. A new history of painting in Italy, from the II to the XVI century; . THE ARENA CHAPEL 241 which of his pupils, supposing Giotto not to be the author, attainedto such perfection.! Returning from this digression, which will be pardoned as ithelps to bring out Giotto in his true light as a regenerator of typeand form m Itahan art, the study of the frescoes in the ArenaChapel at Padua may be resumed. In the Pieta, Giotto not only produced one of the finest com-positions in the edifice, but one almost equal to the highest creationin that direction which is due to his genius. The gradual trans-fo
. A new history of painting in Italy, from the II to the XVI century; . THE ARENA CHAPEL 241 which of his pupils, supposing Giotto not to be the author, attainedto such perfection.! Returning from this digression, which will be pardoned as ithelps to bring out Giotto in his true light as a regenerator of typeand form m Itahan art, the study of the frescoes in the ArenaChapel at Padua may be resumed. In the Pieta, Giotto not only produced one of the finest com-positions in the edifice, but one almost equal to the highest creationin that direction which is due to his genius. The gradual trans-formation of this subject, from its typical form in the aisle of theUpper Church of Assisi to one more artistic in the present seriesIS most interesting to study. At Assisi, the Saviour lay stretchedon the verge of the foreground. The Virgin, the Maries, and theEvangelist were placed by the painter at the head, feet, or side ofthe principal figure, which was thus in full and unobstructed with consummate art added three figures to the group,placing them so a
Size: 1286px × 1943px
Photo credit: © Reading Room 2020 / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., book, bookcentury1900, bookdecade1900, booksubjectpaintingitalian
