Giotto Timeline

Giotto Timeline

  • 1267 - 1337

    Life of the great Italian painter Giotto (alternative birth year: 1277 CE).

  • c. 1300

    The Italian artist Giotto creates his Navicella mosaic for St. Peter's Basilica in Rome.

  • c. 1304 - c. 1315

    The Italian artist Giotto works on his fresco cycle in the Scrovegni Chapel (aka Arena Chapel) of Padua.

  • c. 1320

    The Italian artist Giotto begins work on his fresco cycles in the Bardi and Peruzzi chapels, Santa Croce, Florence.

  • 1334

    The Italian artist Giotto is made the chief architect of the ongoing project to build Florence’s cathedral.


Giotto di Bondone (c.1267-1337)


Detail from, Life Of Mary Magdalen,
Fresco, Magdalen Chapel, Assisi (1320)

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One of the early Old Masters, the Italian artist Giotto di Bondone was active during the Proto-Renaissance in Florence. Best known for his naturalistic fresco painting, Giotto, along with the Sienese painter Duccio di Buoninsegna (1255-1319) - was a key figure in 14th-century Pre-Renaissance Painting. Influenced by French Gothic sculpture, his unique contribution was to break away from the "flat" symbolism of Byzantine-style Christian art, and introduce instead a brand new realism, never previously seen. For the first time, the people in his religious paintings looked like real people with real emotions, and possessed a new three-dimensionality. Although much of his work has been destroyed, his greatest feat were the frescoes in the Scrovegni/Arena Chapel, in Padua. Painted during the period 1303-10, these Scrovegni Chapel Frescoes rank alongside the greatest examples of religious art ever created. See in particular The Betrayal of Christ (Kiss of Judas) (1305) and The Lamentation of Christ (1305). Other major works include his frescoes on the life of Saint Francis at Assisi, and in the church of Santa Croce in Florence. Without Giotto, it is inconceivable that the Florentine Renaissance - and perhaps even Renaissance art as a whole - would have developed as it did.


The Betrayal of Christ (Kiss of Judas)
(c.1305) Arena Chapel, Padua.


Detail of The Lamentation of Christ
(c.1305), from Giotto's mural painting
in the Arena Chapel, Padua.

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Many of the details of Giotto's life are sketchy and open to controversy, including the date and place of his birth. It is believed that he was born around 1267 in a village called Vespignano, near Florence. His father was a small landowner described as 'a person of good standing' in public records from the time.

Legend has it, the young Giotto was discovered by the renowned Italian painter Cimabue (1240-1302) while he was drawing pictures of his father's sheep. Apparently Cimbaue was so impressed he asked the boy's father if he could take him to Florence as an apprentice. However, it is far more probable that Giotto's family were well off enough to move to Florence and send the 12 year old Giotto to Cimbue's studio as an apprentice. Around a year later Giotto followed Cimabue to Rome where he was introduced to a school of fresco painters, including the famous Pietro Cavallini and the well-known Florentine architect and sculptor Arnolfo di Cambio.

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The earliest of Giotto's known works, is believed to be a series of frescos painted in the Upper Church of Saint Francesco at Assisi, depicting scenes from the life of St Francis. At a time when realism in art was not yet popular, these frescos were refreshingly realistic and the figures very natural looking. However, there is some dispute as to whether they were executed by the hand of Giotto, and recent documents have come to light suggesting that the fresco was painted by a group of unnamed proto-Renaissance artists. If this is so, then Giotto's next work - the fresco cycle in the Scrovegni Chapel at Padua - owes much to the naturalism of these Assisi paintings.

Scrovegni Chapel Fresco Cycle (c.1303-10)

During the period 1303-10, Giotto painted a series of fresco murals in the Scrovegni Chapel in Padua. The Scrovegni Chapel, or Cappella degli Scrovegni was built by Enrico degli Scrovegni as a family chapel on the site of an ancient Roman arena - which is why it is sometimes called the Arena Chapel. Its interior walls are decorated throughout by a series of scenes from the Life of the Virgin Mary, and the Life of Christ. Covering the whole of the west wall around the chapel's entrance is Giotto's depiction of the Last Judgment, which includes a portrait of Enrico himself. The other walls are decorated with three tiers of frescoes: the top one is devoted to scenes from the Life of the Virgin Mary, the middle and lower ones show scenes from the Life of Jesus - a total of 39 scenes.

Famous panels in the series include The Adoration of the Magi, in which a comet-like Star of Bethlehem streaks across the sky, and the Flight from Egypt. The influential 19th century English critic John Ruskin (1819-1900) said of Giotto's frescoes: "He painted the Madonna and St. Joseph and the Christ, . but essentially they look like Mamma, Papa and Baby".

These frescoes marked a major turning point in Western art. For the first time, we see figures who - in contrast to traditional iconography - are emotionally expressive and quite realistic looking. Although Giotto specialized in religious art, he broke from the traditions of Byzantine art (which valued the symbolic approach over realism) by infusing his figure drawing with real-life people, poses and expressions. He also introduced an early form of linear perspective into his painting. Although other artists like Pietro Cavallini had started working in this style, Giotto took it much further and set a new standard for figure painting. During the mid-16th century, Giorgio Vasari, the famous art historian, wrote many stories about Giotto's mastery of drawing. One story told how Pope Boniface VIII sent a messenger to Giotto to request samples of his work. As a response, Giotto dipped his brush into red paint and in one continuous stroke painted a perfect circle. He told the messenger to take the circle back to the Pope and that it's worth would be recognised. When the pope received the circle, according to Vasari, he 'instantly perceived that Giotto surpassed all other painters of his time'.

