See also:

• GIOTTINO (1324-1357)

GIOTTINO (1324-1357)  , an See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early Florentine painter . See also:

• VASARI, GIORGIO (1511-1571)

Vasari is the See also:

• PRINCIPAL

principal authority in regard to this artist; but it is not by any means easy to bring the details of his narrative into See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony with such facts as can now be verified . It would appear that there was a painter of the name of Tommaso (or Maso) di Stefano II termed See also:

• GIOTTINO (1324-1357)

Giottino; and the Giottino of Vasari is said to have been See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in 1324, and to have died early, of See also:

• CONSUMPTION (Lat. consumere)

consumption, in 1357,—See also:

• DATES

dates which must be regarded as open to considerable doubt . Stefano, the See also:

• FATHER

father of Tommaso, was himself a celebrated painter in the early revival of See also:

• ART

art; his See also:

• NATURALISM

naturalism was indeed so highly appreciated by contemporaries as to See also:

• EARN

earn him the appellation of " Scimia della Natura " (See also:

• APE (Old Eng. ape; Dutch aap; Old Ger. a ffo; Welsh epa; Old Bohemian op; a word of uncertain origin, possibly an imitation of the animal's chatter)

ape of nature) . He, it seems, instructed his son, who, however, applied himself with greater predilection to studying the See also:

• WORKS

works of the See also:

• GREAT

great See also:

• GIOTTO

Giotto, formed his See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style on these, and hence was called Giottino . It is even said that Giottino was really the son (others say the great-See also:

• GRANDSON (Ger. Grandsee)

grandson) of Giotto . To this statement little or no importance can be attached . To Maso di Stefano, or Giottino, Vasari and See also:

• GHIBERTI, LORENZO (137$–1455)

Ghiberti attribute the frescoes in the See also:

• CHAPEL

chapel of S . Silvestro (or of the Bardi See also:

• FAMILY

family) in the Florentine See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of S . Croce; these represent the miracles of See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

Pope S . Silvestro as narrated in the " See also:

• GOLDEN

Golden See also:

• LEGEND (through the French from the med. Lat. legenda, things to be read, from legere, to read)

Legend," one conspicuous subject being the sealing of the lips of a See also:

• MALIGNANT (Lat. malignus, evil-disposed, from maligenus)

malignant See also:

• DRAGON (Fr. dragon, through Lat. draco, from the Greek; connected with SEpeoµay " see," and interpreted as " sharp-sighted "; O.H. Ger. tracho, dracho, M.H.G. trache, Mod. Ger. Drachen; A.S. draca, hence the equivalent English form " drake," " fire-drake,

dragon . These works are animated and See also:

• FIRM

firm in See also:

• DRAWING

drawing, with naturalism carried further than by Giotto .

From the See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence of style, some See also:

• MODERN

modern connoisseurs assign to the same See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand the paintings in the funeral' vault of the See also:

• STROZZI

Strozzi family, below the Cappella degli Spagnuoli in the church of S . Maria Novella, representing the crucifixion and other subjects . Vasari ascribes also to his Giottino the frescoes of the See also:

• LIFE

life of St See also:

• NICHOLAS
• NICHOLAS (1841– )
• NICHOLAS (or NICLAES), HENRY (or HENDRIK) (c. 1501-C. 158o)
• NICHOLAS, SIR EDWARD (1593-1669)
• NICHOLAS, ST

Nicholas in the See also:

• LOWER

lower church of See also:

• ASSISI (anc. Asisium)

Assisi . This See also:

• SERIES (a Latin word from serere, to join)

series, however, is not really in that See also:

• PART

part of the church which Vasari designates, but is in the chapel of the See also:

• SACRAMENT

Sacrament; and the works in that chapel are understood to be by Giotto di Stefano, who worked in the second See also:

• HALF

half of the 14th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century—very excellent productions of their See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period . They are much damaged, and the style is hardly similar to that of the See also:

• SYLVESTER, JAMES
• SYLVESTER, JOSHUA (1563–1618)

Sylvester frescoes . It might hence be inferred that two different men produced the works which are unitedly fathered upon the half-legendary " Giottino," the consumptive youth, solitary and melancholic, but passionately devoted to his art . A large number of other works have been attributed to the same hand; we need only mention an " Apparition of the Virgin to St See also:

• BERNARD, CHARLES DE
• BERNARD, CLAUDE (1813-1878)
• BERNARD, JACQUES (1658--1718)
• BERNARD, MOUNTAGUE (1S2o—1882)
• BERNARD, SAINT
• BERNARD, SAINT (Iogo-1153)
• BERNARD, SIMON (1779—1839)
• BERNARD, SIR THOMAS, BART

Bernard," in the Florentine See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy; a lost See also:

• PAINTING

painting, very popular in its See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day, commemorating the See also:

• EXPULSION (Lat. expulsio, from expellere)

expulsion, which took See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in 1343, of the See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of See also:

• ATHENS
• ATHENS ['AN vat, Athenae, modem colloquial Greek `Ath va]

Athens from See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence; and a See also:

• MARBLE (from Lat. marmor, Gr. pApµapos, shining stone)

marble statue erected on the Florentine campanile .