Giotto . Photo, Alinajf\ [ Floren ce. A ccadem ia VIRGIN AND CHILD ENTHRONED [^Cimabue) Between pages i6 <2^ 17. Photo, Alinari] \_Florence. Accademia VIRGIN AND CHILD ENTHRONED Between pages i6 6^ 17 EARLY FLORENTINE SCHOOL 17 clearly distinguishable. In his desire to do justice tothe mass of the figure, the painter has given it a squareand bulky appearance; but in spite of this fault thework has great power, because of the comfort andrepose that belong to the attitude of the seated has instinctively realised a fact to which Floren-tine artists in later generations continued f
Giotto . Photo, Alinajf\ [ Floren ce. A ccadem ia VIRGIN AND CHILD ENTHRONED [^Cimabue) Between pages i6 <2^ 17. Photo, Alinari] \_Florence. Accademia VIRGIN AND CHILD ENTHRONED Between pages i6 6^ 17 EARLY FLORENTINE SCHOOL 17 clearly distinguishable. In his desire to do justice tothe mass of the figure, the painter has given it a squareand bulky appearance; but in spite of this fault thework has great power, because of the comfort andrepose that belong to the attitude of the seated has instinctively realised a fact to which Floren-tine artists in later generations continued faithful, thatthe external or material determinations are the chief,in the last resort, perhaps the only, vehicle for the ex-pression of the spirit and the life. The statelygi-andeur of his Madonna is due, in great measure, tohis careful distribution of her weight. The well-knownaltar-pieces of Cimabue and Giotto, that hang side byside in the Accademia at Florence, show the develop-ment of the same ideas and methods. Giottos render-ing of the subject, generally supposed to place Cimabuesat a serious disadvantag
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