Giottesqueshe is, but little more; and we are familiar with heronly because of the constant recurrence to her unpleasantgesture by the inferior painters of Giottos school. Theman with red cloak in the centre of the compositiondeserves remark ; but for the relief afforded by hisaverted face, the universal concentration on the featuresof the dying knight would become too tense and pain-
Text Appearing After Image:
Photo, Andersoni S. FRANCIS PREACHES BEFORE THE POPE lAssisi. Upper ChurchTo face p. 47 FIRST WORKS IN ASSISI 47 ful; represented as in the act of turning to S. Francis,he jet by his gesture identifies himself with the commonfeeling. 17. S. Francis preaches before the Pope. Once, when about to preach before the Pope andCardinals at the Lord of Ostias suggestion, he had care-fully composed a sermon and committed it to memory, butafter taking his stand in the midst that he might set forththe words of edification, he so completely forgot every-thing as to be unable to utter so much as a syllable. Thishe told them in words of truth and humility, and then,giving himself to prayer for the grace of the Holy Spirit,he began straightway to overflow with words so potent,and with such mighty virtue to bend the minds of thosegreat prelates to remorse, that it was clearly manifest thatnot he was speaking, but the Spirit of the Lord. The Gothic interior which Giotto here representshas naturally att

Note About Images