The Florentine ideal of Mass and Emotion—Its Humanism—The City of Florence about 1300—The Position and Methods of the Painter—The General demand for Religious Painting—Accelerated by the religious reforms of 1200, and changed in character—Insufficiency of the current Italo-Byzantine Style—Experiments towards a new manner: Duccio and the Sienese, Cimabue, Cavallini and the “Isaac Master”—Giotto—Immediate followers of Giotto, Andrea Orcagna and the return to sculptural methods—Later Panoramists, Andrea Bonaiuti and the Spanish Chapel. Leonardo da Vinci, from the summit of Florentine art, has written “What should first be judged in seeing if a picture be good is whether the movements are appro…
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