In 1311 Giotto returned to Florence where he executed a mosaic for the facade of the old St. Peter's Basilica - the work is now lost except for some fragments.

Giotto's reputation as a painter quickly grew, as did his commissions. By 1311 documents show he owned several large estates in Florence, and that his workshop had become the leading studio in Italy. But in spite of the demand for his services, no signed work of his survives. There is a certain measure of agreement that Giotto painted frescos at four chapels in the Franciscan church of Santa Croce in Florence, dating to about 1320. (Surviving works, can be seen in the Peruzzi and Bardi chapels.) Some of the frescos are in bad condition, as they were whitewashed in the 18th century, but despite this they remain impressive to this day. Several panel paintings on the Stefaneschi Altarpiece at the Vatican bear Giotto's signature, but it is believed that this is just a trademark confirming it came from his workshop, rather than a signature of his personal work. On the other hand, the Ognissanti Madonna (c.1315, Uffizi Gallery) is not signed, but the work is such a grandiose spectacular that it is universally accepted as Giotto's.

Revered by this time - even by the more conservative Sienese School of painting, and by its leader Duccio di Buoninsegna, creator of masterpieces like the Maesta Altarpiece and the Stroganoff Madonna - as one of the great new innovative artists, Giotto was honored with the title of Magnus Magister (Great Master) in 1334 by the city of Florence and was appointed city architect and superintendent of public works. During this time he designed the famous campanile (bell tower) on St Peters Square, but died before the work was completed. He last known completed work is the decoration of Podesta Chapel in the Bargello, Florence.

Giotto died in January 1337, but there is some controversy over the exact location of his grave. In 1970, bones were discovered underneath the paving of the Church of Santa Reparta (where his biographer claims he was buried). Forensic examination confirms that they were the bones of a painter (a range of chemicals including arsenic and lead, both commonly found in paint, were discovered in the bones). The front teeth were worn in such as way as to be consistent with holding a brush between the teeth. A reconstruction of the skeleton shows a man with a very large head, large crooked nose and one eye more prominent than the other. The bones were of a small man, only about 4 foot tall who suffered from a form of dwarfism. This would be consistent with a picture in one of the frescos at the church of Santa Croce of a dwarf-like figure which is supposed to be a self portrait of Giotto. His biographer, who was a friend of Giotto, says "there was no uglier man in the city of Florence". The body was reburied with honour near the grave of the Renaissance architect Filippo Brunelleschi.

Although Giotto lacked technical knowledge of anatomy and perspective that painters in futures year were to learn, he had grasped something far more important. He grasped human emotion, and was able to portray this is a powerful and meaningful way. He managed to convey, stress, soul-searching, grief and joy through his paint brush, and it was this gift he passed onto future masters of Renaissance art such as Masaccio (see for instance his Brancacci Chapel frescoes) Mantegna, Botticelli, Michelangelo, Raphael, Leonardo Da Vinci, Jacopo Avanzi, Titian and Altichiero. Italian painter Cennino Cennini wrote in about 1400 that 'Giotto translated the art of painting from Greek to Latin.'

Works by Giotto can be seen in the best art museums in Italy.

• For the evolution of the visual arts, see: History of Art.
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The Life of Giotto

NOW IN THE YEAR 1276, in the country of Florence, about fourteen miles from the city, in the village of Vespignano, there was born to a simple peasant named Bondone a son, to whom he gave the name of Giotto, and whom he brought up according to his station. And when he had reached the age of ten years, showing in all his ways though still childish an extraordinary vivacity and quickness of mind, which made him beloved not only by his father but by all who knew him, Bondone gave him the care of some sheep. And he leading them for pasture, now to one spot and now to another,was constantly driven by his natural inclination to draw on the stones or the ground some object in nature, or something that came into his mind. One day Cimabue, going on business from Florence to Vespignano, found Giotto, while his sheep were feeding, drawing a sheep from nature upon a smooth and solid rock with a pointed stone, having never learnt from any one but nature. Cimabue, marvelling at him, stopped and asked him if he would go and be with him. And the boy answered that if his father were content he would gladly go. Then Cimabue asked Bondone for him, and he gave him up to him, and was content that he should take him to Florence.

There in a little time, by the aid of nature and the teaching of Cimabue, the boy not only equalled his master, but freed himself from the rude manner ofthe Greeks, and brought back to life the true art of painting, introducing the drawing from nature of living persons, which had not been practised for two hundred years or at least if some had tried it, they had not succeeded very happily. Giotto painted among others, as may be seen to this day in the chapel of the Podestà’s Palace at Florence, Dante Alighieri, his contemporary and great friend, and no less famous a poet than Giotto was a painter.

After this he was called to Assisi by Fra Giovanni di Muro, at that time general of the order of S. Francis, and painted in fresco in the upper church thirty-two stories from the life and deeds of S. Francis, which brought him great fame. It is no wonder therefore that Pope Benedict sent one of his courtiers into Tuscany to see what sort of a man he was and what his works were like, for the Pope was planning to have some paintings made in S. Peter’s. This courtier, on his way to see Giotto and to find out what other masters of painting and mosaic there were in Florence, spoke with many masters in Sienna, and then, having received some drawings from them, he came to Florence. And one morning going into the workshop of Giotto, who was nat his labours, he showed him the mind of the Pope, and at last asked him to give him a little drawing to send to his Holiness. Giotto, who was a man of courteous manners,immediately took a sheet of paper, and with a pen dipped in red, fixing his arm firmly against his side to make a compass of it, with a turn of his hand he made a circle so perfect that it was a marvel to see it Having done it, he turned smiling to the courtier and said, “Here is the drawing.". But he, thinking he was being laughed at, asked, “Am I to have no other drawing than this?” “This is enough and too much,” replied Giotto, “send it with the others and see if it will be understood.” The messenger, seeing that he could get nothing else, departed ill pleased, not doubting that he had been made a fool of. However, sending the other drawings to the Pope with the names of those who had made them, he sent also Giotto’s, relating how he had made the circle without moving his arm and without compasses, which when the Pope and many of his courtiers understood, they saw that Giotto must surpass greatly all the other painters of his time. This thing being told, there arose from it a proverb which is still used about men of coarse clay, “You are rounder than the O of Giotto,” which proverb is not only good because of the occasion from which it sprang, but also still more for its significance, which consists in its ambiguity, tondo, “round,” meaning in Tuscany not only a perfect circle, but also slowness and heaviness of mind.

