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diff --git a/42952-h/42952-h.htm b/42952-h/42952-h.htm index 665472a..6067dd4 100644 --- a/42952-h/42952-h.htm +++ b/42952-h/42952-h.htm @@ -1,7 +1,7 @@ <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.1//EN" "http://www.w3.org/TR/xhtml11/DTD/xhtml11.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en"> <head> - <meta http-equiv="content-type" content="text/html; charset=ISO-8859-1" /> + <meta http-equiv="content-type" content="text/html; charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> Giotto: Masters in Art, Part 32, Volume 3—A Project Gutenberg eBook @@ -158,45 +158,7 @@ td { <!-- ******************************** --> <body> - - -<pre> - -The Project Gutenberg EBook of Masters in Art, Part 32, v. 3, August, -1902: Giotto, by Anonymous - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Masters in Art, Part 32, v. 3, August, 1902: Giotto - A Series of Illustrated Monographs - -Author: Anonymous - -Release Date: June 15, 2013 [EBook #42952] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK MASTERS IN ART, GIOTTO *** - - - - -Produced by Juliet Sutherland, Steven Calwas and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 42952 ***</div> <!-- Introductory Transcriber's Note --> <div class="transnote"> @@ -513,7 +475,7 @@ guide, and began by drawing the sheep and goats which he herded on the rocks.</p> <div class="footnote"> - <p><a id="Footnote_1_1"></a><a href="#FNanchor_1_1">[1]</a><span class="fn-elbow-room">Pronounced Jot´toe dee Bon-doe´nay.</span></p> + <p><a id="Footnote_1_1"></a><a href="#FNanchor_1_1">[1]</a><span class="fn-elbow-room">Pronounced Jot´toe dee Bon-doe´nay.</span></p> </div> <p>Another version of the story of Giotto's boyhood is that he was @@ -592,7 +554,7 @@ that Giotto was in Rome during the year 1300, when both his fellow-citizens Dante and the historian Giovanni Villani were present in the Eternal City. The poet was an intimate friend of the painter; and, after his return to Florence, Giotto introduced Dante's portrait in an -altar-piece of 'Paradise' which he painted for the chapel of the Podestà +altar-piece of 'Paradise' which he painted for the chapel of the Podestà Palace. But since this chapel was burned down in 1332, and not rebuilt until after Giotto's death, the fresco of Dante, which was discovered some years ago on the walls of the present building, must have been @@ -621,7 +583,7 @@ Giotto's invention.</p> Chapel at Padua, built in 1303, by Enrico Scrovegno, who two years later invited Giotto to decorate the interior with frescos. When Dante visited Padua, in 1306, he found his friend Giotto living there with his wife, -Madonna Ciutà, and his young family, and was honorably entertained by +Madonna Ciutà , and his young family, and was honorably entertained by the painter in his own house. The poet often watched Giotto at work, with his children, who were "as ill-favored as himself," playing around, and wondered how it was that the creations of his brain were so much @@ -704,7 +666,7 @@ as showing the independence of Giotto's character.</p> <p>The extraordinary industry of the man is seen by the long list of panel-pictures as well as wall-paintings which are mentioned by early writers. These have fared even worse than his frescos. The picture of -'The Commune' in the great hall of the Podestà Palace, which Vasari +'The Commune' in the great hall of the Podestà Palace, which Vasari describes as of very beautiful and ingenious invention, the small tempera painting of the 'Death of the Virgin,' on which Michelangelo loved to gaze, in the Church of Ognissanti, Florence, the 'Madonna' @@ -888,7 +850,7 @@ it was still lacking, nor did that of his immediate followers go much beyond it technically.</p> -<h3 class="section-head">SYDNEY COLVIN — 'ENCYCLOPÆDIA BRITANNICA'</h3> +<h3 class="section-head">SYDNEY COLVIN — 'ENCYCLOPÆDIA BRITANNICA'</h3> <p>Giotto, relatively to his age one of the greatest and most complete of artists, fills in the history of Italian painting a place analogous to @@ -903,7 +865,7 @@ rested only upon general observation and not upon any minute, prolonged, or scientific study; while to facts other than those of humanity their observation had never been closely directed. Of linear perspective they possessed few ideas, and these elementary and empirical, and scarcely -any ideas at all of aërial perspective or of the conduct of light and +any ideas at all of aërial perspective or of the conduct of light and shade.