In and out of Florence; a new introduction to a well-known city . igher criticism,Ducclo. The face of the Madonna, however, as in-deed the whole picture, is most Cimabue-llkc in con-ception. The stories of the artists great triumphin producing the picture, the kings visit to hishumble studio to see it, and the procession of allthe people which bore it to the church, lend it aninterest which, to most. Its actual self as work ofart will lack. Yet some have found much expressionin this * broad-faced Virgin of the early days. The remaining prides of Santa Maria Novella arethe old cloisters, with t
In and out of Florence; a new introduction to a well-known city . igher criticism,Ducclo. The face of the Madonna, however, as in-deed the whole picture, is most Cimabue-llkc in con-ception. The stories of the artists great triumphin producing the picture, the kings visit to hishumble studio to see it, and the procession of allthe people which bore it to the church, lend it aninterest which, to most. Its actual self as work ofart will lack. Yet some have found much expressionin this * broad-faced Virgin of the early days. The remaining prides of Santa Maria Novella arethe old cloisters, with the now nearly vanished naivefrescoes of Paolo Uccello and Dello Delli; and thatSpanish Chapel on which Ruskin lavished such a spe-cial extravagance of praise. Even the untutored The Larger Churches 107 visitor will recognize the great interest of these well-preserved and lively frescoes—religious rebuses,Joseph Hopital calls them—whether or not the subtle-ties of artistic genius reveal themselves to him. In-deed, there seems to be some difference of opinion. The cloisters of Santa Maria Novella. among the tutored as to their actual art the anecdotal values are certainly there; and thefresh colors, the realistic faces and attitudes, and thefree play of naive imagination make the frescoesamong the most interesting in Florence. Their subjects include such more usual scenes as theCrucifixion and the Resurrection, but also a numberof allegories which are the pictures of most the right wall is imagined the triumph of theChurch as represented and defined by the Dominicans. io8 The Larger Churches In this picture the Dominicans as dogs are seen attack- .ing and kilhng the heretics shown as wolves. On the ]left wall is the personal triumph of St. ThomasAquinas with a remarkable allegorical series represent-ing the various virtues, sciences, and phases of learningby female figures, with a corresponding series of con-ventional portrait faces of distinguished rep
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Keywords: ., bookcentury1900, bookdecade1910, bookidinoutofflore, bookyear1910
