. A new history of painting in Italy, from the II to the XVI century; . THE INFERNO 245 peculiar and individual character, and for the first time, in per-spective To the left of the Saviours feet, the Virgin in adiadem,2 majestically draped and carried by angels in a glory ofrays, heads the procession of the happy, leading the aged St. , bishops, saints, male and female, follow, guarded by angels.^Amongst them, in a corner to the left, three figures stand in profile,the central one of which is, according to tradition, the portrait ofGiotto himself.* The Cross as symbol of red
. A new history of painting in Italy, from the II to the XVI century; . THE INFERNO 245 peculiar and individual character, and for the first time, in per-spective To the left of the Saviours feet, the Virgin in adiadem,2 majestically draped and carried by angels in a glory ofrays, heads the procession of the happy, leading the aged St. , bishops, saints, male and female, follow, guarded by angels.^Amongst them, in a corner to the left, three figures stand in profile,the central one of which is, according to tradition, the portrait ofGiotto himself.* The Cross as symbol of redemption, held aloftby two angels in the centre of the space, separates the elect fromthe condemned. Between it and the procession to Paradise, thedonor, Enrico Scrovegno, in a purple dress and bonnet, kneelsbefore a group of three noble female figures, presenting as it wereto their notice the model of the chapel, supported by a priest inwhite. The Virgin, heading the group, stoops to receive the homage;whilst her two companions, nimbed like herself, look on. In thefo
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Keywords: ., book, bookcentury1900, bookdecade1900, booksubjectpaintingitalian