So the Pope made him come to Rome, and he painted for him in S.Peter’s, and there never left his hands work better finished wherefore the Pope, esteeming himself well served, gave him six hundred ducats of gold, besides having shown him so many favours that it was spoken of through all Italy.

After Giotto was returned to Florence, Robert, King of Naples, wrote to his eldest son, Charles, King of Calabria, who was at that time in Florence, that he must by some means or other send him Giotto to Naples. Giotto, hearing himself called by a king so famous and so much praised, went very willingly to serve him, and did many works which pleased the king greatly. And he was so much beloved by him that the king would often visit him, and took pleasure in watching him and listening to his conversation, and Giotto, who had always some jest or some witty answer ready, would converse with him while going on with his painting. So one day the king saying to him that he would make him the first man in Naples, Giotto answered, “And that is why I am lodged at the Porta Reale, that I may be the first man in Naples.” And another time the king saying to him, “ Giotto, if I were you, now that it is hot, I would give up painting a little.” He answered, “And so would I, certainly, if I were you.”

So pleasing the king well, he painted him a good number of pictures, and the portraits of many famous men, Giotto himself among them and one day the king, as a caprice, asked him to paint his kingdom. Giotto, it is said, painted a laden ass with a new load lying at his feet, which while it refused it seemed to desire, and both on the new and old burden was the royal crown and sceptre of power. And when Giotto was asked by the king what the picture signified, he replied, “Such must be the subjects and such the kingdom which every day desired a new lord.”

There are many other stories remaining of the witty sayings of Giotto, and besides those that are told by Boccaccio, Franco Sacchetti tells many good ones, some of which I will give in Franco’s own words.

How a man of low station gives Giotto the great painter a shield to paint.

“Every one must have heard of Giotto, who was a great painter above any other. A rough workman, hearing of his fame, came to Giotto’s workshop followed by one carrying his shield. Arrived there, he found Giotto, and said, ‘God save you, master, I want you to paint my arms on this shield.’ Giotto, considering the man and his manner of speech, said nothing but, ‘When do you want it?’ And he told him. Giotto said, ‘Leave me to do it’ so he went away. And Giotto, left alone, said to himself, ‘What did he mean? Has some sent him for a joke? I never had a shield to paint before. And this man was a simple fellow, and bade me paint his arms as if he were of the royal house of France. Certainly I shall have to make him some new arms.’ So considering the matter, he put the shield before him and made a design and bade one of his pupils paint it, and so it was done. There was a helmet, a gorget, a pair of iron gloves, a cuirass, and cuisses, a sword, dagger, and lancc. So the worthy man came again and said, ‘Master, is my shield painted?’ Giotto answered, ‘Certainly, bring it down.’ But when it came the would-be gentleman looked at it and said, ‘What is this you have been painting ? I won't pay four farthings for it.’ Giotto said, ‘What did you tell me to paint?’ And he answered, ‘My arms.’ ‘ Are not they all here?’ asked Giotto ‘what is wanting? Nay, you are a great fool, for if any one were to ask you who you are, you would hardly know what to answer and you come here and say, Paint me my arms. What arms do you bear? Whence are you? Who were your ancestors? I have painted all your armour on the shield, and if there is anything else, tell me and I will add it.’ But the other answered, ‘You are giving me vile words, and have spoilt my shield.’ And he went away and summoned Giotto before the justice. Giotto appeared, and on his side summoned him, demanding two florins for his painting. And when the court had heard the matter, they gave sentence that the man should take his shield so painted, and pay six lire to Giotto.”

It is said that when Giotto was only a boy with Cimabue, he once painted a fly on the nose of a face that Cimabue had drawn, so naturally that the master returning to his work tried more than once to drive it away with his hand, thinking it was real. And I might tell you of many other jests played by Giotto, but of this enough.


Giotto - Biography and Legacy

Very little is known about the biographical details of Giotto di Bondone's life. He is thought to have been the son of a peasant, born in the Mugello, a mountainous area to the north of Florence, which was also the home country of the Medici family who would later rise to power in the city. Giotto's birthplace has been attributed to a house in the small village of Vicchio and the date of his birth given as 1277 by the writer and artist Giorgio Vasari in his influential 1550 text The Lives of the Most Excellent Painters, Sculptors, and Architects. However, other sources suggest he was born in 1267, which seems more likely judging by the maturity of some of his early works.

Early Training and Work

The accomplished sculptor Lorenzo Ghiberti (whose achievements in early Renaissance sculpture were indebted to Giotto) recounts a legendary story in his 1452 written work Commentaries on the Tuscan Artists of the Trecento. He tells how the young Giotto was tending sheep as a child and drew one of them from life on a stone slab. The foremost painter of the day, Cimabue , came across the boy's sketch and was so impressed that he immediately took the young Giotto on as an apprentice.

