Painting in Florence and Siena after the Black Death: the arts, religion, and society in the mid-fourteenth century 9780691039190, 9780691003122

Table of contents :
Frontmatter
LIST OF ILLUSTRATIONS
PREFACE TO THE PAPERBACK EDITION
FOREWORD
INTRODUCTION (page 3)
I. THE NEW FORM AND CONTENT (page 9)
II. THE TWO CITIES AT MID-CENTURY (page 59)
III. GUILT, PENANCE, AND RELIGIOUS RAPTURE (page 74)
IV. THE SPANISH CHAPEL (page 94)
V. TEXTS AND IMAGES (page 105)
VI. THE MADONNA OF HUMILITY (page 132)
VII. BOCCACCIO (page 157)
APPENDICES (page 166)
INDEX (page 177)
INDEX SUPPLEMENT (page 195)

Citation preview

Painting in Florence and Siena after the Black Death

BLANK PAGE

Painting in Florence and Siena after the Black Death The Arts, Religion, and Society in the Mid-Fourteenth Century MILLARD MEISS

PRINCETON UNIVERSITY PRESS Princeton, New Jersey

Copyright 1951 by Princeton University Press All Rights Reserved Published by Princeton University Press, Princeton, New Jersey In the U.K.: Princeton University Press, Chichester, West Sussex LCC 51-14790 ISBN 0-69 1-00312-2 (paperback edn.) ISBN 0-691-03919-4 (hardcover edn.) Previously published in paperback by Harper & Row, Publishers, Inc.: Torchbook Edition, 1964; Icon Edition, 1973 Princeton University Press books are printed on acid-free paper and meet the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources First PRINCETON PAPERBACK printing, 1978 Printed in the United States of America by Princeton Academic Press

ll 13 15 17 #19 18 16 14 12

To

C.L. M.

and M. L. M.

BLANK PAGE

CONTENTS LIST OF ILLUSTRATIONS PREFACE TO THE PAPERBACK EDITION

INTRODUCTION 3 I. THE NEW FORM AND CONTENT 9 FOREWORD

Orcagna’s Altarpiece 9 The Madonna by Nardo 14

From Narrative to Ritual 16 The Exaltation of God, the Church, and the Priest 27

The Supernatural 39 The Recovery of the Dugento 44

Barna. Conclusion 53

Il. THE TWO CITIES AT MID-CENTURY 59

The Economic Crisis 61 Political and Social Change 62

The Black Death 64 Economic and Social Consequences of the Plague 67

The Effect upon Culture and Art 7}

III. GUILT, PENANCE, AND RELIGIOUS RAPTURE 74

IV. THE SPANISH CHAPEL 94 V. TEXTS AND IMAGES 105 VI. THE MADONNA OF HUMILITY 132 Origin and Development The Meaning of the Image 132 145

VII. BOCCACCIO 157

APPENDICES 166 I. Chronological Table 166

II. Facts about the Painters 168

INDEX 177 INDEX SUPPLEMENT 195

III. Some Recent Criticism of Orcagna 172 IV. A New Polyptych by Andrea da Firenze 175,

BLANK PAGE

ILLUSTRATIONS 1. Orcagna, The Strozzi Altarpiece, S. M. Novella, Florence. 1354-1357 2. Meliore, Polyptych, Academy, Florence. 1271 3. Roman, early thirteenth century, Christ Enthroned, Duomo, Sutri 4. Giovanni da Milano, Christ Enthroned, Contini collection, Florence 5. Orcagna and Associates, detail of the tabernacle, Or San Michele, Florence. 1352-1359 6. Orcagna, Saints Michael and Catherine, detail of Fig. 1 ». Orcagna, Saints Lawrence and Paul, detail of Fig. 1 8. Orcagna, Death and Assumption of the Virgin, Or San Michele, Florence g. Follower of Nardo, Triptych, Academy, Florence. 1365 10. Giotto, Madonna, Uffizi, Florence 11. Nardo di Cione, Madonna, New-York Historical Society. 1356? 12. Taddeo Gaddi, Presentation in the Temple, Academy, Florence 13. Giovanni del Biondo, Presentation in the Temple, Academy, Florence. 1 364 14. Ambrogio Lorenzetti, Presentation in the Temple, Uffizi. 1342 15. Bartolo di Fredi, Presentation in the ‘Temple, Louvre 16. The Bigallo Master, Madonna, A. Acton collection, Florence 17. Giovanni del Biondo, St. Jerome, S. M. Novella, Florence 18. Follower of Orcagna, Presentation in the Temple, Dr. Franz Haniel collection, Munich¢ ig. Osservanza Master, Birth of the Virgin, Collegiata, Asciano 20. Bartolo di Fredi, Birth of the Virgin, S. Agostino, S. Gimignano 21. Luca di Tommé, Assumption of the Virgin, Gallery of Fine Arts, Yale University 22. Follower of Simone Martini, Assumption of the Virgin, Alte Pinakothek, Munich 23. Ambrogio Lorenzetti, Madonna, Brera, Milan 24. Andrea Vanni, Madonna, S. Donato, Siena 26. Niccolé di Ser Sozzo Tegliacci, Triptych, Museum of Fine Arts, Boston (pinnacles by a Florentine painter) 26, Giotto, Meeting at the Golden Gate, Arena Chapel, Padua. ca. 1305 27. Giovanni da Milano, Meeting at the Golden Gate, S. Croce, Florence. 1365 28. Orcagna, Presentation of the Virgin, Or San Michele, Florence 29. Giotto, Presentation of the Virgin, Arena Chapel, Padua. ca. 1305 go. Orcagna, head of the Baptist, detail of Fig. 1 g1. Andrea da Firenze, head of St. Nicholas, detail of Fig. 64 32. Taddeo Gaddi, Presentation of the Virgin, Louvre 33. Taddeo Gaddi, Meeting at the Golden Gate, S. Croce, Florence 34. Pisan, late thirteenth century, Expulsion of Joachim, Museo Civico, Pisa 35. Giotto, Expulsion of Joachim, Arena Chapel, Padua. ca. 1305 36. Giovanni da Milano, Expulsion of Joachim, S. Croce, Florence. 1365 37. Giovanni da Milano, Resurrection of Lazarus, S. Croce, Florence. 1365 38. Andrea da Firenze, Way to Calvary, Spanish Chapel, S. M. Novella, Florence. 1366-1368 39. Close Follower of Orcagna, Pentecost, Badia, Florence 40. Taddeo Gaddi, Pentecost, Kaiser-Friedrich Museum, Berlin 41. Andrea da Firenze, Pentecost, Spanish Chapel, S. M. Novella. 1366-1368 42. Follower of the Cioni, Holy Face, Jack Linsky collection, New York 43. Florentine, ca. 1410, Holy Face, Horne Museum, Florence 44. Andrea da Firenze, pilgrim, detail of Fig. 94

ILLUSTRATIONS

45. Venetian, ca. 1325, Sudarium, Museo Civico, Trieste 46. Sienese, late fourteenth century, Sudarium,. Lanz collection, Amsterdam 47. Andrea da Firenze, Resurrection, Spanish Chapel, S. M. Novella. 1366-1368 48. Ugolino da Siena, Resurrection, National Gallery, London

49. Jacopo di Cione, Resurrection, National Gallery, London. 1370-1371 | 50. Luca di Tommé, Triptych, T. S. Hyland collection, Greenwich, Conn. 51. Nardo di Cione, Madonna, Tessie Jones collection, Balmville, New York 52. Giovanni del Biondo, Madonna and Saints, Vatican Gallery

"3. Jacopo di Cione, Madonna, Ss. Apostoli, Florence 54. Bartolo di Fredi, Coronation of the Virgin, Museo Civico, Montalcino, 1388 55. Jacopo Torriti, Coronation of the Virgin, S. M. Maggiore, Rome. 1295 56. Jacopo di Cione, Coronation of the Virgin, Academy, Florence. 1373 57- Maestro Paolo, Coronation of the Virgin, Brera, Milan 58. Master of the Stefaneschi Altarpiece, Coronation of the Virgin, S. Croce, Florence 59- Orcagna and Jacopo di Cione, St. Matthew Altarpiece, Uffizi. 1367-1369 60. Andrea da Firenze, heads of two soldiers, detail of Fig. 96 61. Giacomo di Mino del Pellicciaio, head of St. Anthony, Pinacoteca, Siena. 1362 62. Andrea Vanni, head of St. Peter, Museum of Fine Arts, Boston 63. Andrea da Firenze, Polyptych, National Gallery, London

64. Andrea da Firenze, Polyptych, S. M. del Carmine, Florence 65. Lucchese, ca. 1260, Deposition, Uffizi, Florence 66. Bartolo di Fredi, Deposition, S. Francesco, Montalcino. 1382 67. Duccio, Deposition, Opera del Duomo, Siena. 1310-11 68. Giovanni del Biondo, Altarpiece of the Baptist, Contini collection, Florence 69. Giovanni del Biondo, St. John Evangelist, Uffizi, Florence %o. Giovanni del Biondo, St. Zenobius, Duomo, Florence 71. Pride, Avarice, and Vainglory, detail of Fig. 69

72. Giotto, Caritas, Arena Chapel, Padua 43. Giotto, Faith, Arena Chapel, Padua “4. Ambrogio Lorenzetti, Bad Government, Palazzo Pubblico, Siena 75. Simone Martini, Way to Calvary, Louvre 76. Barna, Way to Calvary, Collegiata, S. Gimignano 77. Duccio, The Pact of Judas, Opera del Duomo, Siena. 1310-11 78: Barna, The Pact of Judas, Collegiata, S. Gimignano 49g. Barna, The Last Supper, Collegiata, S. Gimignano 80. Bartolo di Fredi, Crossing of the Red Sea, Collegiata, S. Gimignano. 1367 81. Barna, Christ Teaching in the Temple, Collegiata, S. Gimignano 82. Bartolo di Fredi, Death of the Children of Job, Collegiata, S. Gimignano. 1367 83. Assistant of Orcagna, detail of Hell, S. Croce, Florence 84. Assistant of Orcagna, detail of Hell, §. Croce, Florence

