Giotto di Bondone (Italian pronunciation: [ˈdʒɔtto di bonˈdoːne]; c. 1267 – January 8, 1337),[1][2] known mononymously as Giotto (English: /ˈdʒɒtoʊ/) and Latinised as Giottus, was an Italian painter and architect from Florence during the Late Middle Ages. He worked during the Gothic/Proto-Renaissance period.[3]

Giotto's contemporary, the banker and chronicler Giovanni Villani, wrote that Giotto was "the most sovereign master of painting in his time, who drew all his figures and their postures according to nature" and of his publicly recognized "talent and excellence".[4]

In his Lives of the Most Excellent Painters, Sculptors, and Architects, Giorgio Vasari described Giotto as making a decisive break with the prevalent Byzantine style and as initiating "the great art of painting as we know it today, introducing the technique of drawing accurately from life, which had been neglected for more than two hundred years".[5]

Giotto's masterwork is the decoration of the Scrovegni Chapel, in Padua, also known as the Arena Chapel, which was completed around 1305. The fresco cycle depicts the Life of the Virgin and the Life of Christ. It is regarded as one of the supreme masterpieces of the Early Renaissance.[6]

That Giotto painted the Arena Chapel and that he was chosen by the Commune of Florence in 1334 to design the new campanile (bell tower) of the Florence Cathedral are among the few certainties about his life. Almost every other aspect of it is subject to controversy: his birth date, his birthplace, his appearance, his apprenticeship, the order in which he created his works, whether or not he painted the famous frescoes in the Upper Basilica of Saint Francis in Assisi and his burial place.

Giotto di Bondone
Giotto face restored
Possible image of Giotto from the Peruzzi Chapel (digitally restored)
Giotto di Bondone

c. 1267
DiedJanuary 8, 1337
Known forPainting, fresco, architecture
Notable work
Scrovegni Chapel frescoes, Campanile
MovementLate Gothic
Birth of Jesus - Capella dei Scrovegni - Padua 2016
Nativity, from the Scrovegni Chapel

Early years

Tradition holds that Giotto was born in a farmhouse, perhaps at Colle di Romagnano or Romignano.[7] Since 1850, a tower house in nearby Colle Vespignano has borne a plaque claiming the honor of his birthplace, an assertion that is commercially publicized. However, recent research has presented documentary evidence that he was born in Florence, the son of a blacksmith.[8] His father's name was Bondone. Most authors accept that Giotto was his real name, but it is likely to have been an abbreviation of Ambrogio (Ambrogiotto) or Angelo (Angelotto).[9]

A portrait of Dante by Giotto

The year of his birth is calculated from the fact that Antonio Pucci, the town crier of Florence, wrote a poem in Giotto's honour in which it is stated that he was 70 at the time of his death. However, the word "seventy" fits into the rhyme of the poem better than any longer and more complex age so it is possible that Pucci used artistic license.[9]

Vasari states that Giotto was a shepherd boy, a merry and intelligent child who was loved by all who knew him. The great Florentine painter Cimabue discovered Giotto drawing pictures of his sheep on a rock. They were so lifelike that Cimabue approached Giotto and asked if he could take him on as an apprentice.[5] Cimabue was one of the two most highly renowned painters of Tuscany, the other being Duccio, who worked mainly in Siena.

Vasari recounts a number of such stories about Giotto's skill as a young artist. He tells of one occasion when Cimabue was absent from the workshop, and Giotto painted a remarkably-lifelike fly on a face in a painting of Cimabue. When Cimabue returned, he tried several times to brush the fly off.

Vasari also relates that when the Pope sent a messenger to Giotto, asking him to send a drawing to demonstrate his skill, Giotto drew a red circle so perfect that it seemed as though it was drawn using a pair of compasses and instructed the messenger to send it to the Pope. The messenger departed ill pleased, believing that he had been made a fool of. The messenger brought other artists' drawings back to the Pope in addition to Giotto's. When the messenger related how he had made the circle without moving his arm and without the aid of compasses the Pope and his courtiers were amazed at how Giotto's skill greatly surpassed all of his contemporaries.[5]

Many scholars today are uncertain about Giotto's training and consider Vasari's account that he was Cimabue's pupil as legend; they cite earlier sources that suggest that Giotto was not Cimabue's pupil.[10]

About 1290, Giotto married Ciuta (Ricevuta), the daughter of Lapo del Pela of Florence. The marriage produced four daughters and four sons, one of whom became a painter.[11] By 1301, Giotto owned a house in Florence, and when he was not traveling, he would return there and live in comfort with his family.

Frescoes of the Upper Church at Assisi

Cimabue went to Assisi to paint several large frescoes at the new Basilica of Saint Francis of Assisi, and it is possible but not certain that Giotto went with him. The attribution of the fresco cycle of the Life of St. Francis in the Upper Church has been one of the most disputed in art history. The documents of the Franciscan Friars that relate to artistic commissions during this period were destroyed by Napoleon's troops, who stabled horses in the Upper Church of the Basilica, so scholars have debated the attribution to Giotto. In the absence of documentary evidence to the contrary, it has been convenient to ascribe every fresco in the Upper Church that was not obviously by Cimabue to Giotto, whose prestige has overshadowed that of almost every contemporary.

Giotto di Bondone - Legend of St Francis - 5. Renunciation of Wordly Goods - WGA09123
One of the Legend of St. Francis frescoes at Assisi, the authorship of which is disputed.

An early biographical source, Riccobaldo Ferrarese, mentions that Giotto painted at Assisi but does not specify the St Francis Cycle: "What kind of art [Giotto] made is testified to by works done by him in the Franciscan churches at Assisi, Rimini, Padua..."[12] Since the idea was put forward by the German art historian, Friedrich Rintelen in 1912,[13] many scholars have expressed doubt that Giotto was the author of the Upper Church frescoes.

Without documentation, arguments on the attribution have relied upon connoisseurship, a notoriously unreliable "science",[14] but technical examinations and comparisons of the workshop painting processes at Assisi and Padua in 2002 have provided strong evidence that Giotto did not paint the St. Francis Cycle.[15] There are many differences between the Francis Cycle and the Arena Chapel frescoes that are difficult to account for within the stylistic development of an individual artist. It is now generally accepted that four different hands are identifiable in the Assisi St. Francis frescoes and that they came from Rome. If this is the case, Giotto's frescoes at Padua owe much to the naturalism of the painters.[9]

Other attributions

The authorship of a large number of panel paintings ascribed to Giotto by Vasari, among others, is as broadly disputed as the Assisi frescoes.[16] According to Vasari, Giotto's earliest works were for the Dominicans at Santa Maria Novella. They include a fresco of The Annunciation and the enormous suspended Crucifix, which is about 5 metres (16 feet) high.[5] It has been dated to about 1290 and is thought to be contemporary with the Assisi frescoes.[17] Earlier attributed works are the San Giorgio alla Costa Madonna and Child, now in the Diocesan Museum of Santo Stefano al Ponte, Florence, and the signed panel of the Stigmatization of St. Francis housed in the Louvre.

Giotto. the-crucifix-1310-17. 430х303 cm. Rimini, Tempio Malatestiano
The Crucifixion of Rimini

In 1287, at the age of about 20, Giotto married Ricevuta di Lapo del Pela, known as "Ciuta". The couple had numerous children (perhaps as many as eight), one of whom, Francesco, became a painter.[9] Giotto worked in Rome in 1297–1300, but few traces of his presence there remain today.