Whatever the true beginnings of their professional relationship, it seems likely that Giotto was apprenticed to Cimabue, probably from the age of around 10, where he learned the art of painting. It is thought that Giotto travelled to Rome with the older artist before accompanying him to Assisi, where Cimabue had been commissioned to decorate the lower of the two churches recently built on top of each other to commemorate St Francis.

Sometime around 1290, Giotto married a Florentine woman called Ricevuta di Lapo del Pela - better known as "Ciuta"- with whom he had a number of children. (There is a quite probably baseless story that someone once asked Giotto how he could create such beautiful paintings but produce such ugly children, to which he replied that he made his children in the dark.) Around the same time as his marriage to Ciuta, Cimabue left Assisi for another commission and Giotto took over his work and was approached to create a fresco cycle for the top half of the walls in the upper church. Although Cimabue was Giotto's teacher, the pupil soon usurped his master, and his skill was recognized in his lifetime by contemporaries such as the poet Dante Alighieri, who wrote in his Divine Comedy: "Oh empty glory of human powers . In painting Cimabue thought to hold the field, and now Giotto has the cry, so that the other's fame is diminished."

Mature Period

Between around 1290 and 1295 Giotto undertook his first major work in Assisi, in which he made a number of significant pictorial advances. His work was a success, and he was commissioned to create a further cycle of frescoes for the church. After a relatively prolonged stay in Assisi, Giotto began a period of frequent travel among the city states of Italy a pattern that would characterize his whole career. Giotto set up workshops in a number of different locations where his style was emulated and where many of his assistants went on to strike out with their own careers.

At the turn of the century Giotto traveled to Florence, Rimini and possibly Rome. He then spent around three years in Padua working on one of his most complete and best-known works in the Arena Chapel. During his stay in Padua, Giotto may have met the poet Dante, who had been exiled there from Florence. In the decade between 1305 and 1315, Giotto seems to have travelled a number of times between Florence and Rome. He worked on commissions for some of the most important churches, including St Peter's in Rome (the church that preceded the current Basilica) where he was commissioned by the Roman Cardinal Jacopo Stefaneschi to create two works: Giotto's only known mosaic work (c.1310) and a large polyptych altarpiece (c.1313).

In the early 1300s the seat of the papacy was not in Rome but in Avignon, France. The cardinals of Rome were fighting for the papacy to be returned to their city and duly commissioned Giotto to produce works, including a mosaic for the façade of the old St. Peter's Basilica (of which only fragments remain), Rome's most significant papal church. Cardinal Stefaneschi expressed his confidence that the Pope would eventually return and set about elevating the spiritual importance of his Roman seat. It is thought therefore that Stefaneschi commissioned Giotto - who was by now a painter of considerable professional renown - as part of his political strategy.

During this period, Giotto also received important commissions for the church of Santa Croce in Florence. Somewhere around 1313, meanwhile, he worked on a chapel dedicated to the Peruzzi's, a rich and influential family of bankers, in which he created two fresco cycles depicting John the Evangelist and John the Baptist. The member of the Peruzzi family who commissioned the work was named "Giovanni" or "John", and the frescoes would appear to be intended to forge a link between the family, the city of Florence and the patron saints that they worshipped.

The Peruzzi Chapel was much admired by Renaissance painters. Indeed, Michelangelo is known to have studied the frescoes which exemplified Giotto's skill in chiaroscuro and his ability to accurately represent perspective in the ancient buildings. It is known too that Giotto's compositions later influenced Masaccio's work on Cappella Brancacci. According to surviving financial records, somewhere between 1314-27, Giotto also painted the famous altarpiece the Ognissanti Madonna, now housed in the Uffizi (where it is on display next Cimabue's Santa Trinita Madonna and Duccio's Rucellai Madonna). Though Giotto settled for a time in Florence, it is known that he returned to Assisi between 1316-1320 where he worked on the decoration of the lower church (left unfinished by his old master Cimabue). Returning to Rome in 1320, Giotto completed the Stefaneschi Triptych (now housed in the Vatican Museum) for Cardinal Jacopo, who also commissioned him to decorate St. Peter's apse (the frescoes were destroyed during the 16th century renovation).

Late Period

In 1328 Giotto was summoned by Robert of Anjou, the King of Naples, to his court. It is possible that he was recommended to Robert of Anjou by the Bardi family, for whom he had recently completed a series of frescoes for the family chapel in the church of Santa Croce. In Naples, meanwhile, Giotto became a court painter, which meant that he gave up the more precarious itinerant lifestyle that had so far characterized his career. He was given a salary and a stipend for materials and assistance, and in 1330 Robert of Anjou named him "familiaris", meaning that he had become part of the royal household. Regrettably, almost nothing of his work from this period survives. A fragment of a fresco portraying the Lamentation of Christ in the church of Santa Chiara bears his mark, as does the group of Illustrious Men that adorn the windows of the Santa Barbara Chapel of Castel Nuovo, though historians usually attribute these works to pupils of Giotto.

After his time in Naples, Giotto stayed briefly in Bologna where he painted a Polyptych for the church of Santa Maria degli Angeli, and, it is thought, a lost decoration for the Chapel in the Cardinal Legate's Castle. In 1334, Giotto returned once more to Florence. Here, he was appointed 'capomaestro' or Master of Municipal Construction Works and head of the Cathedral Mason's Guild. He oversaw artworks for the construction of Florence's cathedral, while his own contribution was a design for a bell tower (though only the lower part was built to his stipulations). The new church, work on which commenced at the end of the 13 th century, was modelled on the 7 th century church of Santa Reparata, and would not be completed for another 200 years. As a mark of the esteem in which he was held, Giotto was buried in the Santa Reparata at the expense of the city following his death on 8th January 1337.