: 85. Francesco Traini, The Triumph of Death, Camposanto, Pisa 86. Orcagna, fragment of the Triumph of Death, S. Croce, Florence 87. Francesco Traini, Last Judgment, Pisa 88. Giotto, Last Judgment, Arena Chapel, Padua. ca. 1305 89. Nardo di Cione, detail of Last Judgment, S. M. Novella, Florence go. Florentine, ca. 1355, Last Judgment, Biblioteca Nazionale, Florence, Magl. 11.1. 212,

f. 64Vv

ILLUSTRATIONS

gi. Giovanni del Biondo, Martyrdom of St. Sebastian, Opera del Duomo, Florence g2. Barna, Crucifixion, Collegiata, S. Gimignano 93. Interior of the Spanish Chapel, S. M. Novella, Florence. 1366-1368 94. Andrea da Firenze, Via Veritatis, Spanish Chapel, S. M. Novella 95. Andrea da Firenze, Christian Learning, Spanish Chapel, S. M. Novella, Florence 96. Andrea da Firenze, Crucifixion, Way to Calvary, and Limbo, S. M. Novella, Florence g7. Andrea da Firenze, The Navicella, S. M. Novella, Florence 98. Andrea da Firenze, Limbo, Spanish Chapel, S. M. Novella gg. Florentine, Mystic Marriage of Christ and the Virgin, Museum of Fine Arts, Boston 100. Follower of the St. Cecilia Master, Marriage of Catherine of Alexandria (detail), W. R. Hearst collection (formerly) 101. Giotto, Marriage of the Virgin, Arena Chapel, Padua 102. Follower of Giotto, Marriage of Francis to Poverty, S. Francesco, Assisi 103. Pacio and Giovanni da Firenze, Catherine of Alexandria receiving an image of the Madonna, S. Chiara, Naples 104. Giovanni di Paolo, Marriage of Catherine of Siena, Stoclet collection, Brussels 105. The Dijon Master, Marriage of Catherine of Alexandria, Ringling Museum, Sarasota, Florida 106. Giovanni del Biondo, Marriage of Catherine of Alexandria, Allentown Art Museum, Allentown, Pa. 107. Associate of Barna, Marriage of Catherine of Alexandria, Museum of Fine Arts, Boston 108. Giovanni Pisano, Ecclesia, Duomo, Pisa 109. Ambrogio Lorenzetti, Good Government with Caritas above, Palazzo Pubblico, Siena 110. Tino di Camaino, Caritas, Opera del Duomo, Florence 111. Pisan Master, Marriage of Catherine of Siena, Museo Civico, Pisa 112. Giovanni di Paolo, Catherine offering Christ her heart, Stoclet collection, Brussels 113. Bonaventura Berlinghieri, Stigmatization of St. Francis, S. Francesco, Pescia. 1235 114. Florentine Painter, ca. 1250, Stigmatization of St. Francis, Uffizi, Florence 115. School of Guido da Siena, Stigmatization of St. Francis, Pinacoteca, Siena 116. Stigmatization of St. Francis, S. Francesco, Assisi 117. Giovanni di Paolo, Stigmatization of St. Catherine of Siena, Robert Lehman collection, New York 118. Florentine, early fourteenth century, The Disrobing of Christ, T. S. Hyland collection, Greenwich, Conn. 119. Luca di Tommé, Madonna, Pinacoteca, Siena 120. Niccold di Ser Sozzo Tegliacci, Madonna, William Rockhill Nelson Gallery, Kansas City 121, Follower of Orcagna, Man of Sorrows, Museo dell’Opera di S. Croce, Florence 122. Guido da Siena, Christ mounting the Cross, Archiepiscopal Museum, Utrecht 123. Niccolé di Tommaso, Lamentation, Congregazione del] Carita, Parma 124. Follower of Niccolé di Buonaccorso, detail of Altarpiece, Pinacoteca, Siena

125. Niccolo di Tommaso, Man of Sorrows, The Cloisters, New York 126. Ambrogio Lorenzetti, Crucifixion, Fogg Museum, Cambridge, Mass. 127. Andrea Vanni, Saints Peter and Paul, Museum of Fine Arts, Boston 128. Workshop of Simone Martini, Madonna of Humility, Kaiser-Friedrich Museum, Berlin 129. Bartolommeo da Camogli, Madonna of Humility, Museo Nazionale, Palermo. 1346 130. Simone Martini, Madonna of Humility, Notre-Dame-des-Doms, Avignon 131. Andrea di Bartolo, Madonna of Humility, National Gallery, Washington

ILLUSTRATIONS

132. Giovanni di Niccolo, Madonna of Humility, Ca d’Oro, Venice 133. Neapolitan Follower of Simone Martini, Madonna of Humility, S$. Domenico, Naples

134. Simone dei Crocefissi, Madonna of Humility, private collection, Florence 135. Lorenzo Veneziano, Madonna of Humility, National Gallery, London 136. Fra Paolo da Modena, Madonna of Humility, Gallery, Modena 137. Allegretto Nuzi, Madonna of Humility, Gallery, San Severino 238. Jacopo di Cione, Madonna of Humility, Academy, Florence 139. The Assistant of Daddi, Madonna of Humility, Parry collection. 1348 140. Orcagna and Jacopo di Cione, Madonna of Humility, National Gallery, Washington 141. Domenico di Bartolo, Madonna of Humility, Pinacoteca, Siena. 1433 142. Master of the Straus Madonna, Madonna of Humility, Kaiser-Friedrich Museum,

Berlin ,

143. Stenese School, Madonna of Humility, Philadelphia Museum, Philadelphia 144. Master of Flémalle, Madonna of Humility, National Gallery, London 145. Follower of Nardo, Madonna, Academy, Florence 146. Flemish, ca. 1430, Madonna of Humility, Morgan Library, New York, Ms 46, f. 85v 147. French, 1350-1370, Madonna of Humility, Morgan Library, New York, ms 88, f. 151 148. Jaime Serra, Madonna of Humility, Parish Church, Palau 149. Ambrogio Lorenzetti, Maesta, detail, Museo, Massa Marittima 150. Follower of Jacquemart de Hesdin, Madonna of Humility, British Museum, London, Yates Thompson ms 37, f. 92 151. The Boucicaut Master, Madonna of Humility, Bibliothéque Nationale, Paris, ms lat. 1161, £. 130V

152. Flemish, Madonna of Humility, Mayer van den Bergh Museum, Antwerp 153. French, ca. 1410, Madonna of Humility, Walters Art Gallery, Baltimore, ms 232 154. Giovanni da Bologna, Madonna of Humility, Academy, Venice 155. Ambrogio Lorenzetti, Madonna, S. Francesco, Siena 156. Second century, Madonna, Catacombs of Priscilla, Rome 157. Amiens, late thirteenth century, Nativity, Morgan Library, New York, ms 729, f. 246v | 158. Majorcan, fourteenth century, Legend of St. Bernard, Archaeological Museum, Palma

159. Taddeo Gaddi, Nativity, Kaiser-Friedrich Museum, Berlin 160. Liége, thirteenth century, Adam and Eve, Morgan Library, New York, ms 183, f. 13 161. French, ca. 1480, “Les Pauvres,” Bibliothéque Nationale, Paris, ms fr. 9608, f. 20 162. Twelfth century, Tree of Virtues, Vatican Library, ms pal. lat. 565, £. 32

163. Simone dei Crocefissi, Vision of the Virgin, Pinacoteca, Ferrara . 164. English, thirteenth century, illustration of Apocalypse xu, 1-4, Morgan Library, New York, MS 524, £. 30v

165. Paolo di Giovanni Fei, Presentation of the Virgin, National Gallery, Washington 166. Giotto, Infidelity, Arena Chapel, Padua 164. Follower of Giotto, Obedience and Humility, S. Francesco, Assisi 168. Orcagna, St. Thomas celebrating mass, detail of the Strozzi Altarpiece, S. M. Novella,

Florence

169. Master of the Stefaneschi Altarptece, Madonna, Saints, and Virtues, Wildenstein and Company, New York

PREFACE TO THE PAPERBACK EDITION As an auther contemplating a new edition of an old book I have faced the usual alter-

native of revising the text or letting it stand. I would not wish to alter the content basically, but after fifteen years a writer has a rather different—but not necessarily better—way of putting things. A conscientious scrutiny now of the countless decisions that went into the making of the book would be a large, and perhaps dubious, enterprise. One might begin right on the title page. The title places painting in an ‘‘historical” context by reference to a contemporary event—an event well known, definitely

datable, and cataclysmic, but only one of many brought into relation with the art of the time. To this extent “After the Black Death” oversimplifies, as titles often do, the argument of the text. “Painting in Florence and Siena in the Third Quarter of the Fourteenth Century” would scarcely mislead anyone, but isn’t it proportionately less informative? One kind of revision, however, has seemed to me worth undertaking. I have sought to track down the new “addresses” of all paintings that have changed hands. The present owners have been substituted for the former, except in the case of the many paint-

ings once in the Kaiser-Friedrich Museum in Berlin. Those that survived the fire of 1945 are all now in Museum Dahlem, Berlin-Dahlem. For technical reasons in the production of the book the references to these Berlin paintings in the text have been left unchanged. The original index is reprinted without a change but all the new addresses appear in the Index Supplement of 1964. I would not have discovered the identity of many new owners without the very generous help of Dr. Klara Steinweg, to whom I wish to express my warmest thanks. A number of typographical errors, now of course corrected, were called to my attention by a considerate friend, Agnes Mongan of the Fogg Art Museum, Harvard University, who listed them in a letter to me rather than in the review of the book she published In 1952.