</p> <p>As far as painting could ever be carried under these conditions, so far @@ -1495,9 +1457,9 @@ Laterano</span>: Pope Boniface VIII. proclaiming the Jubilee—UNITED STATES <h3 class="center section-break">A LIST OF THE PRINCIPAL BOOKS AND MAGAZINE ARTICLES DEALING WITH GIOTTO</h3> -<p><span class="smcap">Alexandre, A.</span> Histoire populaire de la peinture: école italienne. +<p><span class="smcap">Alexandre, A.</span> Histoire populaire de la peinture: école italienne. (Paris, 1894)—<span class="smcap">Baldinucci, F.</span> Notizie dei professori del disegno da -Cimabue in quà. (Florence, 1681)—<span class="smcap">Berenson, B.</span> Florentine Painters of +Cimabue in quà . (Florence, 1681)—<span class="smcap">Berenson, B.</span> Florentine Painters of the Renaissance. (New York, 1896)—<span class="smcap">Blashfield, E. H. and E. W.</span> Italian Cities. (New York, 1900)—<span class="smcap">Breton, E.</span> Ambrogio Bondone dit le Giotto. (St. Germain-en-Laye, 1851)—<span class="smcap">Burckhardt, J.</span> Der Cicerone, edited by W. @@ -1505,11 +1467,11 @@ Bode. (Leipsic, 1898)—<span class="smcap">Callcott, Lady.</span> Descripti Annunziata dell' Arena in Padua. (London, 1835)—<span class="smcap">Cartwright, J.</span> The Painters of Florence. (London, 1901)—<span class="smcap">Cennini, C.</span> Treatise on Painting: Trans. by Mrs. Merrifield. (London, 1844)—<span class="smcap">Colvin, S.</span> 'Giotto' in -'Encyclopædia Britannica.' (Edinburgh, 1883)—<span class="smcap">Crowe, J. A., and +'Encyclopædia Britannica.' (Edinburgh, 1883)—<span class="smcap">Crowe, J. A., and Cavalcaselle, G. B.</span> History of Painting in Italy. (London, -1866)—<span class="smcap">Dobbert, E.</span> 'Giotto' in 'Dohme's Kunst und Künstler,' etc. +1866)—<span class="smcap">Dobbert, E.</span> 'Giotto' in 'Dohme's Kunst und Künstler,' etc. (Leipsic, 1878)—<span class="smcap">Fea, C.</span> Descrizione della cappella di S. Francesco -d'Assisi. (Rome, 1820)—<span class="smcap">Förster, E.</span> Beiträge zur neuern Kunstgeschichte. +d'Assisi. (Rome, 1820)—<span class="smcap">Förster, E.</span> Beiträge zur neuern Kunstgeschichte. (Leipsic, 1835)—<span class="smcap">Frantz, E.</span> Geschichte der christlichen Malerei. (Freiburg im Breisgau, 1887-94)—<span class="smcap">Ghiberti, L.</span> Commentario sulle arti. (Extracts from manuscript copy are quoted by Milanesi, Cicognara, @@ -1520,18 +1482,18 @@ Perkins, and Frey)—<span class="smcap">Gordon, L. D.</span> The Story of A (Leipsic, 1892)—<span class="smcap">Kugler, F. T.</span> Italian Schools of Painting. Revised by A. H. Layard. (London, 1900)—<span class="smcap">Kuhn, P. A.</span> Allgemeine Kunst-Geschichte. (Einsiedeln, 1891 et seq.)—<span class="smcap">Lee, V.</span> Euphorion. (London, 1884)—<span class="smcap">Lindsay, -Lord.</span> Sketches of the History of Christian Art. (London, 1885)—<span class="smcap">Lübke, +Lord.</span> Sketches of the History of Christian Art. (London, 1885)—<span class="smcap">Lübke, W.</span> History of Art. (New York, 1878)—<span class="smcap">Mantz, P.</span> Chefs-d'œuvre de la -peinture italienne. (Paris, 1870)—<span class="smcap">Müntz, E.</span> Histoire de l' Art pendant +peinture italienne. (Paris, 1870)—<span class="smcap">Müntz, E.</span> Histoire de l' Art pendant la Renaissance: Les Primitifs. (Paris, 1889)—<span class="smcap">Oliphant, Mrs.</span> The Makers of Florence. (London, 1888)—<span class="smcap">Perkins, F. M.</span> Giotto. (London, 1901)—<span class="smcap">Quilter, H.</span> Giotto. (London, 1880)—<span class="smcap">Rio, A. F.</span> De l' Art -chrétien. (Paris, 1861-7)—<span class="smcap">Rumohr, C. F. v.</span> Italienische Forschungen. +chrétien. (Paris, 1861-7)—<span class="smcap">Rumohr, C. F. v.</span> Italienische Forschungen. (Berlin, 1827)—<span class="smcap">Ruskin, J.</span> Giotto and his Works in Padua. (London, 1854)—<span class="smcap">Ruskin, J.</span> Fors Clavigera. (Orpington, 1883)—<span class="smcap">Ruskin, J.</span> Mornings in Florence. (Orpington, 1875)—<span class="smcap">Ruskin, J.</span> Modern Painters. (London, 1846-60)—<span class="smcap">Sacchetti, F.</span> Delle Novelle. (Florence, 1724)—<span class="smcap">Schnaase, C.</span> -Geschichte der bildenden Künste. (Düsseldorf, 1843-4)—<span class="smcap">Selvatico, P. E.