[32] I cannot recall any example in pre-Giottesque art.
[33] Derived, no doubt, but greatly modified, from Cimabue’s treatment of the subject at Assisi.
[34] The attribution of the Stefaneschi altar-piece to Giotto is much disputed and some authorities give it to Bernardo Daddi. I still incline to the idea that it is the work of Giotto and the starting point of Bernardo Daddi’s style (1920).
[35] His name was Bianchi. ‘Faut il se plaindre,’ says M. Maurice Denis in his Théories, ‘qu’un Bianchi, plutôt que les laisser périr, ait ajouté un peu de la froidure de Flandrin aux fresques de Giotto à Santa Croce.’
[36] This passage now seems to me to underestimate the work of Giotto’s predecessors with which we are now much better acquainted (1920).
[37] Burlington Fine Arts Club Exhibition of Florentine Paintings, 1919.
[38] Burlington Magazine, 1914.
[39] Introduction to Dürer’s Letters and Diary. Merrymount Press, Boston (1909).
[40] See Plate, where I have also added Dürer’s version of the subject. This is of course a new design and not a copy of Mantegna’s drawing, though I suspect it is based on a vague memory of it. In any case it shows admirably the distinguishing points of Dürer’s methods of conception, his love of complexity, and his accumulation of decorative detail.
[41] Athenæum, 1920.