The nature of the inquiry led me to poach considerably on adjacent historical fields. My task would have been simplified if a good recent book had been available at the time: G. A. Brucker, Florentine Politics and Society, 1343-1378, Princeton, 1962. This is the most comprehensive of numerous studies of Florentine later Trecento history that have been published since the appearance of The Pest. The reader may wish to consult some of these studies, all listed in Brucker’s excellent bibliography. Especially relevant is the paper by M. B. Becker, ‘““An Essay on the ‘Novi Cives’ and Florentine Politics, 1342-1382," Mediaeval Studies, XXIV, 1962, pp. 35-82, the most recent of this historian's important contributions to the social and political developments of the time. A useful survey of the literature on the plague is provided by Elisabeth Carpentier, “Autour de la Peste Noire: Famines et épidémies dans I’histoire du XIV*° siécle,”’ Annales: Economies, Sociétés, Civilisations, XVII, 1962, pp. 1062-1092. While these studies greatly extend our knowledge of the period, they do not seem to me to require changes in the present text.

April, 1964 M.M. Princeton, N. J.

BLANK PAGE

FOREWORD HE present book deals with Florentine and Sienese painting from around 1350 T to 1375. This is not one of the great periods in the history of these two remarkable schools, but it has seemed to me one of the most problematic. In it those aspects of reality and those problems of form that had occupied the leading masters of the first half of the century, and that were soon again to occupy the artists of the early Renaissance, were suddenly opposed by other values. The painters became engrossed with qualities which do not easily find a place in the evolution leading from Giotto to Masaccio, or from Simone and the Lorenzetti to Sassetta. The first part of the book endeavors to show that these qualities, however foreign to this evolution and to classical taste, are coherent and purposeful, and that the more important paintings of the time present a unique range of meaning and form. The subsequent chapters confront the problem of the emergence of this art, and they attempt to interpret it in the light of contemporary religious sentiment, contemporary literary thought, and a state of mind that was affected by a series of unusual events. In tracing these varied relationships I have not been unaware of the risks expressed by the old Tuscan proverb: Chi due volpe caccia L’una per l’altra perde.

One chapter, the Madonna of Humility, is not new. It was originally published as an article in the Art Bulletin in 1936. Part of this essay, particularly the account of the spread of the image in the northern countries, falls outside the scope of this book. But since much of the rest deals with the broader aspects of style and iconography in the first half of the fourteenth century, it extends and makes more concrete observations about the art of that period that are essential to the present study. To adjust the article to its new context I have revised the writing, but the content.remains essentially unchanged. Two or three very brief additions have been made to the footnotes, a couple of attributions have been revised, and changes of ownership noted. I have not found it desirable to be entirely consistent in the handling of quotations. Excerpts from poetry are usually included in the text, while the translations are placed in the footnotes. The reverse procedure is usually followed for prose. The original is always included, even in longer quotations, where the color and nuance of the language, which have mostly escaped translation, are as important as the ideas expressed. In a few instances, however, where published translations are quoted, the original has been omitted so as to limit the size of the notes. J am deeply indebted to the Bollingen Foundation for a grant in aid of the publication of this book. My work has been greatly facilitated in many ways by the friendly assistance of members of the staff of the Frick Art Reference Library and its librarian, Mrs. Henry Howell, Jr. They have my warmest thanks. The librarians in charge of inter-library loan in the Columbia University Library, and Miss Mary Chamberlin

FOREWORD

of the Fine Arts Library, have also been very helpful. A number of collectors, Conte

Alessandro Contini-Bonacossi, Miss Tessie Jones; Mr. Robert Lehman, and M. Alphonse Stoclet have generously permitted me to reproduce paintings in their collections, and I owe several photographs to the kind intervention of Enzo Carli, W. G. Constable, Philip Hendy, and A. O. Quintavalle. I am very grateful for suggestions

and criticism to several colleagues and friends: Hans Baron, Dino Bigongiari, Lucile Bush, Vittorio Gabrieli, Ruth W. Kennedy, Paul Oskar Kristeller, Hanns Swarzenski, and, above all, Erwin Panofsky. To two good friends, Richard Krautheimer

and Richard Offner, I feel a special gratitude. Richard Krautheimer read the manuscript and made many valuable observations. Richard Offner lent me several photographs for study or for reproduction, and he was unsparing of his own time in bringing to my hypotheses his incomparable knowledge of the painting of the time. My wife has been helpful in innumerable ways. Throughout the period of preparation and composition she maintained unfailingly just the right blend of enthusiasm and indifference.

MILLARD MEISS New York City, June 1950

Painting in

Florence and Siena |

after the Black Death

BLANK PAGE —

INTRODUCTION N ONE Of his T'recento novelle, written around 1390 toward the end of his life, Franco Sacchetti relates the following incident: “In the city of Florence, which has always been rich in talented men, there were once certain painters and other masters who were at a place outside the city called San Miniato al Monte for some painting and other work that had to be done in the church; after they had had a meal with the abbot and were well wined and dined, they began to converse; and among other questions, this was posed by one of them called Orcagna, who was head master of the noble oratory of Our Lady of Orto San Michele: “Who was the greatest master of painting that we have had, who other than Giotto?’ Some replied Cimabue, some Stefano, some Bernardo [Daddi], others Buffalmacco, and some named one master, and others another. ‘Taddeo Gaddi, who was one of the company, said: ‘Certainly there have been plenty of skillful painters, and they have painted in a manner that is impossible for human hand to equal; but this art has grown and continues to grow worse day by day.’ ’” The story, which has come down to us incomplete, then takes a jocular turn in the remarks of the sculptor Alberto di Arnaldo. He belittles the opinions of the others, saying that excellent painters, the equals of Giotto, were working at that very moment—the Florentine women, whose skill in cosmetics corrects the defects of the greatest painter of them all, God. The proposals for Giotto’s nearest rival have an authentic ring, and it is generally agreed, though we cannot be certain, that the story reflects a conversation at a gathering at S. Miniato in the late ’fifties.» We know all the artists present and those men-

tioned in the discussion—one group, Taddeo Gaddi, Orcagna, Bernardo Daddi, Cimabue, Alberto di Arnaldo by their works, another, Stefano and Buffalmacco (the St. Cecilia Master?), by reputation. We should expect the assembled masters to accept the preeminence of Giotto without question. And as for the choices expressed by the group, they are remarkable, so far as we can judge, only for the omission of Maso, surely Giotto’s greatest follower, and perhaps Nardo. Taddeo Gaddi himself was not 1 “Nella citta di Firenze, che sempre di nuovi Bernardo, e chi Buffalmacco, e chi uno e chi uomini é stata doviziosa, furono gia certi di- un altro. Taddeo Gaddi, che era nella brigata pintori, e altri maestri, li quali essendo a un disse: per certo assai valentri dipintori sono luogo fuori della citta, che si chiama San Mini- stati, e che hanno dipinto per forma, ch’é imato a Monte, per alcuna dipintura e lavorio, possibile a natura umana poterlo fare; ma che alla chiesa si dovea fare; quando ebbono questa arte € venuta e viene mancando tutto desinato con l’Abate, e ben pasciuti e bene di” (Novella 136). avvinazzati, cominciarono a questionare; e tra 2 Orcagna was capomaestro of Or S. Michele l’altre questione mosse uno, che avea nome from 1355 to 1359, and both Taddeo Gaddi l’Orcagna, il quale fu capo maestro dell’ora- and Alberto di Arnaldo were in Florence at torio nobile di Nostra Donna d’Orto San that time (see J. von Schlosser, Quellenbuch Michele: qual fu il maggior maestro di dipig- fiir Kunstgeschichte, xvi, Vienna, 1896, p. nere, che altro, che sia stato da Giotto in fuori? 3.49). Chi dicea, che fu Cimabue, chi Stefano, chi 3

INTRODUCTION

proposed, possibly because he was present; nor Orcagna, who was both present and the proponent of the question. Quite surprising, however, at least on first consideration,

is the statement of Taddeo Gaddi. For it goes beyond an acceptance of the superiority of Giotto, already dead some twenty-three years, to assert a continuous decline of the art into the present moment.’ Though laments about the state of contemporary art are common enough in history, precisely in the fourteenth and fifteenth centuries they were exceedingly rare. Taddeo’s pessimistic opinion is thus exceptional in its time, and it is all the more remarkable because of the occasion on which it was expressed. For it was spoken in the very presence of Orcagna, certainly the greatest Florentine Trecento painter after Giotto, excepting only Maso di Banco. And it ignores the stature not only of Orcagna but of

his brother Nardo and of Andrea Bonaiuti, who were inferior to Maso but no less gifted than any of the other masters of the earlier part of the century, Bernardo Daddi and Taddeo Gaddi himself included. The significance of this extraordinary judgment may be grasped, I believe, if we consider the historical position and the taste of its author. Taddeo Gaddi was the most devoted pupil of Giotto. He had worked with him, according to Cennino Cennini, for twenty-four years, and in the later fifties he was the only veteran of Giotto’s circle still alive. Elis insights and his taste were those of an earlier time, and the utter failure to recognize the greatness of Orcagna, if we may trust Sacchetti, suggests an important truth—the profound difference of the art of this painter and his contemporaries from that of Giotto and his successors in the earlier part of the century.

