File:A new history of painting in Italy, from the II to the XVI century; (1908) (14586921279) (right).jpg

Identifier: gri_33125002699086 (find matches)
Title: A new history of painting in Italy, from the II to the XVI century;
Year: 1908 (1900s)
Authors: Crowe, J. A. (Joseph Archer), 1825-1896 Cavalcaselle, G. B. (Giovanni Battista), 1820-1897 Hutton, Edward, 1875-1969
Subjects: Painting, Italian
Publisher: London, J. M. Dent New York, E. P. Dutton
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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ltarpiece the pre-eminence of theFlorentine school begins to develop itself, expands later in theperson of Giotto, to reunite in Gliirlandaio all the branches ofits progress, and finally to culminate in the greatness of MichaelAngelo, Raphael, and Leonardo da Vinci. The altarpiece ofS. Maria Novella would alone suffice to explain the superiorityof Cimabue over his predecessors and contemporaries, the riseof Giotto and the principles on which he started. Without it theprincipal link of artistic history at Florence would be lost andGiottos greatness unexplained,^ because neither the Madonna 1 Time has unfortunately not spared portions of the picture; which,besides being longitudinally spUt in three places, is damaged as regardsseveral of the saints in the border medallions. (As we shall presently see, Giotto owed much to other masters, to thework of Pietro Cavallini, to the work of Giovamii Pisano. Yet that Cimabuewas Giottos master, that he was a great painter, and not almost a myth as
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