. A new history of painting in Italy, from the II to the XVI century; . ce upon the age ofGiotto. Yet it would puzzle a student of Florentine art to say 1 Above the portal, inside the church. This Crucifix was usually followedby crowds when carried in procession. By will of Mona Fantini in 1357,the Silvestrini monks of the convent were bound to keep a lamp perpetuallyburning before it (Richa, vol. vii., p. 143). 2 Contrasted with the Crucifix of the Arena and the Crucified Saviourin the Lower Chiarch of Assisi, this of S. Marco is equal to the former, butslightly inferior to the latter. The ni
. A new history of painting in Italy, from the II to the XVI century; . ce upon the age ofGiotto. Yet it would puzzle a student of Florentine art to say 1 Above the portal, inside the church. This Crucifix was usually followedby crowds when carried in procession. By will of Mona Fantini in 1357,the Silvestrini monks of the convent were bound to keep a lamp perpetuallyburning before it (Richa, vol. vii., p. 143). 2 Contrasted with the Crucifix of the Arena and the Crucified Saviourin the Lower Chiarch of Assisi, this of S. Marco is equal to the former, butslightly inferior to the latter. The nimbus here, as usual, projects. Thecolour is light and clear. The raised arm and the bent hand are as those in the Saviour abovethe door in the southern transept of the Lower Church of Assisi. The lightclear colours of flesh and draperies are finely harmonised. * The light and harmonious colour is a little livid, as if Giotto intendedto give the idea of a dead body. This Crucifix is noted by Vasaki (vol. i.,p. 311). ^ At Florence, on the wall opposite the liigh
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Keywords: ., book, bookcentury1900, bookdecade1900, booksubjectpaintingitalian