The Archbasilica of St. John Lateran houses a small portion of a fresco cycle, painted for the Jubilee of 1300 called by Boniface VIII. In this period Giotto also painted the Badia Polyptych, now in the Uffizi, Florence.[5]

Giotto's fame as a painter spread. He was called to work in Padua and also in Rimini, where there remains only a Crucifix painted before 1309 and conserved in the Church of St. Francis.[5] It influenced the rise of the Riminese school of Giovanni and Pietro da Rimini. According to documents of 1301 and 1304, Giotto by this time possessed large estates in Florence, and it is probable that he was already leading a large workshop and receiving commissions from throughout Italy.[9]

Scrovegni Chapel

Around 1305, Giotto executed his most influential work, the interior frescoes of the Scrovegni Chapel in Padua. Enrico degli Scrovegni commissioned the chapel to serve as a family worship, burial space[18] and as a backdrop for an annually performed mystery play.[19]

La Cappella degli Scrovegni
The Scrovegni Chapel

The theme of the decoration is Salvation, and there is an emphasis on the Virgin Mary, as the chapel is dedicated to the Annunciation and to the Virgin of Charity. As was common in church decoration of medieval Italy, the west wall is dominated by the Last Judgement. On either side of the chancel are complementary paintings of the angel Gabriel and the Virgin Mary, depicting the Annunciation. The scene is incorporated into the cycles of The Life of the Blessed Virgin Mary and The Life of Christ. Giotto's inspiration for The Life of the Virgin cycle was probably taken from The Golden Legend by Jacopo da Voragine and The Life of Christ draws upon the Meditations on the Life of Christ as well as the Bible. The frescoes are more than mere illustrations of familiar texts, however, and scholars have found numerous sources for Giotto's interpretations of sacred stories.[20]

Giotto di Bondone 007
Details of figures at the Golden Gate in the Meeting of Anna and Joachim


The cycle is divided into 37 scenes, arranged around the lateral walls in three tiers, starting in the upper register with the story of St. Joachim and St. Anne, the parents of the Virgin, and continuing with her early life. The life of Jesus occupies two registers. The top south tier deals with the lives of Mary's parents, the top north with her early life and the entire middle tier with the early life and miracles of Christ. The bottom tier on both sides is concerned with the Passion of Christ. He is depicted mainly in profile, and his eyes point continuously to the right, perhaps to guide the viewer onwards in the episodes. The kiss of Judas near the end of the sequence signals the close of this left-to-right procession.

Giotto di Bondone - No. 31 Scenes from the Life of Christ - 15. The Arrest of Christ (Kiss of Judas) - WGA09216 adj
Kiss of Judas (1304–06), fresco, Scrovegni Chapel

Below the narrative scenes in colour, Giotto also painted allegories of seven Virtues and their counterparts in monochrome grey (grisaille). The grisaille frescoes are painted to look like marble statues that personify Virtues and Vices. The central allegories of Justice and Injustice oppose two specific types of government: peace leading to a festival of Love and tyranny resulting in wartime rape.[21]

Much of the blue in the frescoes has been worn away by time. The expense of the ultramarine blue pigment used required it to be painted on top of the already-dry fresco (fresco secco) to preserve its brilliance. That is why it has disintegrated faster than the other colours, which were painted on wet plaster and have bonded with the wall. An example of the decay can clearly be seen on the robe of the Virgin, in the fresco of the Nativity.

Between the narrative scenes are quatrefoil paintings of Old Testament scenes, like Jonah and the Whale, that allegorically correspond to and perhaps foretell the life of Christ.


While Cimabue painted in a manner that is clearly medieval, having aspects of both the Byzantine and the Gothic, Giotto's style drew on the solid and classicizing sculpture of Arnolfo di Cambio. Unlike those by Cimabue and Duccio, Giotto's figures are not stylized or elongated and do not follow Byzantine models. They are solidly three-dimensional, have faces and gestures that are based on close observation, and are clothed, not in swirling formalized drapery, but in garments that hang naturally and have form and weight. He also took bold steps in foreshortening and with having characters face inwards, with their backs towards the observer, creating the illusion of space.

Giotto - Scrovegni - -36- - Lamentation (The Mourning of Christ) adj
Lamentation (The Mourning of Christ), Cappella degli Scrovegni

The figures occupy compressed settings with naturalistic elements, often using forced perspective devices so that they resemble stage sets. This similarity is increased by Giotto's careful arrangement of the figures in such a way that the viewer appears to have a particular place and even an involvement in many of the scenes. That can be seen most markedly in the arrangement of the figures in the Mocking of Christ and Lamentation in which the viewer is bidden by the composition that Giotto has created to become mocker in one and mourner in the other.

Famous narratives in the series include the Adoration of the Magi, in which a comet-like Star of Bethlehem streaks across the sky. Giotto is thought to have been inspired by the 1301 appearance of Halley's comet, which led to the name Giotto being given to a 1986 space probe to the comet.

Giotto's depiction of the human face and emotion sets his work apart from that of his contemporaries. When the disgraced Joachim returns sadly to the hillside, the two young shepherds look sideways at each other. The soldier who drags a baby from its screaming mother in the Massacre of the Innocents does so with his head hunched into his shoulders and a look of shame on his face. The people on the road to Egypt gossip about Mary and Joseph as they go. Of Giotto's realism, the 19th-century English critic John Ruskin said, "He painted the Madonna and St. Joseph and the Christ, yes, by all means... but essentially Mamma, Papa and Baby".[9]

Other works in Padua

Among those frescoes in Padua that have been lost are those in the Basilica of. St. Anthony[22] and the Palazzo della Ragione.[23]

Numerous painters from northern Italy were influenced by Giotto's work in Padua, including Guariento, Giusto de' Menabuoi, Jacopo Avanzi, and Altichiero.

Mature works

Giotto, Lower Church Assisi, Nativity 01
The Nativity in the Lower Church, Assisi

From 1306 to 1311 Giotto was in Assisi, where he painted the frescoes in the transept area of the Lower Church of the Basilica of St. Francis, including The Life of Christ, Franciscan Allegories and the Magdalene Chapel, drawing on stories from the Golden Legend and including the portrait of Bishop Teobaldo Pontano, who commissioned the work. Several assistants are mentioned, including Palerino di Guido. The style demonstrates developments from Giotto's work at Padua.[9]

In 1311, Giotto returned to Florence. A document from 1313 about his furniture there shows that he had spent a period in Rome some time beforehand. It is now thought that he produced the design for the famous Navicella mosaic for the courtyard of the Old St. Peter's Basilica in 1310, commissioned by Cardinal Giacomo or Jacopo Stefaneschi and now lost to the Renaissance church except for some fragments and a Baroque reconstruction. According to the cardinal's necrology, he also at least designed the Stefaneschi Triptych, a double-sided altarpiece for St. Peter's, now in the Vatican Pinacoteca. However, the style seems unlikely for either Giotto or his normal Florentine assistants so he may have had his design executed by an ad hoc workshop of Romans.[24]

Giotto Ognissanti Madonna white ground
Ognissanti Madonna, (c. 1310) Tempera on wood, 325 by 204 centimetres (128 by 80 inches) Uffizi, Florence

