By Robert Gibbs Louise Bourdua
Julian Gardners preeminent function in British reviews of the artwork of the thirteenth and 14th centuries, rather the interplay of papal and theological matters with its construction and on each side of the Alps, is well known in those stories via his scholars. They talk about Roman works: a Colonna badge in S. Prassede and a remarkably uniform Trinity fresco fragment, in addition to monochrome dado portray as much as Giotto, Duccios representations of proskynesis, a Parisian reliquary in Assisi, Riminese portray for the Franciscans, the tomb of a theologian in Vercelli, Bartolomeo and Jacopino da Reggio, the Room of affection at Sabbionara, the cult of city V in Bologna after 1376, Altichiero and the cult of St James in Padua, the orb of the Wilton Diptych, and Julian Gardners occupation itself.The participants to the quantity are Serena Romano, Jill Bain, Claudia Bolgia, Louise Bourdua, Joanna Cannon, Roberto Cobianchi, Anne Dunlop, Jill Farquhar, Robert Gibbs, Virginia Glenn, Dillian Gordon, John Osborne and Martina Schilling.
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17 There are also the practical matters of damage and economics; being closest to the floor, the dado is also more susceptible to damage by getting in the way of feet, brooms, and furnishings, and hence less sacred imagery may be desired, while the reduced colour schemes would also represent a less costly enterprise than the full polychromy accorded to the more sanctified imagery above. This does not diminish, however, the more meaningful function of these monochromatic areas, as can be readily witnessed in the dado of Giotto’s Arena Chapel.
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A Wider Trecento: Studies in 13th- and 14th-century European Art Presented to Julian Gardner by Robert Gibbs Louise Bourdua