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And
this apprenticeship is evident in the exhibited work "Madonna con Bambino"
of the Santa Verdiana Museum at Castelfiorentino, wavering as attribution
from Giotto to Cimabue. The exhibition gives the opportunity to admire
not only some of the most important masterpieces, but also unknown works
or early attributed works coming from Florence, Italy, private collections
and important foreign museums as New York, Boston, San Diego, Strasbourg,
Stuttgart. There are even the two woods of the gallery of Stuttgart,
representing 23 and 21 scenes of the Apocalypse, proposed for the first
time as Giotto's autograph works. And among these masterpieces it does
not lack the polyptych of Saint Reparata, the Crucifix of the All Saints'
Church, St. Stephan of the Horne Museum of Florence, the polyptych of
the National Pinacotheca of Bologna, the cusp of the polyptych of the
Baroncelli's Cappella in Santa Croce in Florence, kept in the San Diego
Museum in California, the Crucifixion of the Strasburg Museum and the
Madonna con Bambino on the throne, angels, St. John and St. Francis,
with the seven Virtues, belonging to a private collection of New York.
Today they come into vogue the attributions that have been undecided
for so many years as the "The stories of Isaac and the Stories of St.
Francis ". And all at the light of precious fragments, in reality two,
coming from the intrados of the vault of the Dottori, drawn near the
fragmentary and frayed Madonna of the St. Stephan Museum at Ponte, that
confirms us the fatherhood of Giotto and his workshop. About which it
belonged to both Stefano, maybe sun of a daughter of Giotto, and Francesco,
Giotto's son. And in the first years of the fourteen century also Rome,
Naples and e Avignon.
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