The Legacy of Giotto

Giotto's influence over the development of the Italian Renaissance and, consequently, over much of the history of European art, is significant. Recognized in his own time as a master by poets and thinkers such as Dante and Boccaccio, Giotto's developments of pictorial space and a quest for an unprecedented degree of realism would inspire the early instigators of the Renaissance in Florence. In particular, his influence can be seen in the sculptural revolution instigated by figures such as Lorenzo Ghiberti and Donatello in the first decade of the 1400s, while his artistic inheritance can also be recognized in the paintings of the young Masaccio forward of 1420.

Giotto's influence comes particularly from his incipient steps towards Renaissance Humanism, a school of thought that would be essential to the development of Renaissance art. Humanism involved looking to the world of antiquity for learning and pictorial techniques. In Giotto's work, this can be seen in his interest in depicting human emotions and in his modeling of the human figure, and in his ability to break down the distance between biblical characters and human viewers. Humanism can also be found in Giotto's interest in architecture, proportion, perspective and even engineering. These were also significant elements of later developments in Renaissance humanist thought and art, in which human beings became central to artistic endeavor and the realistic depiction of figures and emotion became paramount.

It is notable that there was a significant gap between the early groundbreaking work of Giotto around 1300 and the major revolution in art that began around a century later. This is probably because the years in between Giotto's death and the beginning of the 15 th century were marked by plague and economic downturn. The plague epidemic of 1348 took the lives of a huge proportion of the inhabitants of Florence, as well as of cities such as Siena, which before this point had a burgeoning artistic movement and style of its own, but from which it never recovered. It was not until the relative stability and prosperity of Florence at the beginning of the 1400s that Giotto's achievements could be fully admired and built upon.

Giotto's influence continued to be recognized by later artists, and his work saw a resurgence of interest among modernists working in the first half of the 20 th century, including figures such as Henry Moore and Roger Fry.


About Giotto di Bondone

Though many stories and legends have circulated about Giotto and his life, very little can be confirmed as fact. He was born in Colle di Vespignano, near Florence, in 1266 or 1267, or, if Vasari is to be believed, 1276. His family was probably farmers. Legend has it that while he was tending goats he drew a picture on a rock and that the artist Cimabue, who happened to be passing by, saw him at work and was so impressed with the boy's talent that he took him into his studio as an apprentice. Whatever the actual events, Giotto appears to have been trained by an artist of great skill, and his work is clearly influenced by Cimabue.

Giotto is believed to have been short and ugly. He was personally acquainted with Boccaccio, who recorded his impressions of the artist and several stories of his wit and humor these were included by Giorgio Vasari in the chapter on Giotto in his Lives of the Artists. Giotto was married and at the time of his death, he was survived by at least six children.


Equipment and abilities [ edit | edit source ]

Giotto was a very powerful fighter and known to be the strongest Vongola Boss throughout history. Ώ] He is the only known Vongola Boss to possess the ability to seal away one's Hyper Intuition. [citation needed] Giotto is normally seen in Hyper Dying Will Mode. He has fast reflexes, able to utilize the Vongola Hyper Intuition to dodge a bullet. [citation needed]

  • I-Gloves - A pair of special combat gloves. These are the same as Tsuna's X-Gloves, being able to ignite the Dying Will Flame.
  • Sky Vongola Ring: Given to him by Sepira, these rings were distributed among his Guardians, and eventually passed on to the next generations of Bosses and Guardians.
  • Zero Point Breakthrough: First Edition: A technique using negative compressed energy to seal away Dying Will Flames. This technique is created by Giotto, and later used by Vongola Nono and Tsuna.

Contents

Originally a United States partner probe was planned that would accompany Giotto, but this fell through due to budget cuts at NASA. There were plans to have observation equipment on board a Space Shuttle in low-Earth orbit around the time of Giotto ' s fly-by, but they in turn fell through with the Challenger disaster.

The plan then became a cooperative armada of five spaceprobes including Giotto, two from the Soviet Union's Vega program and two from Japan: the Sakigake and Suisei probes. The idea was for Japanese probes and the pre-existing American probe International Cometary Explorer to make long distance measurements, followed by the Russian Vegas which would locate the nucleus, and the resulting information sent back would allow Giotto to precisely target very close to the nucleus. Because Giotto would pass so very close to the nucleus ESA was mostly convinced it would not survive the encounter due to the spacecraft colliding at very high speed with the many dust particles from the comet. The coordinated group of probes became known as the Halley Armada.

The spacecraft was derived from the GEOS research satellite built by British Aerospace in Filton, Bristol, and modified with the addition of a dust shield (Whipple shield), as proposed by Fred Whipple, which comprised a thin (1 mm) aluminium sheet separated by a space and a thicker Kevlar sheet. The later Stardust spacecraft would use a similar Whipple shield. A mock-up of the spacecraft resides at the Bristol Aero Collection hangar, at Filton, Bristol, England, United Kingdom, Europe. [ citation needed ]

Launch Edit

The mission was given the go-ahead by ESA in 1980, and launched on an Ariane 1 rocket (flight V14) on 2 July 1985 from Kourou, French Guiana. The craft was controlled from the European Space Agency ESOC facilities in Darmstadt (then West Germany) initially in Geostationary Transfer Orbit (GTO) then in the Near Earth Phase (NEP) before the longer Cruise Phase through to the encounter. While in GTO a number of slew and spin-up manoeuvres (to 90 RPM) were carried out in preparation for the firing of the Apogee Boost Motor (ABM), although unlike orbit circularisations for geostationary orbit, the ABM for Giotto was fired at perigee. Attitude determination and control used sun pulse and IR Earth sensor data in the telemetry to determine the spacecraft orientation.

