CHAPTER I.
[1]. For the altar as tomb-shrine see Yrjö Hirn’s learned and fascinating book, The Sacred Shrine, London, 1912.
[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.
[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.
[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.