. Guide to Italy and Sicily. repre-sentation. III. Various GiottesquePaintees. The same tendency towards afreer delight in sensuous charmand the beauties of nature is dis-cernible in other Giottesque worksof the latter half of the 14th century—for example, in the frescoes attri-buted to Francesco da Volterrarepresenting the story of Job, andof the Creation by Pietro PucciodOrvieto, both in the Campo Santoat Pisa. In the latter artists workwe see the individual forms ofdifferent trees clearly counter influence of the Sieneseschool upon the Florentines istraceable in the works of
. Guide to Italy and Sicily. repre-sentation. III. Various GiottesquePaintees. The same tendency towards afreer delight in sensuous charmand the beauties of nature is dis-cernible in other Giottesque worksof the latter half of the 14th century—for example, in the frescoes attri-buted to Francesco da Volterrarepresenting the story of Job, andof the Creation by Pietro PucciodOrvieto, both in the Campo Santoat Pisa. In the latter artists workwe see the individual forms ofdifferent trees clearly counter influence of the Sieneseschool upon the Florentines istraceable in the works of Orcagna,of Agnolo Gaddi, and in the worksby various undetermined artistswhich cover the walls of theCappella degli Spagnuoli at Novella. These are ofgreater interest for their elucidationof mediaeval theories of philosophyand religion (the Triumph of Aquinas, the Dominicansas the Hounds of God, and theArts and Sciences) than for anyartistic merit they possess. In thisrespect they are far inferior to the. ITALIAN ART xli similar pictorial allegories of Am-brogio Loreuzetti at Siena. IV. Naples. The Giottesque tradition wasfollowed all over Italy in the 14thcentury. At Naples the strikingfrescoes in the Church of the In-coronata, representing the Sacra-ments of the Church, long passedas Giottos own work, but are nowknown to have been done consider-ably after his death by one of hisfollowers. The masters visit toNaples doubtless started a nativeschool, which however failed, like allthe schools of Southern Italy, tokeep up for long a vigorous andindependent existence. Of theGiottesque school in the north ofItaly it will be more convenientto speak later on, in consideringthe Veronese school. Even out-side Italy, in the 14th centurythe general ideas of Giottesquedesign were propagated. Avignonunder the Popes became almost anItalian town, and still containsmany remains of the activity ofSimone Martini and other Italianartists of the time : while in someminiatures
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