By John White

The 14th century in Italian paintings is a truly wealthy one, and Professor White's e-book supplies 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 comparable, but additionally the artistic endeavors are defined with perception and for his or her personal sakes, and never easily as info 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 constructions 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 version of this paintings comprises color illustrations and contains textual revisions and an up to date bibliography.

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Extra resources for Art and Architecture in Italy, 1250 to 1400

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FOREWORD Words such as 'seems' are deliberately used throughout to indicate degrees of probability or un- certainty, especially where detailed argument could not be included. Finally, on matters such as and dating, attribution, I have the like, ofpresent knowledge, in the light make tried as Jar as possible to to be so those things which seem, well established that they can, for all practical purposes, be treated as certain, stand out clearly from the surrounding structure of less secure hypothesis.

A carefree and at times uncomprehending attitude to Gothic structure is one recurring feature of Itahan architecture. But, whether in architecture, sculpture, or painting, the determination to give actuahry to dreams half-sensed, to step beyond the bounds of safe traditions tensity and sure knowledge and accept the consequences, of vision and desire, this is another. It is this in- urgency in the achievement of a goal, regardless of the incidental inconsistencies and even failures which ensue, that underhes so many of the great achievements both in this and in succeeding periods.

Consequently over two-thirds that of the nave, and vaulted Romanesque time in ItaHan Gothic first height of the movement. Although as the aisles is proportions of such buildings as S. Eustorgio in Milan, not to mention a unvaulted Tuscan Romanesque buildings such for the The recalls the Pieve at Arezzo. number of Now, however, hght has been combined with hghtness and art, the hierarchy of the spatial subdivisions is maintained, there free is an unusual rhythmic interpenetration of the entire volume of the nave.

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