</span> +Geschichte der bildenden Künste. (Düsseldorf, 1843-4)—<span class="smcap">Selvatico, P. E.</span> Sulla cappellina degli Scrovegni nell' Arena di Padova. (Padua, 1836)—<span class="smcap">Stillman, W. J.</span> Old Italian Masters. (New York, 1892)—<span class="smcap">Symonds, J. A.</span> Renaissance in Italy. (London, 1875)—<span class="smcap">Taine, H.</span> Voyage en Italie. @@ -1555,12 +1517,12 @@ O e la supposta gita di Giotto ad Avignone (G. B. Cavalcaselle). 1880: La chiesa di Giotto nell' Arena di Padova (C. Boito). 1881: San Francesco, Dante e Giotto (G. Mestica). 1900: Dante e Giotto (A. Venturi)—<span class="smcap">Penn Monthly, 1881</span>: Cimabue and Giotto (W. de B. -Fryer)—<span class="smcap">Portfolio, 1882</span>: Assisi (J. Cartwright)—<span class="smcap">Repertorium für +Fryer)—<span class="smcap">Portfolio, 1882</span>: Assisi (J. Cartwright)—<span class="smcap">Repertorium für Kunstwissenschaft, 1897</span>: Die Heimath Giotto's (R. Davidsohn). 1899: Die Fresken im Querschiff der Unterkirche San Francesco (P. -Schubring)—<span class="smcap">Revue de l'Art chrétien, 1873</span>: Evolutions de l'Art chrétien +Schubring)—<span class="smcap">Revue de l'Art chrétien, 1873</span>: Evolutions de l'Art chrétien (G. d. Saint-Laurent). 1885: Giotto. Naturalisme et mysticisme (E. -Cartier). 1885: Le Poème de Giotto. (E. Cartier)—<span class="smcap">Zeitschrift für +Cartier). 1885: Le Poème de Giotto. (E. Cartier)—<span class="smcap">Zeitschrift für bildende Kunst, 1898 and 1899</span>: Die malerische Dekoration der S. Francesco-kirche in Assisi (A. Aubert).</p> @@ -1572,7 +1534,7 @@ Francesco-kirche in Assisi (A. Aubert).</p> <p>Three valuable handbooks on great portraits and Madonnas of the world. Printed in beautiful type, on heavy antique paper with broad margins, and daintily bound in buckram of special weave, with title-design -stamped in gold. Each book contains about 80 pages 8 × 11 inches in +stamped in gold. Each book contains about 80 pages 8 × 11 inches in size, including twenty exquisite full-page reproductions of famous paintings, some of which have rarely been reproduced.</p> @@ -1613,9 +1575,9 @@ full-page plates reproducing the following great portraits:</p> Mrs. Siddons, Gainsborough; Nelly O'Brien, Reynolds; Unknown Princess, Da Vinci; Bust of Unknown Lady, in Louvre; Parson's Daughter, Romney; Sarah Bernhardt, Bastien-Lepage; His Mother, Whistler; Madame -Destouches, Ingres; Madame Molé-Raymond, Lebrun; Miss Farren, Lawrence; -Shrimp Girl, Hogarth; Madame Récamier, David; Violante, Palma Vecchio; -Doña Isabel Corbo de Porcel, Goya; Princess Christina, Holbein; His +Destouches, Ingres; Madame Molé-Raymond, Lebrun; Miss Farren, Lawrence; +Shrimp Girl, Hogarth; Madame Récamier, David; Violante, Palma Vecchio; +Doña Isabel Corbo de Porcel, Goya; Princess Christina, Holbein; His Daughter Lavinia, Titian; Queen Henrietta, Van Dyck.</p> <h3 title="">Great Portraits: Children</h3> @@ -1629,7 +1591,7 @@ Madame Louise of France, Nattier; Rubens's Sons, Rubens; The Blue Boy, Gainsborough; Don Garcia with a Bird, Bronzino; Queen of Sicily, Goya; Boy with a Sword, Manet; Strawberry Girl, Reynolds; St. John the Baptist, Donatello; William II. of Nassau, Van Dyck; Holbein's Wife and -Children, Holbein; Madame Vigée Lebrun and Daughter, Lebrun; The Broken +Children, Holbein; Madame Vigée Lebrun and Daughter, Lebrun; The Broken Pitcher, Greuse; Portrait of Miss Alexander, Whistler; King of Rome, Lawrence; Infanta Margarita, Maids of Honor, Don Baltasar Carlos on Horseback, Velasquez; Child with Blond Hair, Fragonard.</p> @@ -1677,7 +1639,7 @@ of these will be sent on request.</p> </tr> <tr> <td>IV</td> - <td>Dürer (473 pictures)</td> + <td>Dürer (473 pictures)</td> <td> 2.50</td> <td><span class="er-pe">"</span>"</td> <td>38<span class="er-c">"</span></td> @@ -1779,387 +1741,7 @@ of these will be sent on request.</p> <p class="center larger">BATES & GUILD COMPANY</p> <p class="center">144 CONGRESS STREET, BOSTON</p> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Masters in Art, Part 32, v. 3, August, -1902: Giotto, by Anonymous - -*** END OF THIS PROJECT GUTENBERG EBOOK MASTERS IN ART, GIOTTO *** - -***** This file should be named 42952-h.htm or 42952-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/2/9/5/42952/ - -Produced by Juliet Sutherland, Steven Calwas and the Online -Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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