This difference implies not only that people with a taste formed in the earlier Trecento might fail to understand Orcagna, but also that some members of Orcagna’s generation might feel less enthusiastic than their elders about Giotto. Possibly we may find an intimation of this in a rather cryptic comment of a writer of the time. In the great chorus of approval of the painting of Giotto that begins with Dante and Riccobaldo and extends into the fifteenth century there was only one discordant note. It was introduced by a writer just a few years younger than Orcagna, Benvenuto da Imola. Though Benvenuto was not Florentine, he lived for a time in Florence* and he was quite familiar with Florentine critical and historical thought. In his commentary on the Divine Comedy, which he wrote ca. 1376, he upheld the reputation and the superiority of Giotto, but qualified it with what, in the light of earlier and later opinion, amounts to heresy. “Giotto,” he said, “‘still holds the field because no one subtler than § The story has been mentioned by previous lation in part incorrect); W. R. Valentiner, in writers simply as evidence of the pessimism, the Art Quarterly, xu, 1949, p. 48 (Taddeo’s the “Epigonengefiihl,” of all the artists present. reply incorrectly read). ) See J. v. Schlosser, in Kunstgeschichtliches *From 1357 to 1360 and in 1373-1374 (see Jahrbuch der K. K. Zentralkommisston, 1v, P. Toynbee, Dante Studies, London, 1902, pp.

1910, p. 126; P. Toesca, Florentine Painting of 218-222).

the Trecento, New York, n.d., p. 50 (the trans-

4

INTRODUCTION

he has yet appeared, even though at times he made great errors in his paintings, as ! have heard from men of outstanding talent in such matters.’” These are serious charges against the man who had been widely hailed as the founder of modern painting and the greatest master since the Greeks. They have been ignored by almost all later historians, and recently one scholar has attempted to dispel them by

attributing their meaning exclusively to their context. Benvenuto’s statement occurs in the course of his discussion of Dante’s famous passage on the transitory nature of fame. The poet says that the renown of Oderisio the miniaturist was short-lived because he was immediately succeeded by Franco, just as Cimabue was eclipsed by Giotto.

O vana gloria dell’umane posse, Com’ poco verde in su la cima dura, Se non é giunta dall’etadi grosse! Credette Cimabue nella pittura Tener lo campo, ed ora ha Giotto il grido, Si che la fama di colui é oscura.®

It has been suggested that Benvenuto’s reference to the great errors of Giotto was simply contrived ad hoc, to extend to this painter also Dante’s thought about the brevity of fame.’ But neither the verses themselves nor Benvenuto’s comments permit this interpretation. Dante was concerned first of all with reputation and renown, not with problems of criticism and value. Benvenuto himself understood this, devoting most of his commentary on the passage to a discussion of Dante’s condition for the loss of fame. The glory of Plato, he says, was dimmed by Aristotle. But since Aristotle was not followed by a philosopher equally as subtle, his reputation survived to the present day.® Virgil enjoyed a similar good fortune, for similar reasons, while Cimabue was unlucky enough to find himself not ‘in aetatibus grossis” but “subtilioribus.’’ Giotto on the other hand, Benvenuto says, had no equally subtle successor. Benvenuto would have been inconsistent then if he had supposed a necessary decline in Giotto’s reputa-

5“ . . Giottus adhuc tenet campum, quia writing about 1395, says that he made two nondum venit alius eo subtilior, cum tamen errors in the Campanile, of which he was aware fecerit aliquando magnos errores in picturis and which led him to die of a broken heart. suis, ut audivi a magnis ingeniis’ (Comen- ‘“Composie et ordind il campanile. . . . Comtum super Dantis Aldigheritt Comoediam, missevi due errori: l’uno, che non ebbe ceppo

ed. Florence, 1887, II!, p. 313). da pié, l’altro, che fu stretto: posesene tanto

¢“O empty glory of human powers! How dolore al cuore, ch’egli si dice, ch’egli ne ‘inshort the time its green endures at its peak, fermo e morrissene” (see Milanesi in Vasari, if it be not overtaken by crude ages! Cimabue 1, p. 371). Schlosser, op.cit., p. 124, refers to thought to hold the field in painting, and changes in the design made by Giotto’s suc-

5.

now Giotto has the cry, so that the fame of the cessors as a possible source of the Anonimo’s

former is obscured.” (Purgatorio, XI, 91-95.) fable.

7R. Salvini, Grotto, Rome, 1938, p. ili. 8“... fama Platonis non diu viguit in alto,

A later Dante commentator, perhaps under quia Aristoteles subtilior diminuit et offuscavit

. the influence of Benvenuto, also imputed gloriam eius; sed quia post Aristotelem non errors to Giotto, but in architecture, where venit alius subtilior, ideo fama adhuc viget” they are far less significant. The Anonimo, (Comentum ctt., p. 311).

INTRODUCTION

| tion; and if he himself had for some personal reason felt called upon to detract from it, would he not have written simply and vaguely that nowadays “some people are no longer unqualified in their praise’’ rather than the careful statement “‘he made great errors, as I have heard from outstanding critics”? It seems indeed quite probable that Benvenuto’s comment was not provoked by Dante’s text alone, but reflected current

criticism of Giotto’s pictorial style.’ ,

Whatever the real meaning of Benvenuto’s remarks, a certain kind of adverse criticism of the work of Giotto and his followers was certainly common at this time in the paintings themselves. Every one of the younger masters after 1345-1350 rejected, at least in part, Giotto’s most easily imitable accomplishment, linear perspective. None attempted to rival the equilibrium in his art between form and space, or his supple _ figures moving freely in a measured, easily traversible, receptive world. And which of these masters subscribed without equivocation to his conception of the divine imma-

nent in an exalted and profoundly moral humanity? In all these respects Maso di Banco, of whose activity we do not hear after the early ‘forties, was Giotto’s last follower. It is striking that the influence of this major master was not dominant in the late forties and ‘fifties. He had no real succession among the younger painters, who turned unanimously to Orcagna and Nardo.*°

All of this is indicative of an important change in style and in taste around the middle of the fourteenth century. Variety and change there was of course in the preceding years, too, however dominant the figure of Giotto. The space with which he had surrounded his figures was extended and deepened, the environment made more specific and more familiar. In the hands of Taddeo Gaddi his massive forms became ponderous and rather assertive, in Bernardo Daddi refined and lyric. Maso introduced a marvelous subtlety of color, and gave to the ambience of the figures a wholly new intensity of form and meaning. Other painters, the S. Cecilia Master, Pacino, Jacopo del Casentino, the Biadaiolo Master, whose work has been defined in recent years chiefly by Richard Offner,™ heeded Giotto’s example relatively little, seeking an effect of greater animation and spontaneity, and a more fluid mode of expression. They avoided the grave and the monumental. Unlike Giotto and Taddeo and Maso they

,6

° It is true that eulogies of Giotto were not 10'This statement seems to me essentially lacking around this time. Petrarch spoke ad- correct even though some elements of Maso’s miringly of him in a letter, and in his will of style were assimilated by two or three younger 1361 he referred to the praise of the “magistri masters, among them the author of the frescoes artis” as Benvenuto had of the “‘ingenii.” But of the Nativity and Crucifixion in the ChioPetrarch, living far from Florence, may not strino of S. M. Novella (Van Marle, The Dehave been in close touch with the growth of velopment of the Italian Schools of Patnting, Florentine opinion on the arts. Boccaccio’s The Hague, 1924, ul, fig. 241), and Orcagna famous statement in the Decameron was writ- himself. ten in 1350-1352, thus at the very beginning of 11 Studies in Florentine Patnting, New York, a profound change of taste in Florence. (For 1927, pp. 3-42, and Corpus of Florentine Paintthe passages in Petrarch and Boccaccio, see ing, New York, sec. m1, vols. 1, 1931, and un,

Salvini, op.ctt., pp. 4-5.) 1930.

INTRODUCTION . were more effective in smaller works—tabernacles, miniatures, little histories in altarpieces—than in fresco. The departures of the mid-century from Giottesque style, however, are not connected with differences of scale or technique or the conditions of exhibition: they appear in large murals as well as in retables, tabernacles, and minia-

tures. And whereas some of the masters of the earlier part of the century are un- : Giottesque, most of the later ones are, in a sense, anti-Giottesque. There were similar changes in Siena, too, around the middle of the century. The great styles that succeeded one another during the preceding fifty years—those of Duccio, Simone Martini, Pietro and Ambrogio Lorenzetti—show despite their diversity many related qualities and a certain community of purpose. They constitute a rather orderly development, the younger painter in each instance developing one or another aspect of the older master’s style. Around 1350 this continuity seems interrupted. Though the influence of the earlier tradition persists, many of its fundamental elements were rejected, and others were combined in a new and wholly different way. These transformations occurred despite the fact that only one of the painters active at this time, Barna, approximated in stature the great masters of the preceding years. He belonged to an earlier generation, however, and with all his originality he remained

in many ways more fully within the tradition of the first half of the century. The — younger painters, Bartolo di Fredi, Luca di Tommé, Andrea Vanni, were all less gifted, but they created distinctive forms nevertheless, very similar to one another and related

to those of contemporary Florence without being dependent upon them. | Previous accounts of Sienese painting of this period have been devoted less to the

analysis of its distinctive character than to its dependence upon the art of the earlier , part of the century.’ It has always, furthermore, been studied separately from Florentine. And when these studies have been part of a comprehensive account of Italian painting, they have emphasized the differences between the two schools rather than the similarities, although they have pointed to the influence upon the Florentines of the earlier art of Simone Martini and the Lorenzetti.** Without minimizing these differences, our present purpose is to consider those aspects of the form and content

of the two schools that are related. ,

These similarities between the painting of the two towns are interesting in the light of the remarkably similar circumstances surrounding their appearance. Though the history of the two city-states had corresponded in many ways from the late twelfth century onward, the resemblances between them were especially numerous just before

and after the middle of the fourteenth century. During this brief period, both the 12 See for instance C. Weigelt, Sienese Paint- and F. Antal (Florentine Painting and tts Soing of the Trecento, New York, 1930, pp. 56-57. cial Background, London, 1947, p. 205). But 18 Resemblances between Florentine paint- I cannot agree with Antal’s belief that Gio-

ing of the period and Bartolo di Fredi have vanni del Biondo and several contemporary already been observed, however, by G. Gom- Florentine painters were influenced by Fredi. bosi (Spinello Aretino, Budapest, 1926, p. 14) 7

INTRODUCTION

Sienese and Florentines lived through a series of deeply disturbing events, which provoked in each a social, moral, and cultural crisis. For what light it may throw on the similarities of their painting, therefore, we shall consider the history of the two people together—their common experience of economic failure, pestilence and social conflict, their fear, their sense of guilt, and the varieties of their religious response.