Halley encounter Edit

The Soviet Vega 1 started returning images of Halley on 4 March 1986, and the first ever of its nucleus, and made its flyby on 6 March, followed by Vega 2 making its flyby on 9 March. Vega 1's closest approach to Halley was 8 889 km.

Giotto passed Halley successfully on 14 March 1986 at 596 km distance, and surprisingly survived despite being hit by some small particles. One impact sent it spinning off its stabilized spin axis so that its antenna no longer always pointed at the Earth, and its dust shield no longer protected its instruments. After 32 minutes Giotto re-stabilized itself and continued gathering science data.

Another impact destroyed the Halley Multicolor Camera, but not before it took photographs of the nucleus at closest approach.

First Earth flyby Edit

Giotto ' s trajectory was adjusted for an Earth flyby and its science instruments were turned off on 15 March 1986 at 02:00 UTC.

Grigg-Skjellerup encounter Edit

Giotto was commanded to wake up on 2 July 1990 when it flew by Earth in order to sling shot to its next cometary encounter.

The probe then flew by the Comet Grigg-Skjellerup on 10 July 1992 which it approached to a distance of about 200 km. Afterwards, Giotto was again switched off on 23 July 1992.

Second Earth flyby Edit

In 1999 Giotto made another Earth flyby but was not reactivated.

Images showed Halley's nucleus to be a dark peanut-shaped body, 15 km long, 7 km to 10 km wide. Only 10% of the surface was active, with at least three outgassing jets seen on the sunlit side. Analysis showed the comet formed 4.5 billion years ago from volatiles (mainly ice) that had condensed onto interstellar dust particles. It had remained practically unaltered since its formation.

Measured volume of material ejected by Halley:

  • 80% water,
  • 10% carbon monoxide
  • 2.5% a mix of methane and ammonia.
  • other hydrocarbons, iron, and sodium were detected in trace amounts.

Giotto found Halley's nucleus was dark, which suggested a thick covering of dust. [2]

The nucleus's surface was rough and of a porous quality, with the density of the whole nucleus as low as 0.3 g/cm³. [2] Sagdeev's team estimated a density of 0.6 g/cm³, [3] but S. J. Peale warned that all estimates had error bars too large to be informative. [4]

The quantity of material ejected was found to be three tonnes per second [5] for seven jets, and these caused the comet to wobble over long time periods. [2]

The dust ejected was mostly only the size of cigarette smoke particles, with masses ranging from 10 ag to 0.4 g. (See Orders of magnitude (mass).) The mass of the particle that impacted Giotto and sent it spinning was not measured, but from its effects—it also probably broke off a piece of Giotto [5] —the mass has been estimated to lie between 0.1 g and 1 g. [2]

Two kinds of dust were seen: one with carbon, hydrogen, nitrogen and oxygen the other with calcium, iron, magnesium, silicon and sodium. [2]

The ratio of abundances of the comet's light elements excluding nitrogen (i.e. hydrogen, carbon, oxygen) were the same as the Sun's. The implication is that the constituents of Halley are among the most primitive in the Solar System.

The plasma and ion mass spectrometer instruments showed Halley has a carbon-rich surface.


Giotto Timeline - History

Click here to return to the Awesome History Timeline Schedule main page. Click here to go to 1400 to 1499 A.D..

(Novels, Nonfiction, Picture books, comics, etc.)

World History Spine/Lesson books that span multi-time periods

American History Spine/Lesson books that span multi-time periods


The Palace (Life in the Medieval Muslim World)
Library

p. 12 Giotto 1266-1337
(painted Ognissanti Madonna in 1310)

*Note, if you'd like to use it now, there is a free book scheduled in 1450: Our Little Aztec Cousin of Long Ago


World Without End
For ME, not for kids


The Name of the Rose
(Takes place around 1327)
(Amazon Instant Video)


Have at home
Otter&rsquos rating

Matilda Bone 850 L
Have at home
(also at library as an audio book)

The Door in the Wall 990 L
Have at home
(Also at library as an audio book)
Otter&rsquos rating

Horrible Histories: Perilous Plague (Discovery Streaming)
Otter&rsquos rating


History Channel The Plague
Netflix
Amazon

Plague PowerPoint (going to use one of the graphics for a lapbook element)

Chapter 29 African Kingdoms

Horrible Histories: Trading Timbuktu (Discovery Streaming)
Otter&rsquos rating

The Forbidden City Although this video covers a different time period, it shows a lot of the Forbidden City and how it worked. *Mentions eunuchs and has a small section you may want to skip at the beginning of segment 3. Also mentions concubines and that a son was a child molestor/homos*xual (in section 3).
Otter&rsquos rating


The Crispin: Cross of Lead
(780 L) (have at home)
Otter&rsquos rating
I even really enjoyed this one. There is a situation involving a child born out of wedlock, some violence, etc.

Follow-up book:
Crispin at the Edge of the World (730 L)
Crispin: The End of Time
(690 L)
(All at the library -ebook)

p. 193-208 John Wyclif 1377 London, England

Chapter 2 The Man Who Preached After He was Dead

Chaucer's Canterbury Tales
Library
This book is similar to a comic book and a very easy read.
Otter&rsquos rating

Or Any other Canterbury Tales for children


Chanticleer and the Fox
AD840 L
Picture book (Have at home)


Appendices

Background information

Giotto was played by actor Barry Russo, where he was described in the script simply as "a large, muscular man."

