Chapter I: Footnote 1

For the altar as tomb-shrine see Yrjö Hirn’s learned and fascinating
book, _The Sacred Shrine_, London, 1912.

Footnote 2:

For the Byzantine pictorial style see the excellent summary in _Fogg
Art Museum, Collection of Mediaeval and Renaissance Paintings_,
Harvard Univ. Press, 1919, pp. 3–10; also a more extended treatment in
O. M. Dalton _Byzantine Art and Archaeology_, Oxford, 1911, chapters
V, VI, VII.

Footnote 3:

For the influence of St. Dominic, St. Thomas Aquinas, and St. Francis
read the respective chapters in Taylor, _The Mediaeval Mind_; for St.
Francis, Thomas Okey’s translation, _The little Flowers of St.
Francis_ in “Everyman’s Library.” E. Gebhart, _Italie Mystique_,
Paris, 1908, is also enlightening.

Footnote 4:

_Burlington Magazine_, Vol. XXXII (1918) pp. 45–6. Mr. Berenson in
_Rassegna d’Arte, “Dedalo,”_ Vol. II., (1921) fasc. V, makes this
superb Madonna a Constantinople picture of the late 12th century. His
confessedly slight argument fails to convince me. Aside from the air
of the picture, the form of the wooden throne is specific for Tuscany
and the second half of the 13th century.

_Cimabue._ Andreas Aubert, _Cimabue Frage_, Leipzig, 1907, is the
standard work. The various views on the early frescoes of the Upper
Church at Assisi are well summarized in Brown and Rankin, _A Short
History_, pp. 54 and 57–59.

An unsuccessful attempt to reduce Cimabue to a myth has been made by
Langton Douglas in his edition of _C. &. C._, Vol. I., p. 187–193. The
constructive and accepted view is that of Aubert. My list differs
slightly from his and is:

Louvre Madonna, about 1275, Louvre.

Trinità Madonna, about 1285, Uffizi.

The frescoes of the Choir and transepts of S. Francesco at Assisi,
saving possibly the big Ascent to the Cross, circa 1296, Assisi.

Madonna with St. Francis (fresco), after 1290, Assisi, Lower Church of
San Francesco.

St. John in mosaic in the Apse of the Cathedral at Pisa, 1301.

Venturi’s endeavor to attach to Cimabue some of the later New
Testament mosaics in the vault of the Florentine Baptistry, see
_Storia_, Vol. V., p. 229—is plausible but not convincing. His
attribution of lost frescoes in the portico of old St. Peter’s, known
from sketch copies, _Storia_, Vol. V, p. 195—has no solid basis. Two
fresco fragments, heads of Peter and Paul, remain, and are published
by Wilpert, _Die Mosaiken &_, bd. I, fig. 144, and by him correctly
assigned to Cavallini or some Roman follower.

R. van Marle, in _La Peinture Romaine_, Strasbourg, 1921, has made a
most careful study of all the earliest frescoes in the Upper Church.
Generally I concur in his conclusions, but cannot see Cavallini in the
far abler work of the Isaac Master. The date, 1296, which Van Marle
found in the Choir at Assisi, makes it pretty certain that all the
frescoes in the Upper Church were executed between 1293–5 and 1300.

In _Toskanische Maler im XIII Jahrhundert_, Berlin, 1922, Dr. O. Sirén
makes a comprehensive survey of the earliest painters of Lucca, Pisa,
and Florence. He endeavors to reconstruct the works of Coppo di
Marcovaldo whom he regards as a formative influence on Cimabue. To the
usual list of Cimabue’s works Dr. Sirén adds, with Aubert, a great
Madonna in the Servi, Bologna; and also a Madonna in the Verzocchi
Collection, Milan; and an extraordinarily fine crucifixion in the
d’Hendecourt Collection, London. Dr. Sirén also accepts for Cimabue
the triptych of Christ, St. Peter and St James, which Berenson first
published in _Art in America_, for 1920. Of these accretions none but
the d’Hendecourt Crucifixion is at all persuasive to me.

Footnote 5:

The latest and fullest discussion of Pietro Cavallini is by Stanley
Lothrop in _Memoirs of the American Academy in Rome_, Vol. II, 1918. I
think he is in error in seeing Cavallini at Assisi and Perugia. Van
Marle, note above, has thrown additional light on the continuity of a
Roman school.