Ognissanti Madonna

In Florence, where documents from 1314 to 1327 attest to his financial activities, Giotto painted an altarpiece, known as the Ognissanti Madonna, which is now on display in the Uffizi, where it is exhibited beside Cimabue's Santa Trinita Madonna and Duccio's Rucellai Madonna.[9] The Ognissanti altarpiece is the only panel painting by Giotto that has been universally accepted by scholars, despite the fact that it is undocumented. It was painted for the church of the Ognissanti (all saints) in Florence, which was built by an obscure religious order, known as the Humiliati.[25] It is a large painting (325 x 204 cm), and scholars are divided on whether it was made for the main altar of the church, where it would have been viewed primarily by the brothers of the order, or for the choir screen, where it would have been more easily seen by a lay audience.[26]

He also painted around the time the Dormition of the Virgin, now in the Berlin Gemäldegalerie, and the Crucifix in the Church of Ognissanti.[27]

Peruzzi and Bardi Chapels at Santa Croce

According to Lorenzo Ghiberti, Giotto painted chapels for four different Florentine families in the church of Santa Croce, but he does not identify which chapels.[28] It is only with Vasari that the four chapels are identified: the Bardi Chapel (Life of St. Francis), the Peruzzi Chapel (Life of St. John the Baptist and St. John the Evangelist, perhaps including a polyptych of Madonna with Saints now in the Museum of Art of Raleigh, North Carolina) and the lost Giugni Chapel (Stories of the Apostles) and the Tosinghi Spinelli Chapel (Stories of the Holy Virgin).[29] As with almost everything in Giotto's career, the dates of the fresco decorations that survive in Santa Croce are disputed. The Bardi Chapel, immediately to the right of the main chapel of the church, was painted in true fresco, and to some scholars, the simplicity of its settings seems relatively close to those of Padua, but the Peruzzi Chapel's more complex settings suggest a later date.[30]

Giotto di Bondone 051 Ascension of St John adjusted
Peruzzi Chapel, The Ascension of St John the Evangelist

The Peruzzi Chapel is adjacent to the Bardi Chapel and was largely painted a secco. The technique, quicker but less durable than true fresco, has resulted in a fresco decoration that survives in a seriously-deteriorated condition. Scholars who date the cycle earlier in Giotto's career see the growing interest in architectural expansion that it displays as close to the developments of the giottesque frescoes in the Lower Church at Assisi, but the Bardi frescoes have a new softness of colour that indicates the artist going in a different direction, probably under the influence of Sienese art so it must be later.[31]

Giotto di Bondone 050 lighter
Details of figures from the Raising of Drusiana in the Peruzzi Chapel

The Peruzzi Chapel pairs three frescoes from the life of St. John the Baptist (The Annunciation of John's Birth to his father Zacharias; The Birth and Naming of John; The Feast of Herod) on the left wall with three scenes from the life of St. John the Evangelist (The Visions of John on Ephesus; The Raising of Drusiana; The Ascension of John) on the right wall. The choice of scenes has been related to both the patrons and the Franciscans.[32] Because of the deteriorated condition of the frescoes, it is difficult to discuss Giotto's style in the chapel, but the frescoes show signs of his typical interest in controlled naturalism and psychological penetration.[33] The Peruzzi Chapel was especially renowned during Renaissance times. Giotto's compositions influenced Masaccio's frescos at the Brancacci Chapel, and Michelangelo is also known to have studied them.

Giotto di Bondone 060
Bardi Chapel: the Mourning of St. Francis

The Bardi Chapel depicts the life of St. Francis, following a similar iconography to the frescoes in the Upper Church at Assisi, dating from 20 to 30 years earlier. A comparison shows the greater attention given by Giotto to expression in the human figures and the simpler, better-integrated architectural forms. Giotto represents only seven scenes from the saint's life, and the narrative is arranged somewhat unusually. The story starts on the upper left wall with St. Francis Renounces his Father. It continues across the chapel to the upper right wall with the Approval of the Franciscan Rule, moves down the right wall to the Trial by Fire, across the chapel again to the left wall for the Appearance at Arles, down the left wall to the Death of St. Francis, and across once more to the posthumous Visions of Fra Agostino and the Bishop of Assisi. The Stigmatization of St. Francis, which chronologically belongs between the Appearance at Arles and the Death, is located outside the chapel, above the entrance arch. The arrangement encourages viewers to link scenes together: to pair frescoes across the chapel space or relate triads of frescoes along each wall. The linkings suggest meaningful symbolic relationships between different events in St. Francis's life.[34]

Stefaneschi Triptych

In 1320, Giotto painted the Stefaneschi Triptych, now in the Vatican Museum, for Cardinal Giacomo (or Jacopo) Gaetano Stefaneschi. It shows St Peter enthroned with saints on the front, and on the reverse, Christ is enthroned, framed with scenes of the martyrdom of Saints Peter and Paul. It is one of the few works by Giotto for which firm evidence of a commission exists.[35] The cardinal also commissioned Giotto to decorate the apse of St. Peter's Basilica with a cycle of frescoes that were destroyed during the 16th-century renovation. According to Vasari, Giotto remained in Rome for six years, subsequently receiving numerous commissions in Italy, and in the Papal seat at Avignon, but some of the works are now recognized to be by other artists.

Polittico stefaneschi, retro
The verso of The Stefaneschi Altarpiece

Later works

In 1328 the altarpiece of the Baroncelli Chapel, Santa Croce, Florence, was completed. Previously ascribed to Giotto, it is now believed to be mostly a work by assistants, including Taddeo Gaddi, who later frescoed the chapel. Giotto was called by King Robert of Anjou to Naples where he remained with a group of pupils until 1333. Few of Giotto's Neapolitan works have survived: a fragment of a fresco portraying the Lamentation of Christ in the church of Santa Chiara and the Illustrious Men that is painted on the windows of the Santa Barbara Chapel of Castel Nuovo, which are usually attributed to his pupils. In 1332, King Robert named him "first court painter", with a yearly pension.

After Naples, Giotto stayed for a while in Bologna, where he painted a Polyptych for the church of Santa Maria degli Angeli and, according to some sources, a lost decoration for the Chapel in the Cardinal Legate's Castle.[5]

In 1334, Giotto was appointed chief architect to Florence Cathedral. He designed the bell tower, known as Giotto's Campanile, begun on July 18, 1334. It was not completed entirely to his design.[9]

Before 1337, he was in Milan with Azzone Visconti, but no trace of works by him remain in the city. His last known work was with assistants' help: the decoration of Podestà Chapel in the Bargello, Florence.[9]

Later life

In his final years, Giotto had become friends with Giovanni Boccaccio and Sacchetti, who featured him in their stories. In The Divine Comedy, Dante acknowledged the greatness of his living contemporary by the words of a painter in Purgatorio (XI, 94–96): "Cimabue believed that he held the field/In painting, and now Giotto has the cry,/ So the fame of the former is obscure."[6] Giotto died in January 1337.


According to Vasari,[5] Giotto was buried in the Cathedral of Florence, on the left of the entrance and with the spot marked by a white marble plaque. According to other sources, he was buried in the Church of Santa Reparata. The apparently-contradictory reports are explained by the fact that the remains of Santa Reparata are directly beneath the Cathedral and the church continued in use while the construction of the cathedral proceeded in the early 14th century.