8

THE NEW FORM AND CONTENT ORCAGNA’S ALTARPIECE HE most impressive Florentine painting of the third quarter of the fourteenth century that has come down to us Is the altarpiece in the Strozzi Chapel of S. M. Novella, painted by Andrea Orcagna between 1354 and 1357 (Fig. 1). A landmark in the history of style, it is also unprecedented in subject, at least among Florentine and Sienese retables of the great epoch in painting that began with Giotto and Duccio. Of the dozens of altarpieces that were painted by them and their successors during the first half of the fourteenth century, none so far as I know represents the full-length adult Christ in the central field. Nor does any of these earlier altarpieces show Christ in

the act of disseminating doctrine and granting ecclesiastical authority. During this period of fifty years only one polyptych presents even the half-length Redeemer in its main field.? With this single exception Christ appeared in the central panels of altarpieces only as an infant, on the arm of his mother or in her lap. As an adult he was either banished from altarpieces entirely or relegated to a pinnacle or the predella; and even then he was often given the pathetic form of the wounded man, the Man of Sorrows, rather than the omnipotent King. Before 1300, however, the majestic Christ not infrequently occupied the main panel of altarpieces; in Tuscany he was usually but not always in half-length (Fig. 2),? in Rome and its environs quite commonly enthroned (Fig. 3).* Many of these earlier works, too, represent intercessors at the side

of the impersonal transcendent Redeemer: the Virgin and John the Baptist, as in Orcagna’s altarpiece, or, especially in Rome, the Virgin and John the Evangelist.‘ 1Polyptych from the workshop of Giotto, Mosatken und Malereien, Freiburg, i/B, 1917, the central panel by the master himself, pub- i, pp. 1101ff., and W. F. Volbach in Rendilished by W. Suida, in the Burlington Maga- contt della Pont. Accademia Romana di zine, LIX, 1931, p. 188. The half-length Re- Archeologia, XviI, 1940-41, pp. 97-126. The deemer appears between the Virgin and the paintings are bound up with. the cult of the Baptist. The polyptych, improperly recon- Acheiropoieta or miraculous image of Christ structed, has just entered the National Gallery in the pontifical oratory of the Sancta Sanc-

in Washington. torum. The cult spread to the towns near 2.In addition to the altarpiece of 1271 by Rome, each of which had a similar image Meliore (Fig. 2), the half-length Redeemer ap- painted during the twelfth, thirteenth, and pears in the Pisan polyptych of ca. 1275 in subsequent centuries. The cult of the image in Pisa, Museo Civico, Room 11, no. 3, and in the Rome was fostered by the popes, for whom it Cimabuesque polyptych in the National Gal- was a symbol of authority and power.

lery, Washington. The retable of 1215, in the *In the fresco of the Last Judgment by

Pinacoteca, Siena, shows a full-length Christ Nardo di Cione on the wall behind the altarin a mandorla between the symbols of the piece, undoubtedly planned at the same time,

evangelists. Christ as judge is again accompanied by the 8On the altarpieces of the enthroned Re- Virgin and the Baptist as intercessors.

deemer in Lazio, see J. Wilpert, Die rémische 9

THE NEW FORM AND CONTENT

Orcagna’s design is reminiscent then of an older religious outlook and an older artistic convention—a convention that was most strongly established and most persistent in

the immediate vicinity of the Papacy. Orcagna’s majestic Redeemer, a major innovation just after the middle of the century, did not remain unique in its time. Shortly afterward Giovanni da Milano introduced a similar figure in the central field of a polyptych (Fig. 4). In this panel, now in the collection of the Conte Contini-Bonacossi in Florence, Christ is seated on a faldstool, adored, as in the Pala Strozzi, by four angels. We hear, too, of the figure of the Eternal in the main panel of a triptych that Boccaccio is said to have commissioned in 1366 for the church of SS. Michele e Jacopo in Certaldo. Though it and a companion altarpiece are lost, it seems probable that God was shown full-length and enthroned because Boccaccio, the donor, was represented kneeling on his right.° While all these representations revive the earlier tradition of the Majesty, Orcagna’s

joins to it the Deésis and allots additional roles to Christ and the Virgin Mary that demonstrate the connection of the Church with the Deity. Mary acts as sponsor of Thomas Aquinas as well as intercessor for mankind, and Christ appears as the source of doctrine and the founder of the Church. With an effortless, seemingly unconscious though inexorable gesture, defined chiefly by falling diagonals that extend unbroken from his shoulders to his hands, Christ extends the book and the keys to the kneeling Thomas and Peter.* Though he is thus related to these two saints and to the four angels

below he is at the same time isolated from them and the surrounding space by the mandorla in which he is suspended. ‘The two rigid arcs formed by the cherubs cut his space decisively from that around. This exclusive space is snapped shut above and below by pairs of cherubic wings, pointed and crossed like the blades of a shears. Orcagna’s Christ, like those of the early Dugento, is a transcendent figure, superior to specific:acts and functions. Frontal, elevated, and almost motionless, he looks directly outward with glowing but unfocused eyes. Looming before a yellow radiance intensified by the dark blue of his mantle, he is a visionary but massive figure, seated but without visible means of support. ‘These paradoxes are continued in the definition of his position in space. He seems both near and far: near because his form is large, insistent, and linked with Thomas and Peter, more distant because the four kneeling 5 The triptych represented the Eternal e Jacopo di Certaldo, Orvieto, 1913, pp. 24between the Baptist, Boccaccio’s patron, and 26, 34. Mark. The second altarpiece represented the A detail of the panel by Giovanni da MiMadonna between St. Catherine of Alexandria lano (Fig. 4) was published (as a work of this | and S. Miniato. Both triptychs were said to painter) by R. Longhi in Critica d’arte, v, 1940, show Boccaccio’s arms. See Florence, Biblio- p. 150, fig. g. teca Nazionale, Ms Cappugi 124, fol. g (early §See H. Gronau, Andrea Orcagna und sixteenth century); O. Bacci, Burle ed arti Nardo di Cione, Berlin, 1937, pp. 14-15, for magiche di Gio. Boccaccio, Castelfiorentino, the antecedents of this aspect of Orcagna’s 1904, p. 3 (Nozze D’Ancona—Cardoso); G. representation in the illumination of the DeBilanovich, Restauri boccaccescht, Rome, 1945, cretals. p. 168, and D. Tordi, La chiesa det SS. Michele

10

ORCAGNA’S ALTARPIECE

angels, set away from the lower frame and much smaller in scale than the adjacent figures, press backward the mandorla that surrounds him. It is apparent that the qualities of Christ’s form and of his exclusive space are partly incommensurate with those of the rest of the composition. Thomas, the theologian, responds thoughtfully to Christ; Peter, the militant churchman, with intense fervor—the same fervor that he shows in the Navicella of the predella. There again Christ, though addressing him, does not return his gaze. The Bap-

tist is a dour double of Christ, frontal, and, like him, encased in a mantle that binds and limits his gesture. The Virgin is more relaxed, and her brooding eyes and parted lips are not without a certain sensuousness. But this is countered by the tightly wound wimple that covers her throat, cheeks, and forehead. Very seldom worn by the Virgin, though recurring in the work of Orcagna and his circle, it gives her an ascetic and monastic look.” On her cheeks, as on those of Christ and the saints, there is a hot, unnatural blush. The saints at the limits of the design, coupled as in the Parry altarpiece of Daddi’s workshop (1348) although now within a more constricted space, are freer in movement

and more varied in posture (Figs. 1, 6, 7). But the conflicts inherent in the figure of Christ are present in these areas of the composition also. Since Catherine, for instance, is overlapped by the melancholy Michael and his dusky dragon, she seems deeper in space. The forms of these two figures tend on the other hand to be unified, in a thoroughly un-Giottesque way: the diagonal sweep of Catherine’s mantle parallels that of Michael’s, her book and palm are the same green as his cuirass, and the pink vertical strip of the underlining of his mantle runs into the orange border of hers, eliminating any spatial interval between the two. The planes of his figure, turning independently of his action, glide backward, merging with hers. On the other hand, the beautifully patterned light yellow and gold mantle of Catherine tends to come forward alongside the gray-blue figure of Michael, an emergence that is deliberately enhanced by her slightly greater scale. At the opposite extremity of the polyptych Lawrence and Paul, though more differentiated in color, are similarly related in shape. Their outlines correspond, the grate and the sword are parallel, and the dark blue orphrey of Lawrence is equated with the dark blue vertical strip of the inner surface of Paul’s mantle

that extends downward from his shoulder. The light orange and white robe of Lawrence, like Catherine's in value and design,’ starts forward in much the same way. The predella shows similar tensions in spatial relations. ‘Though in the scene at the left, the Mass of St. Thomas, Orcagna renounced the usual architectural setting and 7 Orcagna gave the Virgin a wimple again in ‘must have been drawn from a cloth in the his relief of the Assumption in Or San Michele Cione workshop. A similar bird appears in (Fig: 8) and she wears it in Nardo’s frescoes of textiles in other paintings of the circle, such the Paradise and the Last Judgment in the as Nardo’s Madonna in the New-York Histori-