In a common mistake made on costume insignia during TOS Season 1, Giotto was referred to as "lieutenant commander," yet wore the braid of a full commander. This anachronism was also seen on Spock and Benjamin Finney's uniforms. Numerous publications and script notes have since indicated that this may have been Starfleet's method of providing brevet rank to some of its senior officers. (The Star Trek Compendium [ page number? • edit] )

Apocrypha

The novels Wagon Train to the Stars, From History's Shadow, and Purgatory's Key give him the first name "Barry". The novel A Choice of Catastrophes gives him the first name "Salvatore". The novel Past Prologue gives him the first name "Antonio".


Giotto

Giotto di Bondone (1266/7 – January 8, 1337), better known simply as Giotto, was an Italian painter and architect from Florence in the late Middle Ages. He is generally considered the first in a line of great artists who contributed to the Italian Renaissance.

Giotto's contemporary 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 he was given a salary by the Comune of Florence in virtue of his talent and excellence."

The late-16th century biographer Giorgio Vasari says of him: "[H]e made a decisive break with the crude traditional Byzantine style, and brought to life 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."

Giotto's masterwork is the decoration of the Scrovegni Chapel in Padua, commonly called the Arena Chapel, completed around 1305. This 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. That Giotto painted the Arena Chapel and that he was chosen by the Comune of Florence in 1334 to design the new campanile (bell tower) of the Florence Cathedral are among the few certainties of his biography. Almost every other aspect of it is subject to controversy: his birthdate, his birthplace, his appearance, his apprenticeship, the order in which he created his works, whether or not he painted the famous frescoes at Assisi, and his burial place.

It has been traditional to hold that Giotto was born in a hilltop farmhouse, perhaps at Colle di Romagnano or Romignano since 1850 a tower house in nearby Colle Vespignano, a hamlet 35 kilometres north of Florence, has borne a plaque claiming the honour of his birthplace, an assertion commercially publicized. Very recent research, however, has suggested that he was actually born in Florence, the son of a blacksmith. His father's name was Bondone, described in surviving public records as "a person of good standing". Most authors accept that Giotto was his real name, but it may have been an abbreviation of Ambrogio (Ambrogiotto) or Angelo (Angelotto).

The year of his death 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 would have a longer and more complex age, so it is possible that Pucci used artistic license.

In his Lives of the Artists, Giorgio Vasari relates 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 Bondone and asked if he could take the boy as an apprentice. 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. He writes that when Cimabue was absent from the workshop, his young apprentice painted such a lifelike fly on the face of the painting that Cimabue was working on, that he tried several times to brush it 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, in red paint, a circle so perfect that it seemed as though it was drawn using a compass and instructed the messenger to give that to the Pope.

Many scholars today are uncertain about Giotto's training, and consider that Vasari's story that he was Cimabue's pupil is legendary, citing early sources which suggest that Giotto was not Cimabue's pupil. Giotto's art shares many qualities with Roman paintings of the later 13th century. Cimabue may have been working in Rome in this period, and there was an active local school of fresco painters, of whom the most famous was Pietro Cavallini. The famous Florentine sculptor and architect, Arnolfo di Cambio, was then also working in Rome.

Frescoes of the Upper Church at Assisi

From Rome, Cimabue went to Assisi to paint several large frescoes at the newly-built Basilica of St 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 hotly 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, and scholars have been divided over whether or not Giotto was responsible for the Francis Cycle. 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. Some of the earliest remaining biographical sources, such as Ghiberti and Riccobaldo Ferrarese, suggest that the fresco cycle of the life of St Francis in the Upper Church was his earliest autonomous work. However, since the idea was put forward by the German art historian, Friedrich Rintelen in 1912, many scholars have expressed doubt that Giotto was in fact the author of the Upper Church frescoes. Without documentation, arguments on the attribution have relied upon connoisseurship, a notoriously unreliable "science." Recently, however, technical examinations and comparisons of the workshop painting processes at Assisi and Padua have provided strong evidence that Giotto did not paint the St. Francis Cycle. There are many differences between the Francis Cycle and the Arena Chapel frescoes that are difficult to account for by the stylistic development of an individual artist. It seems quite possible that several hands painted the Assisi frescoes, and that the artists were probably from Rome. If this is the case, then Giotto's frescoes at Padua owe much to the naturalism of these painters.

The authorship of a large number of panel paintings ascribed to Giotto by Vasari, among others, is as broadly disputed as the Assisi frescoes. According to Vasari, Giotto's earliest works were for the Dominicans at Santa Maria Novella. These include a fresco of the Annunciation and the enormous suspended Crucifix, which is about 5 metres high. It has been dated around 1290 and is therefore contemporary with the Assisi frescoes. Other early 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, from Pisa today in the Louvre.

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. Giotto worked in Rome in 1297�, but few traces of his presence there remain today. The Basilica of San Giovanni in Laterano houses a small portion of a fresco cycle, painted for the Jubilee of 1300 called by Boniface VIII. In this period he also painted the Badia Polyptych, now in the Uffizi, Florence.

Giotto's fame as a painter spread. He was called to work in Padua, and also in Rimini, where today only a Crucifix remains in the Church of St. Francis, painted before 1309. This work 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.

Around 1305 Giotto executed his most influential work, the painted decoration of the interior of the Scrovegni Chapel in Padua. The chapel was commissioned by Enrico degli Scrovegni to serve as a family worship and burial space, even though his parish church was nearby its construction caused some consternation among the clerics at the Eremitani church next door. This chapel is externally a very plain building of pink brick which was constructed next to an older palace that Scrovegni was restoring for himself. The palace, now gone, and the chapel were on the site of a Roman arena, for which reason it is commonly known as the Arena Chapel.

While Cimabue painted in a manner that is clearly Medieval, having aspects of both the Byzantine and the Gothic, Giotto's style draws 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 set 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. Although aspects of this trend in painting had already appeared in Rome in the work of Pietro Cavallini and at Assisi, Giotto took it so much further that he earned the reputation for setting a new standard for representational painting.