During an excavation in the 1970s, bones were discovered beneath the paving of Santa Reparata at a spot close to the location given by Vasari but unmarked on either level. Forensic examination of the bones by anthropologist Francesco Mallegni and a team of experts in 2000 brought to light some evidence that seemed to confirm that they were those of a painter, particularly the range of chemicals, including arsenic and lead, both commonly found in paint, which the bones had absorbed.[36]

The bones were those of a very short man, little over four feet tall, who may have suffered from a form of congenital dwarfism. That supports a tradition at the Church of Santa Croce that a dwarf who appears in one of the frescoes is a self-portrait of Giotto. On the other hand, a man wearing a white hat who appears in the Last Judgement at Padua is also said to be a portrait of Giotto. The appearance of this man conflicts with the image in Santa Croce, in regards to stature.[36]

Vasari, drawing on a description by Boccaccio, a friend of Giotto, says of him that "there was no uglier man in the city of Florence" and indicates that his children were also plain in appearance. There is a story that Dante visited Giotto while he was painting the Scrovegni Chapel and, seeing the artist's children underfoot asked how a man who painted such beautiful pictures could have such plain children. Giotto, who, according to Vasari was always a wit, replied, "I had them in the dark."[5]

Forensic reconstruction of the skeleton at Santa Reperata showed a short man with a very large head, a large hooked nose and one eye more prominent than the other. The bones of the neck indicated that the man spent a lot of time with his head tilted backwards. The front teeth were worn in a way consistent with frequently holding a brush between the teeth. The man was about 70 at the time of death.[36]

While the Italian researchers were convinced that the body belonged to Giotto and it was reburied with honour near the grave of Filippo Brunelleschi, others have been highly skeptical.[37] Franklin Toker, a professor of art history at the University of Pittsburgh, who was present at the original excavation in 1970, says that they are probably "the bones of some fat butcher".[38]


  1. ^ "Giotto's date of birth differs widely in the sources, but modern art historians consider 1267 to be the most plausible, although the years up to 1275 cannot be entirely discounted." Wolf, Norbert (2006). Giotto di Bondone, 1267-1337: The Renewal of Painting. Hong Kong: Taschen.p. 92. ISBN 9783822851609
  2. ^ Giotto at the Encyclopædia Britannica
  3. ^ Hodge, Susie (November 2016). Art in Detail: 100 Masterpieces (Hardcover)|format= requires |url= (help) (1 ed.). New York: Thames & Hudson. p. 10. ISBN 978-0-500-23954-4. He worked during the period described as Gothic or Pre-Renaissance [...].
  4. ^ Bartlett, Kenneth R. (1992). The Civilization of the Italian Renaissance. Toronto: D.C. Heath and Company. ISBN 0-669-20900-7 (Paperback). p. 37.
  5. ^ a b c d e f g h i Giorgio Vasari, Lives of the Artists, trans. George Bull, Penguin Classics, (1965), p15-36
  6. ^ a b Hartt, Frederick (1989). Art: a history of painting, sculpture, architecture. Harry N. Abrams. pp. 503–506.
  7. ^ Sarel Eimerl, see below, cites Colbzs le di Romagnano. However, the spelling is perhaps wrong, and the location referred to may be the site of the present Trattoria di Romignano, in a hamlet of farmhouses in the Mugello region.
  8. ^ Michael Viktor Schwarz and Pia Theis, "Giotto's Father: Old Stories and New Documents", Burlington Magazine, 141 (1999) 676–677 and idem, Giottus Pictor. Band 1: Giottos Leben, Vienna, 2004
  9. ^ a b c d e f g h i j Sarel Eimerl, The World of Giotto, Time-Life Books.
  10. ^ Hayden B.J. Maginnis, "In Search of an Artist," in Anne Derbes and Mark Sandona, The Cambridge Companion to Giotto, Cambridge, 2004, 12-13.
  11. ^ Giotto, and Edi Baccheschi (1969). The complete paintings of Giotto. New York: H.N. Abrams. p. 83. OCLC 2616448
  12. ^ Sarel. A. Teresa Hankey, "Riccobaldo of Ferraro and Giotto: An Update," Journal of the Warburg and Courtauld Institutes, 54 (1991) 244.
  13. ^ Friedrich Rintelen, Giotto und die Giotto-apokryphen, (1912)
  14. ^ See, for example, Richard Offner's famous article of 1939, "Giotto, non-Giotto", conveniently collected in James Stubblebine, Giotto: The Arena Chapel Frescoes, New York, 1969 (reissued 1996), 135–155, which argues against Giotto's authorship of the frescoes. In contrast, Luciano Bellosi, La pecora di Giotto, Turin, 1985, calls each of Offner's points into question.
  15. ^ Bruno Zanardi, Giotto e Pietro Cavallini: La questione di Assisi e il cantiere medievale della pittura a fresco, Milan 2002; Zanardi provides an English synopsis of his study in Anne Derbes and Mark Sandona, The Cambridge Companion to Giotto, New York, 2004, 32–62.
  16. ^ Maginnis, "In Search of an Artist", 23–28.
  17. ^ In 1312, the will of Ricuccio Pucci leaves funds to keep a lamp burning before the crucifix "by the illustrious painter Giotto". Ghiberti also cites it as a work by Giotto.
  18. ^ See the complaint of the Eremitani monks in James Stubblebine, Giotto: The Arena Chapel Frescoes, New York, 1969, 106–107 and an analysis of the commission by Benjamin G. Kohl, "Giotto and his Lay Patrons", in Anne Derbes and Mark Sandona, The Cambridge Companion to Giotto, Cambridge, 2004, 176–193.
  19. ^ Schwarz, Michael Viktor, "Padua, its Arena, and the Arena Chapel: a liturgical ensemble," in Journal of the Warburg and Courtauld Institutes Vol. 73, 2010, 39-64.
  20. ^ Anne Derbes and Mark Sandona, The Usurer's Heart: Giotto, Enrico Scrovegni, and the Arena Chapel in Padua, University Park, 2008; Laura Jacobus,Giotto and the Arena Chapel: Art, Architecture and Experience, London, 2008; Andrew Ladis, Giotto's O: Narrative, Figuration, and Pictorial Ingenuity in the Arena Chapel, University Park, 2009
  21. ^ Kérchy, Anna; Liss, Attila; Szönyi, György E., eds. (2012). The Iconology of Law and Order (Legal and Cosmic). Szeged: JATEPress. ISBN 978-963-315-076-4.
  22. ^ The remaining parts (Stigmata of St. Francis, Martyrdom of Franciscans at Ceuta, Crucifixion and Heads of Prophets) are most likely from assistants.
  23. ^ Finished in 1309 and mentioned in a text from 1350 by Giovanni da Nono. They had an astrological theme, inspired by the Lucidator, a treatise famous in the 14th century.
  24. ^ White, 332, 343
  25. ^ La 'Madonna d'Ognissanti' di Giotto restaurata, Florence, 1992; Julia I. Miller and Laurie Taylor-Mitchell, "The Ognissanti Madonna and the Humiliati Order in Florence", in The Cambridge Companion to Giotto, ed. Anne Derbes and Mark Sandona, Cambridge, 2004, 157–175.
  26. ^ Julian Gardner, "Altars, Altarpieces and Art History: Legislation and Usage," in Italian Altarpieces, 1250-1500, ed. Eve Borsook and Fiorella Gioffredi, Oxford, 1994, 5–39; Irene Hueck, "Le opere di Giotto per la chiesa di Ognissanti," in La 'Madonna d'Ognissanti' di Giotto restaurata, Florence, 1992, 37–44.
  27. ^ Duncan Kennedy, Giotto's Ognissanti Crucifix brought back to life, BBC News, 2010-11-05. Accessed 2010-11-07
  28. ^ Ghiberti, I commentari, ed. O Morisani, Naples 1947, 33.
  29. ^ Giorgio Vasari, Le vite de' più eccellenti architetti, pittori, et scultori Italiani ed. G. Milanesi, Florence, 1878, I, 373–374.
  30. ^ L. Tintori and E. Borsook, The Peruzzi Chapel, Florence, 1965, 10; J. White, Art and Architecture in Italy, Baltimore, 1968, 72f.
  31. ^ C. Brandi, Giotto, Milan, 1983, 185–186; L.Bellosi, Giotto, Florence, 1981, 65, 71.
  32. ^ Tintori and Borsook; Laurie Schneider Adams, "The Iconography of the Peruzzi Chapel". L’Arte, 1972, 1–104. (Reprinted in Andrew Ladis ed., Giotto and the World of Early Italian Art New York and London 1998, 3, 131–144); Julie F. Codell, "Giotto's Peruzzi Chapel Frescoes: Wealth, Patronage and the Earthly City," Renaissance Quarterly, 41 (1988) 583–613.
  33. ^ Long, Jane C. (2011), "Parallelism in Giotto's Santa Croce Frescoes", Push Me, Pull You, Brill, pp. 327–353, ISBN 9789004215139, retrieved 2019-02-15.
  34. ^ The concept of such linkings was first suggested for Padua by Michel Alpatoff, "The Parallelism of Giotto's Padua Frescoes", Art Bulletin, 39 (1947) 149–154. It has been tied to the Bardi Chapel by Jane C. Long, "The Program of Giotto’s Saint Francis Cycle at Santa Croce in Florence", Franciscan Studies 52 (1992) 85–133 and William R. Cook, "Giotto and the Figure of St. Francis", in The Cambridge Companion to Giotto, ed. A. Derbes and M. Sandona, Cambridge, 2004, 135–156.
  35. ^ Gardner, Julian (1974). "The Stefaneschi Altarpiece: A Reconsideration". Journal of the Warburg and Courtauld Institutes. 37: 57–103.
  36. ^ a b c IOL, September 22, 2000
  37. ^ "Critics slam Giotto burial as a grave mistake". Business Report. Independent Online. Sapa-AP. 8 January 2001.
  38. ^ Johnston, Bruce (6 January 2001). "Skeleton riddle threatens Giotto's reburial". Retrieved 23 March 2018.


