← Table of contents
Masters in Art, Part 32, v. 3, August, 1902

Giotto

Reading edition

CONTENTS

Plate I. Madonna Enthroned, Academy: Florence

Plate II. Allegory of Poverty, Lower Church of St. Francis: Assisi

Plate III. Allegory of Chastity, Lower Church of St. Francis: Assisi

Plate IV. The Nativity, Arena Chapel: Padua

Plate V. The Entombment, Arena Chapel: Padua

Plate VI. The Resurrection, Arena Chapel: Padua

Plate VII. The Death of St. Francis, Bardi Chapel, Church of S. Croce: Florence

Plate VIII. The Birth of St. John the Baptist, Peruzzi Chapel, Church of S. Croce: Florence

Plate IX. The Feast of Herod, Peruzzi Chapel, Church of S. Croce: Florence

Plate X. The Raising of Drusiana, Peruzzi Chapel, Church of S. Croce: Florence

Portrait of Giotto by Paolo Uccello: Louvre, Paris Page 20

The Life of Giotto Page 21

Julia Cartwright

The Art of Giotto Page 27

Criticisms by Vasari, Van Dyke, Colvin, Ruskin, Symonds, E. H. and E. W. Blashfield, Quilter

The Works of Giotto: Descriptions of the Plates and a List of Paintings Page 35

Giotto Bibliography Page 39

Photo-engravings by Folsom & Sunergren: Boston. Press-work by the Everett Press: Boston.

PUBLISHERS' ANNOUNCEMENTS

MASTERS IN ART is a series of concise handbooks, each uniform in style with this one, devoted to all of the great painters and sculptors.

THE PRICE, per copy, postage paid to any country in the postal union, is twenty-five cents.

REMITTANCES should be made by postal or express money-order, registered letter, or, in amounts up to $1.00, in one or two cent stamps. On personal checks drawn on banks outside of Boston or New York, 10 cents should be added to cover collection charges.

BOUND VOLUMES of nine complete years are offered at $4.00 for cloth, and $4.75 for half-morocco, express charges prepaid.

A FULL LIST OF SUBJECTS, with illustrations of the bound volumes, will be sent on request.

BATES & GUILD COMPANY, PUBLISHERS 144 CONGRESS STREET, BOSTON, MASS.

Copyright, 1902, by Bates & Guild Company, Boston

Plate 1: Madonna Enthroned
Plate 1: Madonna Enthroned

Plate I: Madonna Enthroned Giotto Academy, Florence

Plate 2: Allegory of Poverty
Plate 2: Allegory of Poverty

Plate II: Allegory of Poverty Giotto Lower Church of St. Francis, Assisi Photography by Alinari

Plate 3: Allegory of Chastity
Plate 3: Allegory of Chastity

Plate III: Allegory of Chastity Giotto Lower Church of St. Francis, Assisi Photography by Alinari

Plate 4: The Nativity
Plate 4: The Nativity

Plate IV: The Nativity Giotto Arena Chapel, Padua Photography by Raya

Plate 5: The Entombment
Plate 5: The Entombment

Plate V: The Entombment Giotto Arena Chapel, Padua Photography by Raya

Plate 6: The Resurrection
Plate 6: The Resurrection

Plate VI: The Resurrection Giotto Arena Chapel, Padua Photography by Raya

Plate 7: The Death of Saint Francis
Plate 7: The Death of Saint Francis

Plate VII: The Death of St. Francis Giotto Bardi Chapel, Church of S. Croce, Florence Photography by Anderson

Plate 8: The Birth of Saint John the Baptist
Plate 8: The Birth of Saint John the Baptist

Plate VIII: The Birth of St. John the Baptist Giotto Peruzzi Chapel, Church of S. Croce, Florence Photography by Anderson

Plate 9: The Feast of Herod
Plate 9: The Feast of Herod

Plate IX: The Feast of Herod Giotto Peruzzi Chapel, Church of S. Croce, Florence Photography by Anderson

Plate 10: The Raising of Drusiana
Plate 10: The Raising of Drusiana

Plate X: The Raising of Drusiana Giotto Peruzzi Chapel, Church of S. Croce, Florence Photography by Anderson

Portrait of Giotto
Portrait of Giotto

Portrait of Giotto Paolo Uccello Louvre, Paris

This portrait of Giotto was painted in the first half of the fifteenth century by Paolo Uccello, a Florentine artist. It is a detail of a picture containing five heads, representing, besides Giotto, Uccello himself, Donatello, Brunelleschi, and Manetti. Vasari took the engraving for his biography of Giotto from this likeness, which was probably based upon some older portrait of the artist. He is here represented in a red cloak and head covering; and it would seem that Uccello's brush has somewhat flattered him, for we are told that he was "singularly ill-favored" in outward appearance.

MASTERS IN ART

Explore with AITake your curiosity a little further.

Reading settings