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Description"},{"id":"http:\/\/vocab.getty.edu\/aat\/300418049","type":"Type","_label":"Brief Text"}],"content":"-ing Manner, the limbs without drawing & \/ like sticks, the hands & feet without perspective \/ if in a front[i] figures appeared to stand on the \/ points of their toes & the attitudes of the other extre-[ii] limbs \/ -mities few, aukward[sic] & without meaning, the \/ draperies marked chiefly in straight lines \/ or& were[sic] they were bent, one following another; \/ in the picture he Cimabue painted for Santa Maria \/ Novella of the Virgin Mary as large as life \/ as life[iii] sitting with the Infant Jesus on her knee \/ with 3 Angels on each side, about 2 feet along \/ flying in Attitudes of devotion, in this he has[iv] \/ improved the art for 'tho he retained in it \/ general appearance of his predecessors works \/ he gave the Virgin a beautiful simple face \/ an easy turn to the head, he paid consider- \/ -able attention to the folds & their junchons[v] \/ joints in the drapery, he left out the hard \/ outlines the Greeks used to express the features \/ & rounded them & the folds of drapery with \/ Tender Shadows; this is I believe one of the \/ greatest things of Cimabue's remaining. \/ it is much in the style of the whole length \/ of Richard the 2d in Westminster Abbey \/ Andrea Tafi followed his master Cimabue's \/ style in the Mosaic of S:t John's Baptistery ([i] previous four words crossed through in brown ink; [ii] previous two words crossed through in brown ink; [iii] previous two words crossed through in brown ink; [iii] previous two words crossed through in brown ink; [iv] previous word crossed through in brown ink; [v] previous word crossed through in brown ink) Brown ink recto."},{"id":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/38141\/inscription\/3","type":"LinguisticObject","classified_as":[{"id":"http:\/\/vocab.getty.edu\/aat\/300435414","type":"Type","_label":"Inscription Description"},{"id":"http:\/\/vocab.getty.edu\/aat\/300418049","type":"Type","_label":"Brief Text"}],"content":"Giotto his \/ Cimabue's \/ pupil was \/ a prodigy of genius, his Mosaic picture of \/ of Our Savious stretching out his hand to save \/ peter who is sinking in the Waves, under the Porch \/ of S:t Peter's Church at Rome, is an astonishing \/ improvement on the works of his predecessors, the \/ figures in the boat &[i] S:t Peter & Our Saviour \/ is a well studied composition, is much like \/ the same subject by Ghiberti on one of the gates of \/ the Baptistery & seems to be the foundation \/ of all the compositions of the same subject \/ there are 4 persons in the clouds above \/ looking down on Peter & in the 2 sides lower than \/ corners in[ii] above the Sea are 2 Tritons winds[iii] blowing \/ horns, the figures have figures[iv] natural good \/ heads, cab[v] attitudes well expressed, draperies \/ understood, & a fine &[vi] expression. & just senti- \/ -ment 'thro the whole, he has aimed at giving a Superior Character to Our Saviour, by making \/ the head look straight forward, which however \/ gives stiffness & makes him seem regardless \/ of Peter, in one of the corners of this picture behind \/ our Saviour a Bishop's head is seen in the \/ other corner a man fishing in the Sea ([i] crossed through in brown ink; [ii] preceding four words crossed through in brown ink; [iii] preceding word crossed through in brown ink; [iv] preceding word crossed through in brown ink; [v] preceding word crossed through in brown ink; [vi] preceding word crossed through in brown ink) Brown ink verso."}]}