  • Eimerl, Sarel. The World of Giotto, Time-Life Books, (1967), ISBN 0-900658-15-0
  • Previtali, G. Giotto e la sua bottega (1993)
  • Vasari, Giorgio.
    • Le vite de più eccellenti pittori, scultori e architetti (1568)
    • Lives of the Artists, trans. George Bull, Penguin Classics, (1965) ISBN 0-14-044164-6
  • White, John. Art and Architecture in Italy, 1250 to 1400, London, Penguin Books, 1966, 2nd edn 1987 (now Yale History of Art series). ISBN 0140561285

Further reading

  • Agapiou, Natalia, L'autoritratto di Andrea Mantegna nella Camera dipinta del castello di San Giorgio a Mantova: le peripezie di un motivo ornamentale, Studi Umanistici Piceni, XXXII, ISSN 1126-4764.
  • Bandera Bistoletti, Sandrina, Giotto: catalogo completo dei dipinti (I gigli dell'arte; 2) Cantini, Firenze 1989. ISBN 88-7737-050-5.
  • Basile, Giuseppe (a cura di), Giotto: gli affreschi della Cappella degli Scrovegni a Padova, Skira, Milano 2002. ISBN 88-8491-229-6.
    • Giotto: le storie francescane, (I capolavori dell'arte) Electa, Milano 1996. ISBN 88-435-5678-9
  • Bellosi, Luciano, La pecora di Giotto, (Saggi; 681). Einaudi, Torino 1985. ISBN 88-06-58339-5.
  • Bokody, Péter, After Paradigm: Iconography and Giotto, IKON: Journal of Iconographic Studies 7 (2014): 131–141.
  • Bologna, Ferdinando, Novità su Giotto: Giotto al tempo della Cappella Peruzzi (Saggi; 438). Einaudi, Torino 1969.
  • Carrà, Carlo, Giotto, (Biblioteca moderna Mondadori; 227-228). A. Mondadori, Milano 1951.
  • Cavalcaselle, Giovan Battista, e Joseph A. Crowe, Storia della pittura in Italia dal secolo II al secolo XVI, 1: Dai primi tempi cristiani fino alla morte di Giotto 2. ed. con aggiunta di un'appendice. Le Monnier, Firenze 1886.
  • Cecchi, Emilio, Giotto (3rd ed.). (Valori plastici) Hoepli, Milano 1942 (3rd ed. 1950).
  • Ciatti, Marco e Max Seidel (a cura di), Giotto: La Croce di Santa Maria Novella, Edifir, Firenze 2000. ISBN 88-7970-107-X.
  • Coletti, Luigi, I primitivi, vol. 1 Dall'arte benedettina a Giotto, Istituto geografico De Agostini, Novara 1941.
  • Crowe, Joseph A., A history of painting in Italy: Umbria, Florence and Siena from the second to the sixteenth century, vol. 2: Giotto and the giottesques. J. Murray, London 1903.
  • de Castris, Pierluigi Leone, Giotto a Napoli, Electa Napoli, Napoli 2006. ISBN 88-510-0386-6.
  • Flores D'Arcais, Francesca, Giotto, Federico Motta Editore, Milano 1995. ISBN 88-7179-092-8 (ed. 2001).
  • Frugoni, Chiara, L'affare migliore di Enrico. Giotto e la cappella degli Scrovegni, (Saggi; 899). Einaudi, Torino 2008. ISBN 978-88-06-18462-9.
  • Fry, Roger, Giotto, a cura di Laura Cavazzini ; traduzione di Electra Cannata, (Miniature; 63). ed. Abscondita, Milano 2008 ISBN 978-88-8416-161-1.
  • Gioseffi, Decio, Giotto architetto, Edizioni di Comunità, Milano 1963.
  • Gnudi, Cesare, Giotto, (I sommi dell'arte italiana) Martello, Milano 1958.
  • Horak, Marco, Giotto e i giotteschi. Pareri discordanti sull'attribuzione di una delicata Madonna con il Bambino di influenza giottesca: Pacino di Bonaguida, Lippo di Benivieni o il Maestro del Trittico Horne? in Panorama Musei, Anno XVIII, n.2, 2013
  • Ladis, Andrew, Giotto's O: Narrative, Figuration, and Pictorial Ingenuity in the Arena Chapel, Pennsylvania State UP, University Park, Pennsylvania 2009. ISBN 9780271034072.
  • Land, Norman,, Giotto as an Ugly Genius: A Study in Self-Portrayal, in Andrew Ladis, ed., Giotto as a Historical and Literary Figure: Miscellaneous Studies, 4 vols. (Vol. 1: Giotto and the World of Early Italian Art), Garland Publishing, New York, 1998: 183–196.
  • Longhi, Roberto, Giotto spazioso, in Paragone n 31, 1958.
  • Meiss, Millard, Giotto and Assisi, University Press, New York 1960.
  • Milizia, Umberto M., Il ciclo di Giotto ad Assisi: struttura di una leggenda (L'arco muto; 9). De Rubeis, Anzio 1994. ISBN 88-85252-18-4
  • Moleta, Vincent. From St. Francis to Giotto, Franciscan Institute Publications, 1984. ISBN 978-0-8199-0853-7.
  • Pisani, Giuliano,
    • Dante e Giotto: la Commedia degli Scrovegni, in Dante fra il settecentocinquantenario della nascita (2015) e il settecentenario della morte (2021). Atti delle Celebrazioni in Senato, del Forum e del Convegno internazionale di Roma: maggio-ottobre 2015, a cura di E. Malato e A. Mazzucchi, Tomo II, Salerno Editrice, Roma 2016, pp. 799–815.
    • Il miracolo della Cappella degli Scrovegni di Giotto, in ModernitasFestival della modernità (Milano 22-25 giugno 2006), Spirali, Milano 2006, pp. 329–57.
    • I volti segreti di Giotto. Le rivelazioni della Cappella degli Scrovegni, Rizzoli, Milano 2008; Editoriale Programma 2015, pp. 1–366, ISBN 9788866433538.
    • Il capolavoro di Giotto. La Cappella degli Scrovegni, Editoriale Programma, Treviso 2015, pp. 1–176. ISBN 9788866433507.
    • Il programma della Cappella degli Scrovegni, in Giotto e il Trecento, by A. Tomei, Skira, Milano 2009, I – I saggi, pp. 113–127. ISBN 9788857201177.