Strozzi Chapel. cal Society (Fig. 11) and Jacopo di Cione’s . 8 The patterns of both contain a beautiful Madonna in the Accademia (Fig. 138). figure of a bird resembling a parakeet that

1]

THE NEW FORM AND CONTENT

placed the figures against the gold ground (Fig. 168), at the right, just below Peter (the most massive of the figures), he introduced a building that constructs an emphatic and rather abrupt cubic space. But within the violet walls of this chamber the bed is tilted upward toward the picture plane, and the tall man at the right, larger than the soldier in front of him, tends to move forward, his emergence supported by the attraction between his scarlet cloak and the more saturated scarlet in the foremost figure at the left. Within the figures there are tensions similar to those between them. They have a sort of dense substantiality, a mass that is confined, repressed, and even denied by outlines that obstruct the implied turning of the planes. The hair of the somber Baptist, instead of continuing, at its limits, to curve around the head, rises into five locks that

fan out in the plane of the gold (Fig. 30). The ears are scarcely foreshortened. To enhance the assimilation of the volumes to the broad vertical plane, four of the nine large figures are shown either in perfect profile or in perfect frontality. The ground itself on which they stand is twisted around into the same plane by the gilt motifs strewn over it and by its intense orange-red color. Inasmuch as the motifs are unforeshortened, they deny recession. And, like the patterned background of Orcagna’s relief of the Assumption (Fig. 8), they maintain the continuity of the vertical plane in the interstices between the figures. The scarlet color of the ground recurs, though sometimes less saturated, throughout the upper areas of the composition and even in the frame. It appears in the lining of Peter’s mantle, in the borders of the mantle of the Virgin, the Baptist, and St. Catherine, and on the Baptist’s staff. Often it is set alongside a strong blue or a gray-blue. The cherubim, the spaces between the dentils of the frame, and the four angels above the arches alternate between those two colors. hey are almost equally intense, one very warm, the other cool, and they compete and conflict. They compose the basic chord in the color sequences of the altarpiece. The same artistic intention that shaped the composition of the figures is manifest | in the frame. The altarpiece is a polyptych of five compartments. The exigencies, however, of the central subject and the desire to assert and to maintain the unity of the painted field led Orcagna to omit from the framework the four colonnettes that would normally divide the compartments. The colonnettes are not, however, wholly missing. They are implied by the capitals underneath the arches, by the shafts in the spandrels, and by the bases below, which define the compartments without interrupting the rhythmical movements of the composition. The ghosts of the colonnettes themselves are present. They are tooled into the gold—a remarkably ambiguous and ingenious

solution.*® The structure of the altarpiece is thus stated in part forte and in part pianissimo. ® Though Orcagna is not as concerned with the frame is notable. Below the base at the far

tectonic qualities as Giotto and the Giotteschi, left he set the lectern. his placement of the building as a supporting 10 Farlier altarpieces representing the Maesta member below St. Peter and below the base in or historical scenes sometimes omit the colon-

12

ORCAGNA’S ALTARPIECE

For similar purposes Orcagna has altered in other ways the traditional skeleton of

the Gothic altarpiece. The flat fields above the pointed arches sparkle with gilt tendrils and flowers that are consistent with the patterns in the robes of Lawrence, Catherine, and the angels. They serve to extend the plane of the painted area into the frame and thus to counter the effect inherent in earlier altarpieces, and to some extent in this, of looking through a frame at a scene behind. Furthermore, the central field is enlarged by the addition of two lobes, which oppose the normal progression of the straight lines and the contraction of the space, and, incidentally, compose a shape that resembles the crown of Christ below. The predella is likewise of novel design. ‘There are only three scenes, and they are not divided by the usual shafts. The corners of each are beveled, and there are large flat fields between them that are filled with the same pattern as the fields at the upper limits of the altarpiece. Some peculiarities of the frame of the Strozzi altarpiece recur in other altarpieces of the period. In the triptych of the Trinity in the Accademia, dated 136% and painted by a follower of Nardo (Fig. g), the progression of the pinnacles is interrupted by quatrefoils which curve outward beyond their limits and which are filled with painted forms that create a divergent lateral movement. The pinnacles are completed above the quatrefoils, but on a different scale and angle. Similar shapes and displacements appear in Giovanni del Biondo’s altarpiece of 1379 in the Rinuccini Chapel, S. Croce.** These recurrences of details of the frame of the Pala Strozzi are only symptoms, as we shall see,

of its extensive relationships with the painting of the entire period.

The Strozzi altarpiece is, in my opinion, the only painting executed by Orcagana himself that has been preserved in its entirety. There are however a few other paintings,

and some sculpture, for which this leading Florentine master was wholly or in part responsible. We first hear of him in 1343 or 1344, when he was registered in the guild of physicians and apothecaries. In 1352 he entered the masons’ guild, and he directed during the following seven or eight years the greatest sculptural enterprise of the time, the elaborate marble tabernacle for Or San Michele, which was very nearly completed in 1359 (Figs. 5, 8, 28). In 1354 he undertook to paint for the chapel of the family of Tommaso Strozzi in S. M. Novella the altarpiece which we have already considered (Fig. 1). It is signed and dated 1357. From 1355 to 1359 he acted as capomaestro of Or San Michele, and from 1359 to 1362 he held a similar position at the cathedral of Orvieto. There he made, significantly enough, a mosaic. During the ’sixties in Florence his counsel on problems arising at the cathedral was frequently sought, and nettes for the sake of a larger field, but I do donna at S. Ansano). not recall one which preserves the bases, or in 11°Van Marle, op.cit., ui, fig. 294. Giovanni which colonnettes are tooled in the gold back- Bonsi’s polyptych of 1371 in the Vatican also ground (see Simone Martini’s Annunciation, shows the influence of the structure of the Ambrogio Lorenzetti’s Maesta and Presenta- Strozzi altarpiece. tion in the Temple, Pietro Lorenzetti’s Ma13

THE NEW FORM AND CONTENT

he served on a commission that furnished a drawing for the construction of the building itself. He fell ill during the summer of 1368 while he had in hand an altarpiece of St. Matthew for the Arte del Cambio (Fig. 59), and he apparently died shortly thereafter.” Along with this work as sculptor, architect, and administrator, Orcagna was busy with painting during most of his career. Of the many frescoes and panels of which

there are documentary records and of which early writers speak, little besides the Strozzi altarpiece has survived. Nothing remains of the two chapels in the Annunziata which Ghiberti said he frescoed, nor of a chapel in S. Croce. The extant Crucifixion and Last Supper in S. Spirito, probably the paintings that Ghiberti listed as his, seem to me actually only the work of close followers.“ In the nave of S. Croce fragments have been discovered of his “tre magnifiche istorie,” the Triumph of Death, the Last

Judgment, and Hell (Figs. 83, 84, 86), the latter executed in part by assistants. Just | a few years ago a small part of his work in the choir of S. M. Novella came to light— figures of prophets in quatrefoils in the vaults. These paintings, largely the work of assistants, give us valuable intimations of Orcagna’s early style.** ‘The forms, still reminiscent of Maso, are not as tense or as severe as those in the Strozzi altarpiece of 1354-

1354. The only definitely dated work from the late years is the altarpiece of St. Matthew, now in the Ufhzi, for which he received the commission in 1367 (Fig. 59). Orcagna probably laid this work out but, as we know from a document, it was com- | pleted by his brother, Jacopo di Cione. The Strozzi altarpiece of 1354-1357 thus remains the only complete work actually painted by Orcagna himself.

THE MADONNA BY NARDO : The preceding analysis of the Strozzi altarpiece has not attempted to explore all the , subtleties of Orcagna’s art nor the full richness of form and color that make the altarpiece the greatest painting of its period. It has sought rather to disclose certain qualities of his style that are fundamental to the more advanced painting of the time. These qualities are to a considerable extent the creation of Orcagna himself, but very similar ones appear in the painting of Sienese masters who may not have known his work, and the paintings of his closest Florentine associates and followers show related forms that 12 See the documents and records assembled these attributions is convincing.

by K. Steinweg, Andrea Orcagna, Strasbourg, 14The frescoes were published by Beche-

1929, PP. 53-59- rucci, /oc.cit. On the basis of a document pub-.

12 These frescoes have recently been pub- lished in part by C. di Pierro in Gtornale lished as the work of Orcagna and Nardo by storico della letteratura italiana, xvi, 1906, “. Becherucci, in Bolletiino d’arte, Xxx, pp. 15-16, she dates the frescoes approximately 1948, pp. 24-33, 143-156. Becherucci also attrib- between 1340 and 1348 (as does also J. Wood utes to Orcagna, as early works, the Crucifixion Brown, The Dominican Church of S. M. No-

and the Nativity in the Chiostrino of S. M. vella, Edinburgh, 1902, p. 128). H. Gronau’s Novella mentioned in the Introduction, note plausible interpretation (op.cit., p. 66) of this 10, and a fresco (a very mediocre fresco) of the document places the beginning of the frescoes Disputa of St. Catherine in S. Trinita. None of in 1348. 14

THE MADONNA BY NARDO

cannot be shown to derive directly from him. Orcagna was the leading figure of the

new style, but not its sole creator.

