Publisher's Synopsis
Excerpt from A History of Painting in Italy, Vol. 2 of 6: Umbria, Florence and Siena; From the Second to the Sixteenth Century; Giotto and the Giottesques
In the Lower Church, of which the aisle had been painted in the early part of the thirteenth century, Cimabue probably adorned the right transept.2 Surrounded by the works of Giotto, on the right hand of that part of the building, is one of an earlier date represent ing a colossal Virgin and Child between four angels.3 Placed above the altar of the Conception, and much damaged by restoring, it reveals the manner of Cimabue. Its position among the frescoes of Giotto points to an earlier period of production, and allows us to suppose that Giotto was reverent of the work of his master4 as Raphael afterwards was reverent of the work of Perugino, and that he spared it as a memento on that account. For the same reason we may also believe there still remains near the same spot a large figure of St. Francis, also by Cimabue.
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