    • La concezione agostiniana del programma teologico della Cappella degli Scrovegni, in Alberto da Padova e la cultura degli agostiniani, a cura di Francesco Bottin, Padova University Press, Padova 2014, pp. 215–268. ISBN 978-88-6938-009-9.
    • La Desperatio, ultimo vizio nella Cappella degli Scrovegni di Giotto, in Disperazione. Saggi sulla condizione umana tra filosofia, scienza e arte, a cura di G.F. Frigo, Mimesis, Milano 2010, pp. 209–232. ISBN 9788857501093.
    • La fonte agostiniana della figura allegorica femminile sopra la porta palaziale della Cappella degli Scrovegni, in Bollettino del Museo Civico di Padova XCIX, 2010 (2014), pp. 35–46.
    • Le allegorie della sovrapporta laterale d’accesso alla Cappella degli Scrovegni di Giotto, Bollettino del Museo Civico di Padova XCV, 2006, pp. 67–77.
    • L’iconologia di Cristo Giudice nella Cappella degli Scrovegni di Giotto, Bollettino del Museo Civico di Padova XCV, 2006, pp. 45–65.
    • L’ispirazione filosofico-teologica nella sequenza Vizi-Virtù della Cappella degli Scrovegni, Bollettino del Museo Civico di Padova XCIII, 2004, Milano 2005, pp. 61–97.
    • Terapia umana e divina nella Cappella degli Scrovegni, Il Governo delle cose, dir. Franco Cardini, Firenze, n. 51, anno VI, 2006, pp. 97–106.
    • Una nuova interpretazione del ciclo giottesco agli Scrovegni, Padova e il suo territorio XXII, 125, 2007, pp. 4–8.
  • Previtali, Giovanni, Giotto e la sua bottega, Fabbri, Milano 1967.
    • La fortuna dei Primitivi, Einaudi, Torino 1964.
  • Rintelen, Friedrich,Giotto und die Giotto-Apokryphen, Müller, München - Leipzig 1912.
  • Romanini, Angiola Maria, Arnolfo di Cambio e lo Stil nuovo del gotico italiano, Sansoni, Firenze 1969.
  • Romano, Serena, La O di Giotto, Electa, Milano 2008. ISBN 978-88-370-5934-7.
  • Ruskin, John, Giotto and his works in Padua, London 1900 (2rd ed. 1905)
  • Salvini, Roberto, Giotto. Bibliografia, Fratelli Palombi, Roma 1938
    • Tutta la pittura di Giotto (Biblioteca d'arte Rizzoli; 8-9). Rizzoli, Milano 1952. (2rd ed. ampiamente rinnovata, 1962)
  • Selvatico, Pietro, Sulla cappellina degli Scrovegni nell'Arena di Padova e sui freschi di Giotto in essa dipinti, Padova 1836.
  • Schwarz, Michael Viktor, Giotto (Beck'sche Reihe; 2503). Beck, München 2009. ISBN 978-3-406-58248-6.
  • Schwarz, Michael Viktor and Theis, Pia, Giottos Leben: mit einer Sammlung der Urkunden und Texte bis Vasari (Giottus Pictor I) Wien: Böhlau, 2004. ISBN 9783205772439.
  • Schwarz, Michael Viktor and Theis, Pia, Giottos Werke (Giottus Pictor II) Wien: Böhlau, 2008. ISBN 9783205773719.
  • Sirén, Osvald, Giotto and some of his followers (English translation by Frederic Schenck). Harvard University Press, Cambridge (Mass.) 1917. (rist. New York 1975).
  • Smart, Alastair, The Assisi problem and the art of Giotto: a study of the legend of St. Francis in the upper church of San Francesco, Assisi. Clarendon Press, Oxford 1971. 9780198171669.
  • Supino, Igino Benvenuto, Giotto. Firenze: Istituto di edizioni artistiche, 1920.
    • Giotto, (Le vite). Le Monnier, Firenze 1927.
  • Thode, Henry, Giotto, 3rd ed. durchgesehen von W. F. Volbach, (Kunstler-Monographien; 43). Velhagen & Klasing, Bielefeld - Leipzig 1926.
  • Toesca, Pietro, Giotto, (I grandi italiani. collana di biografie; 18), Utet, Torino 1941.
  • Tartuferi, Angelo (a cura di), Giotto. Bilancio critico di sessant'anni di studi e ricerche, Catalogo mostra Firenze Galleria dell'Accademia, Firenze, Giunti, 2000 ISBN 88-09-01687-4.
    • (a cura di), Giotto, itinerario fiorentino e guida alla mostra tenuta a Firenze nel 2000. Giunti, Firenze 2000. ISBN 88-09-01686-6.
  • Tomei, Alessandro (a cura di), Giotto e il Trecento: il più sovrano maestro in dipintura catalogo della mostra tenuta a Roma nel 2009 (2 voll.). Skira, Milano 2009. ISBN 978-88-572-0117-7.
  • Zanardi, Bruno, Giotto e Pietro Cavallini, la questione di Assisi e il cantiere medievale della pittura a fresco, (Biblioteca d'arte; 5) Skira, Milano 2002. ISBN 88-8491-056-0.
  • Wikisource Chisholm, Hugh, ed. (1911). "Giotto" . Encyclopædia Britannica. 12 (11th ed.). Cambridge University Press. pp. 34–37.
  • L'opera completa di Giotto, apparati critici e filologici di Edi Baccheschi (Classici dell'arte; 3). Rizzoli, Milano 1966.
  • Giotto e i giotteschi in Assisi. Canesi, Roma 1969.
  • Giotto e il suo tempo: atti del Congresso internazionale per la celebrazione del VII centenario della nascita di Giotto (Assisi-Padova-Firenze, 24 settembre - 1º ottobre 1967) De Luca, Roma 1971.
  • La Madonna d'Ognissanti di Giotto restaurata. (Gli Uffizi; 8) Centro Di, Firenze 1992. ISBN 88-7038-219-2
  • Pittura italiana del Duecento e Trecento. Catalogo della mostra giottesca di Firenze del 1937 a cura di Giulia Sinibaldi e Giulia Brunetti. Sansoni, Firenze 1943.
  • Sciacca, Christine (2012). Florence at the Dawn of the Renaissance: Painting and Illumination, 1300-1500. Getty Publications. ISBN 978-1-60606-126-8. Archived from the original on 2012-09-20..