The qualities of form and content that differentiate the painting of the middle of the century from preceding styles appear in varying measure and combination, of course, and always within the context of individual taste and creativity. Nardo, for instance, tends to be gentle where his brother Orcagna is severe, mild and sensuous where he is tense and ascetic. His beautiful large panel, perhaps of 1356," in the NewYork Historical Society (Fig. 11), shows nevertheless many basic relationships with the Strozzi altarpiece. Like Christ in Orcagna’s painting, the Virgin is frontal, elevated,

and almost motionless. Though she appears to be seated, what she sits on is not visible.** She is sustained by formal rather than by natural means, unlike earlier Florentine Madonnas, such as Giotto’s (Fig. 10), in which a throne and a podium are - prominent. She is closely identified with, almost embedded in, a perfectly flat, richly figured textile that has a very active outline above; it loops upward to a point, but is quiet below. This ascending movement helps to fix the Madonna high in the area. Less | of the drapery, furthermore, is visible below; it and the lower part of the figure of the

weight. : |

Virgin are constricted by the two Saint Johns. The corresponding area of Giotto’s }

design, on the other hand, contains an expanding figure and architecture. For these and other reasons Nardo’s Madonna, though quite massive, is without suggestions of The formality of the Madonna is enhanced by the repeated horizontals that cross

her figure—her hand and Christ’s arm, and the broad band of ermine. They are

extended to the frame by the heads of the saints. The glances of the saints and of the Virgin tend to be horizontal, too: Zenobius and the Baptist look slightly upward toward the Child, but Reparata and John the Evangelist, though just below Christ, look off to the left. ‘Their glances, moreover, are not clearly focused. Thus, as in the Strozzi altarpiece, there is little direct communication between the figures, and even less between the figures and the spectator. The Virgin as well as the saints seem aloof, self-absorbed, and their eyes are partly veiled by lowered lids. Giotto’s Madonna is very different. In it the glances of all the saints and angels are directed upward at the Virgin or the Child. These glances are expressive of the great potential activity of the figures, and they are counterparts of the dynamic structure of * Because of its style and the presence of for having Nardo’s Madonna cleaned before it four patron saints of Florence—the two Saint was photographed for this book. The work Johns, and Saints Reparata and Zenobius—the was skillfully done by Ingrid Marta Held. painting may be identical with one signed by 1¢'There are numerous examples of the Nardo and dated 1356, once in the rooms of the seated Madonna without a throne in the paintGabella de’ Contratti in Florence. However, ing of the third quarter of the century. See, Gronau, op.cit., p. 58, dates it in the ’sixties. for instance, a tabernacle by a follower of For information about Nardo’s career see Nardo in the Parry collection, Gloucester, a

Appendix 11. Cionesque tabernacle in the Museum MeerI am very grateful to Dr. R. W. G. Vail, manno-Westreenianum in The Hague, and

director of the New-York Historical Society, one in the New-York Historical Society (8-11). 15

THE NEW FORM AND CONTENT

weight, thrust, and support. They-enhance, too, the effect, created especially by the perspective of the throne, of a specific point of sight that brings the observer into an immediate and fixed relation with the entire group. The Madonna looks directly at him, and the open space below her provides for him a figurative path of access up a series of steps. The four angels are very near in this vivid, easily traversible space. Standing or kneeling in adoration of the Madonna, and offering flowers or a crown,

they are equated with, just as they define, the attitude of the observer. All of this 1s : very dissimilar from Nardo’s painting, which in many ways is less like the Madonnas of Giotto or his followers than those of the mid-thirteenth century (Fig. 16).

FROM NARRATIVE TO RITUAL The Strozzi altarpiece by Orcagna and the large Madonna in New York by Nardo have given us an insight into the character of mid-Trecento representations of cult images and dogma. For an understanding of historical painting we must turn to the work of other masters, because nothing of this kind by either of the brothers has been well preserved except the small panels of the predella of the Strozzi altarpiece. Let us consider a painting of the Presentation in the Temple in the Florentine Academy, the central panel of a triptych executed in 1364 (Fig. 13).*” It is the earliest work, or rather the earliest definitely dated work, of Giovanni del Biondo, a Florentine master with a very indifferent reputation. The productions of the latter part of his career are, it is true, mock-intense, vapid, mechanical. ‘The dreary impression of these later works has tended to obscure the fact that during his early years he painted several panels of real strength and beauty.

The painter of the Presentation had evidently studied very closely the style of Orcagna and of Nardo; perhaps he had been trained by them. We can in fact find him, I believe, among the assistarits in the Strozzi Chapel, the frescoes of which were executed by Nardo, probably while Orcagna was painting the altarpiece. He seems to me the author of the lean, crisply painted St. Jerome on the soffit of the entrance arch of the chapel (Fig. 17),*® and probably also of the St. Gregory opposite.

If we compare with Biondo’s Presentation a painting of the same subject made around 1330 by Taddeo Gaddi (Fig. 12), we become aware of the profound differences of style that underlie Taddeo’s pessimistic judgment of the state of painting after the middle of the century. In Taddeo’s panel the poised, supple figures move freely through 11 The altarpiece came to the Academy from of them at exactly the same angle. The palm

: the western cloister of the Convento degli of the hand is a prominent and regular square, Angioli (U. Procacci, La galleria dell’Acca- set off from the wrist by a band of shadow. B.

demia, Florence, 1936, pp. 27-28). Berenson, Italian Pictures of the Renaissance,

18 Characteristic of Biondo, as we know him Oxford, 1932, p. 241, has already given to in later work, are the smooth drapery with Biondo the adjacent figure of St. Augustine, very narrow folds, the wiry line, and the pe- but of this figure, and the St. Ambrose oppoculiar hand, bent back sharply at the wrist. site, I am more uncertain. The fingers are likewise bent at the joints, all

16

FROM NARRATIVE TO RITUAL

an ample space. This space and their own position in it is defined by their roundness, by the calculated overlapping of figure and figure or figure and architecture, by the perspective of the temple and the altar, and by differences of color corresponding to differences of depth. The subject is ritualistic: the redemption of the Child, accompanied

by the fulfillment of one prophecy and the utterance of another.’® The figures are primarily concerned, however, either as actors or as sympathetic spectators with the touching behavior of the Child. He has become frightened by the gentle, but formidably bearded, old Simeon and reaches for the outstretched arms of his mother. The central incident is thus familiar, human, intimate, and the pantomime seems quite natural. Even the High Priest shows a warm benevolence. He watches with relaxed features, nodding his head informally. Though on the central axis of the composition, he is a secondary figure, standing farthest away and partly concealed by the Child. In the cavernous apse of Biondo’s panel the Child, swaddled in bands that bind his arms to his side, is set on the altar before the High Priest like some precious liturgical symbol. The action has the air of a grim and mysterious rite, performed around a large

brightly-lighted altar. The figures are divided into two groups, those who offer and | those who interpret or receive. The latter include Simeon, the prophetess Anna, and the priest, who is distinguished by his large white tiara, his black beard, and his scarlet cope. The Virgin and Joseph bow humbly before him, one presenting the Child, the other sacrificial doves. The association of the two is unmistakable, and it is not accidental that the bound, inactive Infant is held so close to the flames. The Presentation was often understood as a sacrificial act, prefigured by Abraham’s sacrifice of Isaac. In Biondo’s painting it seems to allude, at the same time, to the offering of the host in the mass. The people are rapt and noncommunicative. Though they seem deeply stirred, their feelings smoulder behind rigid masks, lighting up only the eyes. Some of their. movements and gestures are emphatic or even abrupt, but they are nevertheless highly selfcontained. Simeon’s hand is extended towards the Infant, but the fingers recoil, eliminating any sense of an imminent contact. Every movement is similarly arrested, and the figures seem frozen in their present attitudes. Most of the participants appear in profile or a position very close to it, and they extend their arms or bend their bodies in one plane only, parallel to the picture plane. Though the figures are modeled, the folds of the drapery do not wind around them, but stop at the taut and wiry outlines. The forms are thus both massive and flat. The painter, like Orcagna, has developed qualities of dense substantiality and planar linearity so as to produce an acute tension between the two. The entire space has the same character. The floor and the glaring altar table are tilted so that while they suggest extension inward they nevertheless tend to rise into place in a planar pattern. Similarly, the figures overlap each other and seem therefore