Among those frescoes in Padua which have been lost are those in the Basilica of. St. Anthony and the Palazzo della Ragione, which are however from a later sojourn in Padua.

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

From 1306 to 1311 Giotto was in Assisi, where he painted frescoes in the transept area of the Lower Church, including The Life of Christ, Franciscan Allegories and the Maddalena 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 one Palerino di Guido. However, the style demonstrates developments from Giotto's work at Padua.

In 1311 Giotto returned to Florence, A document from 1313 shows his presence in Rome, where he executed a mosaic for the fa󧫞 of the old St. Peter's Basilica, commissioned by Cardinal Giacomo or Jacopo Stefaneschi and now lost except for some fragments.

In Florence, where documents from 1314� attest to his financial activities, Giotto painted an altarpiece known as the Ognissanti Madonna and now in the Uffizi where it is famously exhibited beside Cimabue's Santa Trinita Madonna and Duccio's Rucellai Madonna. The Ognissanti altarpiece is the only panel painting by Giotto that has been universally accepted by scholars, and this 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. It is an exceedingly large painting (10+ feet), 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.

At this time he also painted the Dormition of the Virgin, now in the Berlin Gemäldegalerie and the Crucifix in the Church of Ognissanti.

According to Lorenzo Ghiberti, Giotto painted chapels for four different Florentine families in the church of Santa Croce, although he does not identify which chapels they were. 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). 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, while the Peruzzi Chapel's more complex settings suggest a later date. The Peruzzi Chapel is adjacent to the Bardi Chapel and was largely painted a secco. This technique, quicker but less durable than true fresco, has resulted in a fresco decoration that survives in a seriously deteriorated condition. Scholars who date this 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, while the Bardi frescoes have a new softness of color that indicates the artist going in a different direction, probably under the influence of Sienese art, and so must be a later development.

The Peruzzi Chapel pairs 3 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 3 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. Because of the serious condition of the frescoes, it is difficult to discuss Giotto's style in the chapel, although the frescoes show signs of his typical interest in controlled naturalism and psychological penetration. The Peruzzi Chapel was especially renowned during Renaissance times. Giotto's compositions influenced Masaccio's Cappella Brancacci, and Michelangelo is known to have studied the frescoes. Bardi Chapel: the Mourning of St. Francis.

The Bardi Chapel is of particular interest as it depicts the life of St. Francis, following a similar iconography to the frescoes in the Upper Church at Assisi, dating from 20� years earlier. A comparison makes apparent the greater attention given by Giotto to expression in the human figures and the simpler, better-integrated architectural forms. Giotto represents only 7 scenes from the saint's life here, 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. This arrangement encourages viewers to link scenes together: to pair frescoes across the chapel space or relate triads of frescoes along each wall. These linkings suggest meaningful symbolic relationships between different events in St. Francis's life.

[edit] The Stefaneschi Triptych

In 1320 Giotto finished the Stefaneschi Triptych, now in the Vatican Museum, for Cardinal Giacomo (or Jacopo) Gaetano Stefaneschi, who also commissioned him to decorate the apse of St. Peter's 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, though some of these works are now recognized to be by other artists. [edit] Late Works

In 1328, after completing the Baroncelli Polyptych, he was called by King Robert of Anjou to Naples, where he remained with a group of pupils until 1333. In Naples few of his works have survived: a fragment of a fresco portraying the Lamentation of Christ in the church of Santa Chiara, and the Illustrious Men 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 the sources, a lost decoration for the Chapel in the Cardinal Legate's Castle.

In 1334 Giotto was appointed chief architect to Florence Cathedral, of which the Campanile (founded by him on July 18, 1334) bears his name, but was not completed to his design.

Before 1337 he was in Milan with Azzone Visconti, though no trace of works by him remain in the city. His last known work (with assistants' help) is the decoration of Podestà Chapel in the Bargello, Florence.

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

Giotto died in January of 1337. According to Vasari,[2] Giotto was buried in Santa Maria del Fiore, 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. These apparently contradictory reports are explained by the fact that the remains of Santa Reparata lie directly beneath the Cathedral and the church continued in use while the construction of the cathedral was proceeding 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 facts 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, that the bones had absorbed.

The bones were those of a very short man, of little over four feet tall, who may have suffered from a form of congenital dwarfism. This 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.

Vasari, drawing on a description by Boccaccio, who was 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 Arena Chapel and, seeing the artist's children underfoot asked how a man who painted such beautiful pictures could create such plain children, to which Giotto, who according to Vasari was always a wit, replied "I made them in the dark."

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.

While the Italian researchers were convinced that the body belonged to Giotto and it was reburied with honour near the grave of Brunelleschi, others have been highly sceptical.


Giotto di Bondone Bibliography

To learn more about Giotto and his artworks please choose from the following recommended sources.

• Derbes, A. & Sandona, M. The Cambridge Companion to Giotto. Cambridge University Press, 2004
• Eimerl, Sarel. The World of Giotto, C. 1267 - 1337. Little Brown & Company, 1967
• Norbert, Wolf. Giotto di Bondone. Taschen, 2000
• Richardson, Carol M. , et al. Renaissance Art Reconsidered: An Anthology of Primary Sources Wiley-Blackwell, 2006
• Paolettii, John T. & Radke, Gary M. Art in Renaissance Italy. Laurence King, 2005
• Nichols, Tom. Renaissance Art: A Beginner's Guide. Oneworld Publications, 2010
• Hartt, Frederick & Wilkins, David. History of Italian Renaissance Art. Pearson Education, 2010


Watch the video: Giotto