External links


Comet Grigg–Skjellerup (formally designated 26P/Grigg–Skjellerup) is a periodic comet. It was visited by the Giotto probe in July 1992. The spacecraft came as close as 200 km, but could not take pictures because some instruments were damaged from its encounter with Halley's Comet.The comet was discovered in 1902 by John Grigg of New Zealand, and rediscovered in its next appearance in 1922 by John Francis Skjellerup, an Australian then living and working for about two decades in South Africa where he was a founder member of the Astronomical Society of Southern Africa.

In 1987, it was belatedly discovered by Ľubor Kresák that the comet had been observed in 1808 as well, by Jean-Louis Pons.

The comet has often suffered the gravitational influence of Jupiter, which has altered its orbit considerably. For instance, its perihelion distance has changed from 0.77 AU in 1725 to 0.89 AU in 1922 to 0.99 AU in 1977 and to 1.12 AU in 1999.

Having its recent perihelion so close to Earth's orbit made it an easy target to reach for the Giotto mission (spacecraft) in 1992, whose primary mission was to Comet Halley. Giotto had a closest approach to Grigg–Skjellerup of 200 km, much closer than its approach to Comet Halley, but was unable to obtain images as its camera was destroyed during the Halley rendezvous in 1986.

In 1972 the comet was discovered to produce a meteor shower, the Pi Puppids, and its current orbit makes them peak around April 23, for observers in the southern hemisphere, best seen when the comet is near perihelion.

The 2002 return (expected perihelion around October 8, 2002) was very unfavorable and no observations were reported.

The comet nucleus is estimated to be 2.6 kilometers in diameter.The comet is a type locality for the mineral brownleeite.

Agnolo Gaddi

Agnolo Gaddi (c.1350–1396) was an Italian painter. He was born and died in Florence, and was the son of the painter Taddeo Gaddi.

Taddeo Gaddi was himself the major pupil of the Florentine master Giotto. Agnolo was an influential and prolific artist who was the last major Florentine painter stylistically descended from Giotto. Among his pupils was the author of an art treatise, Cennino Cennini.

Baroncelli Chapel

The Baroncelli Chapel is a chapel located at the end of the right transept in church of Santa Croce, central Florence, Italy.

It has frescoes by Taddeo Gaddi executed between 1328 and 1338.

Basilica of Saint Francis of Assisi

The Basilica of Saint Francis of Assisi (Italian: Basilica di San Francesco d'Assisi; Latin: Basilica Sancti Francisci Assisiensis) is the mother church of the Roman Catholic Order of Friars Minor Conventual in Assisi, a town in the Umbria region in central Italy, where Saint Francis was born and died. It is a Papal minor basilica and one of the most important places of Christian pilgrimage in Italy. With its accompanying friary, Sacro Convento, the basilica is a distinctive landmark to those approaching Assisi. It has been a UNESCO World Heritage site since 2000.

The basilica, which was begun in 1228, is built into the side of a hill and comprises two churches (known as the Upper Church and the Lower Church) and a crypt, where the remains of the saint are interred. The interior of the Upper Church is an important early example of the Gothic style in Italy. The Upper and Lower Churches are decorated with frescoes by numerous late medieval painters from the Roman and Tuscan schools, and include works by Cimabue, Giotto, Simone Martini, Pietro Lorenzetti and possibly Pietro Cavallini. The range and quality of the works give the basilica a unique importance in demonstrating the development of Italian art of this period.


Bizzarrini S.p.A. was an Italian automotive manufacturer in the 1960s founded by former Alfa Romeo, Ferrari and Iso engineer Giotto Bizzarrini. The company built a small number of highly developed and advanced sport and racing automobiles before failing in 1969. Notable models include the 5300 GT Strada and the P538S.

Originally Prototipi Bizzarrini s.r.l., the name was changed to Bizzarrini S.p.A. in 1966. The Bizzarrini marque has been revived with a number of concept cars in the 2000s.


Cimabue (US: , Italian: [tʃimaˈbuːe], Ecclesiastical Latin: [tʃiˈmaːbu.e]; c. 1240 – 1302), also known as Cenni di Pepo or Cenni di Pepi, was an Italian painter and designer of mosaics from Florence.

Although heavily influenced by Byzantine models, Cimabue is generally regarded as one of the first great Italian painters to break from the Italo-Byzantine style. While medieval art then was scenes and forms that appeared relatively flat and highly stylized, Cimabue's figures were depicted with more-advanced lifelike proportions and shading than other artists of his time. According to Italian painter and historian Giorgio Vasari, Cimabue was the teacher of Giotto, the first great artist of the Italian Proto-Renaissance. However, many scholars today tend to discount Vasari's claim by citing earlier sources that suggest otherwise.

Ferrero SpA

Ferrero SpA (Italian pronunciation: [ferˈrɛːro]) is an Italian manufacturer of branded chocolate and confectionery products and it is the second biggest chocolate producer and confectionery company in the world. It was founded in 1946 in Alba, Piedmont, Italy, by Pietro Ferrero, a confectioner and small-time pastry maker who laid the groundwork for Nutella and famously added hazelnut to save money on chocolate. The company saw a period of tremendous growth and success under Pietro's son Michele Ferrero, who in turn handed over the daily operations to his sons. His son Pietro (the founder's grandson), who oversaw global business, died on April 18, 2011, in a cycling accident in South Africa at the age of 47.

The Ferrero Group worldwide – now headed by CEO Giovanni Ferrero – includes 38 trading companies, 18 factories, approximately 40,000 employees and produces around 365,000 tonnes of Nutella each year. Ferrero International SA's headquarters is in Luxembourg. Ferrero SpA is a private company owned by the Ferrero family and has been described as "one of the world's most secretive firms". Reputation Institute's 2009 survey ranks Ferrero as the most reputable company in the world. The company's financial results for the fiscal year ending August 31, 2016 showed consolidated sales growth of 8.2% from the previous fiscal year.

Giotto's Campanile

Giotto's Campanile is a free-standing campanile that is part of the complex of buildings that make up Florence Cathedral on the Piazza del Duomo in Florence, Italy.

Standing adjacent to the Basilica of Santa Maria del Fiore and the Baptistry of St. John, the tower is one of the showpieces of Florentine Gothic architecture with its design by Giotto, its rich sculptural decorations and its polychrome marble encrustations.

The slender structure is square in plan with 14.45 metre (47.41 ft) sides. It is 84.7 metres (277.9 ft) tall and has polygonal buttresses at each corner. The tower is divided into five stages.

Giotto (crater)

Giotto is a crater on Mercury. It has a diameter of 144 kilometers. Its name was adopted by the International Astronomical Union (IAU) in 1976. Giotto is named for the Italian painter Giotto di Bondone, who lived from 1271 to 1377.

