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A Wider Trecento: Studies in 13th- and 14th-century European by Robert Gibbs Louise Bourdua

By Robert Gibbs Louise Bourdua

Julian Gardners preeminent function in British reports of the paintings of the thirteenth and 14th centuries, relatively the interplay of papal and theological matters with its creation and on both sides of the Alps, is widely known in those reports by way of his students. They speak about Roman works: a Colonna badge in S. Prassede and a remarkably uniform Trinity fresco fragment, in addition to monochrome dado portray as much as Giotto, Duccios representations of proskynesis, a Parisian reliquary in Assisi, Riminese portray for the Franciscans, the tomb of a theologian in Vercelli, Bartolomeo and Jacopino da Reggio, the Room of affection at Sabbionara, the cult of city V in Bologna after 1376, Altichiero and the cult of St James in Padua, the orb of the Wilton Diptych, and Julian Gardners occupation itself.The individuals to the quantity are Serena Romano, Jill Bain, Claudia Bolgia, Louise Bourdua, Joanna Cannon, Roberto Cobianchi, Anne Dunlop, Jill Farquhar, Robert Gibbs, Virginia Glenn, Dillian Gordon, John Osborne and Martina Schilling.

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Zanardi, Il Cantiere di Giotto: le storie di San Francesco ad Assisi, Milan, 1996, in: The Burlington Magazine 140, 269–70. J. Tripps, Tendencies of Gothic in Florence: Andrea Bonaiuti, Florence, 1996, in A Critical and Historical Painting, IV (VII,1), 264, in: The Burlington Magazine 140, 480–1. P. Fortini Brown, Venice and Antiquity, London, 1996, in: Speculum, 73, 815– 6. S. Epstein, Genoa and the Genoese 958–1526, in: Italian Studies, 53, 167.  Maginnis, Painting in the Age of Giotto: A Historical Re-evaluation, University Park PA, 1997, in: Italian Studies 54, 193–5.

2. Dado of Santa Maria, Summaga: Desperacio, late 12th century, fresco (Jill Bain). 3. Dado of Santa Maria, Summaga: Tem[perantia], late 12th century, fresco (Jill Bain). 4.  1305, fresco (Alinari/Art Resource, NY). 26 The subdued dado colours and the earthly subjects suggest, by contrast with the full colour glory of the celestial imagery above, the more bleak and diminished nature of human existence prior to the soul’s union with God.  Norman, Metamorphoses of an Allegory: the Iconography of the Psychomachia in Medieval Art, New York, 1988; J.

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