Footnote 6:

_C. &. C._ (Ed. Hutton) Vol. I, pp. 194–5. Zimmermann (_Giotto_ &c.,
Leipzig, 1899), H. Thode (_Franz von Assisi_, Berlin, 1904), and Fr.
Hermanin (_Gallerie nazionali Italiane_, Vol. V (1902), p. 113)
ascribe the Stories of Isaac and some other superior frescoes of the
upper row to youthful Giotto. They seem too accomplished and mature
for that and are all allied to Gaddo Gaddi’s mosaics at Rome.

Footnote 7:

_Giotto._ Osvald Sirén, _Giotto and Some of his Followers_, Cambridge,
Harvard Univ. Press, 1917, in 2 Vols., gives a reasonable chronology
and is valuable for illustrations.

Roger E. Fry, _Monthly Review_, Vol. I, pp. 126–151; Vol. II, pp.
139–157; Vol. III, pp, 96–121 is an admirable critical analysis of
Giotto’s style, but the ascriptions and chronology are often doubtful.
Excellent on the frescoes at Sta. Croce. The essay is reprinted in
_Vision and Design_, London, 1921.

J. B. Supino’s startling views in the chronology of Giotto, expressed
in _Giotto_, Florence, 1920, in 3 Vols., seem to me fantastic.

His general order is the Allegories of the Lower Church and the
Baroncelli altar-piece about 1300, the Arena frescoes 1305, the St.
Francis series in the Upper Church about 1310, the Peruzzi Chapel
about 1312, etc.

My list would be:

The Early Part of the St. Francis Series (II-XVIII) before 1300 The Mosaic of the Navicella (completely restored) about 1300 Stigmatization of St. Francis (Louvre) „ „ The Arena Frescoes about 1305 The Madonna of Ognissanti „ „ The Franciscan Allegories, Lower Church (design only) „ 1312–20 The Stefaneschi Altar-piece (in part) „ 1320, perhaps earlier The Peruzzi Chapel, Santa Croce after 1320 The Bardi Chapel, „ „ about 1325 The Dormition of the Virgin, at Berlin „ 1325 Madonna, Ancona, Bologna (design only) „ 1330 The Paradise in the Bargello after 1330 Part of the Magdalen Legends there „ „ Part of the Magdalen Legends, Lower Church, Assisi „ „ Baroncelli Altar-piece (design only) „ „ Small panels of the Life of Christ at New York, Fenway Court, Boston; „ „ Munich and Berenson Collection, „ „ Settignano (bottega works) „ „

Footnote 8:

Padre Angelis, _Collis Paradisi_, 1704, I, p. 33.

Footnote 9:

About the 28 stories of St. Francis there is no agreement except that
Nos. I and XXVI-VIII are by the “Cecelia Master.” Venturi sees Giotto
only in the later stories. I agree with Berenson that the ruder
frescoes, II-XVIII, which are based on the so-called Roman work above
show us Giotto at his beginnings. For the various views consult Brown
and Rankin, _A Short History_, pp. 48–9, 59, 61.

Footnote 10:

Alex. Romdahl’s attempt to set the upper row many years later than the
rest is entirely unconvincing to me. See _Jahrbuch der K. Preussischen
Kunstsammlungen_, 1911, pp. 3–18.

Footnote 11:

John Ruskin, _Mornings in Florence_, _passim_.

Footnote 12:

_Giotto’s Followers._ Osvald Sirén, _Giotto and Some of his
Followers_, see note 7, may be freely consulted for illustrations and
very cautiously for attributions.

Footnote 13:

Peleo Bacci’s ascription of the recently discovered Passion frescoes
in the Badia to Buffalmacco seems reasonable, _Bollettino d’ Arte_, V
(1911) pp. 1–27. Dr. Sirén ascribes these frescoes to Nardo di Cione
and follows Venturi in identifying Buffalmacco with the “Cecelia
Master.” _Burlington Magazine_, Vol. XXXVI, p. 10. The hypothesis
still lacks solid foundation.

Footnote 14:

By Vasari the Spanish Chapel was divided between Taddeo Gaddi and
Simone Martini. _C. &. C._ discovered that the work was by an Andrea
da Firenze who as a document attests painted stories of S. Ranieri at
Pisa, in 1377. The contract which proves this Andrea to have been
Andrea Bonaiuti, active 1343–77, was published in _Arte e Storia_,
Florence, Feb., 1917, p. 33. It gives the date of the contract for the
Spanish Chapel, 1365.

The very elaborate decoration of the Spanish Chapel is fully described
in _C. &. C._ (Hutton) Vol. I., pp. 309–312. There are useful literary
illustrations in Venturi, _Storia dell’ arte italiana_, Vol. V., pp.
792–809. Ruskin in _Mornings in Florence_ gives a partial analysis
which is fascinating from a literary point of view, but badly
overestimates the merit of the work.