By John White

The 14th century in Italian paintings is a truly wealthy one, and Professor White's booklet offers structure equivalent weight with portray and sculpture. the tale of the Gothic kind and the prehistory of the Renaissance is given: all of the evidence are similar, but additionally the artworks are defined with perception and for his or her personal sakes, and never easily as information for becoming into schemes and theories. one of the nice names are these of Arnolfo di Cambio, the Pisani, Cavallini, Cimabue, Duccio, Giotto, Simone Martini, and the Lorenzetti; one of the structures S. Croce, S. Maria Novella, the cathedral and the Palazzo Vecchio in Florence, and the cathedrals of Siena, Orvieto, and Milan, in addition to church buildings, castles, and civic structures from the Val d'Aosta to Sicily. The 3rd variation of this paintings contains color illustrations and accommodates textual revisions and an up to date bibliography.

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Maria Novella 8 in 1221, the story orders was corporate, began with the transfer THE FRANCISCAN AND DOMINICAN EXPANSION of an existing church. Here, however, the setting up of a small house by St Francis himI2II-I2 was followed by the buildijig of a church first mentioned in 1225. This self in was already apparently being enlarged, or possibly replaced, by 1252, and an even finer was being plamaed by as early as 1285. Apart from Florentine tradition, the bchef edifice Cambio designed that Arnolfo di things.

Pisa, Staatsbibliothek Institute) a) 1390/1400. Siena, Pinacoteca (Photo Anderson) (b) Page with London, British Paolo di Giovanni Fei: Birth of the Virgin, 133 1. Paris, Virtues and Vices, late fourteenth century. ington, Corcoran Gallery (a) Munich, 1374. (Photo Courtauld fourteenth century, third quarter. Wash- 167 c. Niccolo da Bologna: Detail of page from Missal, the in of page from Pantheon, Bibliothkque Nationale tury. Perugia, Biblioteca Augusta (b) Goffredo da Viterbo: Death of Jacob, de- del alle Gallcric) Voghera Monstrance, 1406.

Here again the high rectangle of the flat screen is horizontally divided by cornices. A first low rectangle contains the doors hall and the apse a Externally, the hmited interest in verticaHty and damps main down any rose and is of the pediment A resultant vertical thrust. second frames the spatially neutral crowTied by a free-standing pediment with a smaller oculus. is now less steep, The slope and the greater width of the facade in relation to its by wide horizontal bands of pink and white stone.

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