Giotto (spacecraft)

Giotto was a European robotic spacecraft mission from the European Space Agency. The spacecraft flew by and studied Halley's Comet and in doing so became the first spacecraft to make close up observations of a comet. On 13 March 1986, the spacecraft succeeded in approaching Halley's nucleus at a distance of 596 kilometers. It was named after the Early Italian Renaissance painter Giotto di Bondone. He had observed Halley's Comet in 1301 and was inspired to depict it as the star of Bethlehem in his painting Adoration of the Magi.

Giotto Bizzarrini

Giotto Bizzarrini (6 June 1926 in Quercianella, Livorno Province, Italy) is an Italian automobile engineer active from the 1950s through the 1970s.

After graduating in 1953, Bizzarrini eventually joined Alfa Romeo as a test driver. He gained a reputation for identifying and solving problems and was head hunted by Ferrari in 1957. Bizzarrini's responsibility increased until he became sports car development chief at Ferrari in the late 1950s, working on such notable projects as the Ferrari 250 GTO. He split from the company as part of the 'Great Walkout' in 1961, worked first with ATS, and then in 1962 started his own company, Società Autostar, whose name was changed to Bizzarrini in 1964. In addition to producing the exotic Bizzarrini 5300 GT, Bizzarini also worked for other makers including Iso, Lamborghini, and Alfa Romeo. Several concept cars in the 2000s bear his name.

Italian Renaissance painting

Italian Renaissance painting is the painting of the period beginning in the late 13th century and flourishing from the early 15th to late 16th centuries, occurring in the Italian peninsula, which was at that time divided into many political states, some independent but others controlled by external powers. The painters of Renaissance Italy, although often attached to particular courts and with loyalties to particular towns, nonetheless wandered the length and breadth of Italy, often occupying a diplomatic status and disseminating artistic and philosophical ideas.The city of Florence in Tuscany is renowned as the birthplace of the Renaissance, and in particular of Renaissance painting, although later in the era Rome and Venice assumed increasing importance in painting. A detailed background is given in the companion articles Renaissance and Renaissance architecture.

Italian Renaissance painting is most often be divided into four periods: the Proto-Renaissance (1300–1425), the Early Renaissance (1425–1495), the High Renaissance (1495–1520), and Mannerism (1520–1600). The dates for these periods represent the overall trend in Italian painting and do not cover all painters as the lives of individual artists and their personal styles overlapped these periods.

The Proto-Renaissance begins with the professional life of the painter Giotto and includes Taddeo Gaddi, Orcagna and Altichiero.

The Early Renaissance style was started by Masaccio and then further developed by Fra Angelico, Paolo Uccello, Piero della Francesca, Sandro Botticelli, Verrocchio, Domenico Ghirlandaio and Giovanni Bellini. The High Renaissance period was that of Leonardo da Vinci, Michelangelo, Raphael, Andrea del Sarto, Coreggio, Giorgione, the latter works of Giovanni Bellini, and Titian. The Mannerist period, dealt with in a separate article, included the latter works of Michelangelo, as well as Pontormo, Parmigianino, Bronzino and Tintoretto.

Lermontov (crater)

Lermontov is an impact crater on the planet Mercury, 152 kilometers in diameter. It is located at 15.2°N, 48.1°W, southwest of the crater Proust and northeast of the crater Giotto. It has a circular rim and a flat crater floor. Lermontov is likely a mature crater, but it remains a bright feature because of low opaque material on its floor. The crater is named after Mikhail Yuryevich Lermontov, a 19th-century Russian poet. The name was approved by the International Astronomical Union in 1976.The crater floor is somewhat brighter than the exterior surface and is smooth with several irregularly shaped depressions. Such features, similar to those found on the floor of Praxiteles, may be evidence of past explosive volcanic activity on the crater floor. Lermontov appears reddish in enhanced-color views, suggesting that it has a different composition from the surrounding surface.

Ognissanti Madonna

Madonna Enthroned, also known as the Ognissanti Madonna, is a painting by the Italian late medieval artist Giotto di Bondone, housed in the Uffizi Gallery of Florence, Italy.

The painting has a traditional Christian subject, representing the Virgin Mary and the Christ Child seated on her lap, with saints and angels surrounding them on all sides. This particular representation of the Virgin is called a Maestà, a popular representation at the time. It is often celebrated as the first painting of the Renaissance due to its newfound naturalism and escape from the constraints of Gothic art.

It is generally dated to around 1310. While historians have had trouble finding specific information for indisputably attributing many of Giotto's works to the artist, Madonna Enthroned is one piece for which there are a few documents supporting its creation by Giotto. There are many sources that show he spent many years living and creating in Florence. However, the main source that documents Madonna Enthroned specifically is artist Lorenzo Ghiberti's autobiography, I Commentarii (1447). An earlier manuscript document of 1418 also attributes the painting to Giotto, but it is Ghiberti's autobiography that provides the most solid evidence.One of Giotto's later works, Madonna Enthroned was completed in Florence, upon the artist's return to the city. It was originally painted for the Ognissanti church in Florence. Built for the Humiliati, a small religious order at the time, the church had many acclaimed paintings designed for it. Specifically, Giotto's Madonna Enthroned was designed for the high altar.

Piazza del Duomo, Florence

Piazza del Duomo (English: "Cathedral Square") is located in the heart of the historic center of Florence (Tuscany, Italy). It is one of the most visited places in Europe and the world and in Florence, the most visited area of the city. The square contains the Florence Cathedral with the Cupola del Brunelleschi, the Giotto's Campanile, the Florence Baptistery, the Loggia del Bigallo, the Opera del Duomo Museum, and the Arcivescovile and Canonici's palace. The west zone of this square is called Piazza San Giovanni.

Saint Francis Receiving the Stigmata (Giotto)

Saint Francis Receiving the Stigmata is a panel painting in tempera by the Italian artist Giotto, painted around 1295–1300 and now in the Musée du Louvre in Paris. It shows an episode from the life of Saint Francis of Assisi, and is 314 cm high (to the top of the triangule) by 162 cm wide.

Santa Maria Novella

Santa Maria Novella is a church in Florence, Italy, situated just across from the main railway station named after it. Chronologically, it is the first great basilica in Florence, and is the city's principal Dominican church.

The church, the adjoining cloister, and chapter house contain a multiplicity of art treasures and funerary monuments. Especially famous are frescoes by masters of Gothic and early Renaissance. They were financed by the most important Florentine families, who ensured themselves funerary chapels on consecrated ground.

Scrovegni Chapel

The Scrovegni Chapel (Italian: Cappella degli Scrovegni, also known as the Arena Chapel), is a small church, adjacent to the Augustinian monastery, the Monastero degli Eremitani in Padua, region of Veneto, Italy. The chapel and monastery are now part of the complex of the Museo Civico of Padua. The chapel contains a fresco cycle by Giotto, completed about 1305 and considered to be an important masterpiece of Western art.

Simone Martini

Simone Martini (c. 1284 – 1344) was an Italian painter born in Siena.

He was a major figure in the development of early Italian painting and greatly influenced the development of the International Gothic style.

It is thought that Martini was a pupil of Duccio di Buoninsegna, the leading Sienese painter of his time. According to late Renaissance art biographer Giorgio Vasari, Simone was instead a pupil of Giotto di Bondone, with whom he went to Rome to paint at the Old St. Peter's Basilica, Giotto also executing a mosaic there. Martini's brother-in-law was the artist Lippo Memmi. Very little documentation of Simone's life survives, and many attributions are debated by art historians.


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