File:History of mediæval art (1893) (14800510973).jpg

Identifier: historyofmedival00rebe (find matches)
Title: History of mediæval art
Year: 1893 (1890s)
Authors: Reber, Franz von, 1834-1919 Clarke, Joseph Thacher, d. 1920
Subjects: Art, Medieval
Publisher: New York : Harper & Bros.
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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Fig. 405.—The Awakening of Lazarus. Wall Painting by Giotto in S. Maria dell Arena at Padua. There is no trace of portrait-like individuality. The type of facerepresented by the artist is always the same, the narrow almond-shaped eyes with the dark pupils are unnatural, and the other feat-ures but little studied, yet the countenance conveys the intendedexpression. The modelling of the body is often incorrect, but thepositions and gestures are rightly conceived, and, in the principalfigures at least, full of dignity and grandeur. The garments have ITALY. 665 entirely lost the Byzantine superabundance of folds. When com-pared with the rich draperies of Northern Gothic art they have al-most a scant appearance ; still, the necessary lines are given with finetaste and discrimination. The minor parts are well subordinated,and the details, so prominent in Northern art, are here but secondsary. The landscape and vegetation are extremely simple, and the rrJfy 356V °^v
Text Appearing After Image:
Fig. 406.—The Vow of Poverty. Painting by Giotto upon the Ceiling of S. Francesco at Assisi. architecture merely symbolical; theries, with no deep study of nature. The later works of Giotto showrectness of form, higher expression,dent in the four allegorical paintingsection of transept and nave in theAssisi, representing the apotheosisand the three vows of Poverty (Fig. animals are treated as accessa- greater maturity of style, cor-and even beauty. This is evi-(s of the ceiling, at the inter-lower story of S. Francesco atof the founder of the order,406), Chastity, and Obedience. 666 PAINTING OF THE GOTHIC EPOCH. The improvement is still more noticeable in the series of the livesof St. Francis, St. John the Baptist, and St. John the Evangelist, inthe chapels of the families of Bardi and Peruzzi in S. Croce at Flor-ence, which far surpass the similar representations at Assisi andPadua. It is only to be regretted that they are not nearly so wellpreserved as those last mentioned. Giotto

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