17 ,

7° See the illuminating article on the Presen- XXVIH, 1946, pp. 17-32. ,

tation by D. C. Shorr in the Art Bulletin,

THE NEW FORM AND CONTENT

to extend back into space, but at the same time they are so closely interrelated rhyth-

mically that they are drawn together into one plane. This telescoping of forms is enhanced by the color. The dark green of Joseph’s mantle is repeated in the central bay of the church, so that the nearest plane is equated with the farthest. Similarly the scarlet on the lining of the Prophetess Anna’s mantle reappears in the flame and in the mantle of Simeon. The glowing red of the Virgin’s tunic starts forward above the dusky green of St. Joseph. It is true that after the development of tridimensional space in the late thirteenth century pictorial compositions always have both planar and spatial aspects. But in the earlier fourteenth century these aspects were harmoniously coordinated where here they conflict. The oppositions in Biondo’s panel between plane and space and between line and mass are accompanied by tensions between movement and rigidity and between abruptly juxtaposed areas of widely different value. As in Orcagna’s altarpiece,

red and orange colors, closely crowded in hue and value, compete and conflict. Rounded shapes are contrasted with acutely pointed ones: the inflexible outline of Joseph’s back, for instance, with the sharp free-hanging folds of his drapery.” ‘The broad figures and forms in the lower part of the composition, grouped in a horizontal _ rectangle, are surmounted by the slim pointed arches and vaults of the apse. ‘These are the most active forms in the composition, comparable to the arcs of the drapery in Nardo’s Madonna (Fig. 11). In both these paintings the setting tends to be active, the figures still. Just the opposite relation is apparent in Taddeo’s Presentation and in other paintings of his period. The pointed arches in Biondo’s panel dart upward like arrowheads, straining against the figures and the horizontal forms of the lower part of the design. The figures are, at the same time, squeezed between the altar and the | frame, and the ponderous heads are pinched by the narrow, slight, but active arches behind them. The relation of the heads to these arches produces an effect of simultaneous opposed expansion and contraction, a sort of strained systole and diastole,

that is characteristic of all the formal relationships in the painting. : The three other Florentine paintings of the Presentation that I know from this period are essentially similar to Biondo’s in style and mood. One detail is especially significant. In two of the three paintings, as in Biondo’s panel and Orcagna’s relief on the tabernacle of Or San Michele,” Christ is tightly swaddled or wrapped in a cloth that binds and conceals his arms (Fig. 18).?? He is unfree and inactive, precisely like

the cherubim in the Strozzi.altarpiece or the Or San Michele tabernacle, who are sheathed in rigid wings (Figs. 1, 5). Though during the early Trecento Christ is often 20 A similar figure, which probably served as 21 A. Venturi, Storia dell’arte italtana, 1, Biondo’s model, appears in Orcagna’s taber- fig. 542. nacle: the apostle bending over the dead body * Cionesque predella (Fig. 18) in the Dr. of Mary in the entombment (Fig. 8). The Franz Haniel collection, Munich; Florentine long, taut, uninterrupted line of his back con- panel of about 1380 in the Dresden Pinakotrasts violently with the freer shapes and ir- thek, no. 27. regular planes adjacent to it. 18

FROM NARRATIVE TO RITUAL

swaddled in representations of the Birth and the Flight into Egypt, he appears in this way, so far as I know, in only two Presentations: Ambrogio Lorenzetti’s and the Giottesque fresco in the lower church of Assisi.” Ambrogio’s Infant, however, is loosely wrapped and very active; he puts his finger in his mouth and kicks his feet (Fig. 14). , In some fourteen other paintings of the Presentation from the first half of the Trecento the arms of the Child are quite free, flung toward the Virgin or against old Simeon.” It is apparent then that he is bound in the representations of the third quarter of the century not simply as a sign of his infancy, but to conform to a fundamentally different conception of the event. A few years later than Giovanni del Biondo a Sienese master, Bartolo di Fredi, painted a Presentation in the Temple that is now in the Louvre (Fig. 15). Bartolo’s — work is based on Ambrogio Lorenzetti’s altarpiece of 1342 (Fig. 14). He transformed Ambrogio’s design, however, much as Biondo transformed a composition like ‘Taddeo Gaddi's. Ambrogio’s deep space is curtailed, his system of perspective distorted. The inlaid floor that defined the recession and the position of the figures in space has been eliminated. The figures have been drawn into one or two shallow planes and knit tightly together by their more salient outlines and drapery folds. The light, unlike that in Ambrogio’s panel, seems to have no source. As in Biondo, it enhances the spatial ambiguity, creates a dense relief but not roundness, and accents lines and shapes _ which compose a pattern. Instead of suggesting atmosphere, it produces, as in Biondo, conspicuous glints, and on the altar table a glare. Bartolo’s colors, more saturated than

Ambrogio’s, exhibit stronger contrasts; and gilt ornament, reminiscent of Nardo, is used more extensively. A cloth spangled with golden elements is spread perfectly flat across the altar, replacing the massive arcuated structure in Ambrogio’s painting. In Bartolo’s composition, as in Biondo’s, the horizontal axis of the main block of figures is opposed by a strong vertical movement. This opposition of perpendicular axes, apparent also in Nardo’s Madonna (Fig. 11), is accompanied by a dispersal of the narrative. Whereas in Ambrogio’s concentrated design the figures are united in con-

templation of Anna’s prophecy, Bartolo has created three separate competitive centers—around the child, the priest, and the prophetess Anna. Even within these centers the figures are withdrawn from one another. Although the Virgin, the Child, and Simeon participate in a common action, none looks directly at the other. The priest and his attendant are similarly detached. 23 O. Sirén, Grotto and Some of His Follow- lery, Washington, no. 359; Pacino, Tree of ers, Cambridge, Mass., 1917, "1, pl. 93. The Life, Florence Academy and Ms no. 643 in the Child is occasionally swaddled in representa- Morgan Library; workshop of Giotto, Gardner tions of the Presentation before the fourteenth Museum, Boston; follower of Taddeo Gaddi,

century. See, for example, the ivory of the Castello, Poppi (Sirén, op.cit., u, pl. 137); ninth-tenth century in the Louvre. (A. Gold- Master of the Dominican Effigies, Poppi, Bib. schmidt, Die Elfenbeinskulpturen, Berlin, 1, Com., Ms no. 1. See also, from the late thir-

1914, pl. xLt). | teenth century, Torriti’s mosaic in S. M. Mag-

247 shall list only a few: Giotto, the Arena giore, Rome, and for the Sienese school, Chapel; Jacopo del Casentino, National Gal- Duccio, panel of the Maestd. |

19

THE NEW FORM AND CONTENT

Bartolo has introduced in the foreground the incident of the return of the Child from Simeon to Mary, which was not represented by Ambrogio. But at the same time he increased the importance of the altar, introducing a ceremony of inscription around

it and elevating the High Priest to a position of dominance in the entire scene.” Several people look up toward him, even the Child, significantly enough, while he reaches for his mother. When Bartolo di Fredi was at work on a fresco cycle in S, Agostino, S. Gimignano, representing the life of the Virgin, he again used as a model a Lorenzettian composi-

tion. His Birth of the Virgin (Fig. 20) undoubtedly was based on a fresco on the facade of the Ospedale della Scala, one of four paintings of the Life of the Virgin that were signed by Ambrogio and Pietro. The Birth itself was begun by Pietro in 1335. These frescoes have since been destroyed, but a semblance of the compositions has been preserved in numerous Sienese paintings.”® The Birth of the Virgin is reflected fairly accurately in several works, among them a panel in Asciano by a master close

to Sassetta (Fig. 19). We recognize as Lorenzettian the domesticity of setting and action. The people move quietly, with a grave and thoughtful air that transforms their homely duties into a momentous event. The space has a characteristic Lorenzettian perspective and depth, indexed, like Ambrogio’s Presentation (Fig. 14), by the

geometry of the inlaid floor. Both of the figures around whom the story revolves, St. Anne and the infant Mary, are reclining. It is characteristic of the art of the early Trecento that they, and they alone, are foreshortened. At this time the most important figures are commonly centers of the most vividly created space, just as they are vehicles of the maximum massiveness and motility. In his own design Bartolo di Fredi has again reduced the space, diminishing the effect of one of the most easily imitable aspects of his model, the linear perspective, and eliminating another, the inlaid floor. His room is seen from an eccentric position near the left margin of the painting. The opposite side of the wall of the antechamber from the one in the Asciano panel thus becomes visible, and Bartolo has reversed the position of Joachim, his companion, and the young boy. In his model this area is part of a symmetrical composition determined by a central point of sight; both are normal for paintings of the first half of the century except when they constitute a unit in a series. Bartolo’s modification disperses the glances and the gestures of the two old men

toward the margin of the composition. The men become parallel, furthermore, to 25 TD). Shorr, op.cit., p. 67, bearing in mind Day of Judgment.” If this conjecture is corthe passage from Malachi, 1, 1, inscribed on rect, the eschatological reference would be enthe prophet’s scroll in Ambrogio’s Presenta- tirely in accord with the ideas of advent, sacrition, and pointing to its inclusion in the feast fice, and redemption conveyed by Giovanni del of the Purification in the Roman Missal, sug- Biondo’s Presentation and other paintings of

gests that the act of inscription, unique in the period.

Bartolo’s painting, is based on Malachi, m1, 16: 26See A. Peter, in As Orszdgos Magyar “*,.a book of remembrance was written before Szépmiiveszéti Muzeum Evkényvei, Budapest, him for them that feared the Lord and thought V, 1930, pp. 70-71. upon his name and they shall be spared at the

20

FROM NARRATIVE TO RITUAL

Anna and to the woman holding the Virgin, repeating the diagonals of those figures. And together with the boy they add to the series of short movements in and out of a shallow space that are essential to the structure of the design. This zigzag pattern in depth is repeated in the vertical plane, and the woman in the doorway rises without intermediate forms high above the two women seated on the floor. Bartolo has greatly diminished the overlapping of the figures, and he has twisted their movements and gestures into parallel planes.” Thus the farther figures tend to come forward and to coalesce with those in the foreground. The infant, who lies halfnude in the lap of a nurse in the earlier composition, is in Bartolo’s wrapped in a cloth and held upright. Similarly St. Anne rises to an upright position and, seemingly transfixed, gazes at the attendant as she prepares, in this more formal and ritualistic way,

_ to wash her hands. Though the stature of Bartolo di Fredi does not approach that of either Ambrogio or Pietro Lorenzetti, the differences of his work from theirs are not simply the consequences of this inferiority. His departures from the two Lorenzettian compositions that we have considered are both consistent and purposive. At the same time they afhliate his painting with that of the Cioni and Giovanni del Biondo as well as several contemporary masters in Siena. When, for instance, Luca di Tommé, the subtlest Sienese painter of the ’sixties and seventies, undertook to paint the Assumption of the Virgin now in the Jarves Collection of Yale University (Fig. 21) he was certainly familiar with a composition of this scene that was created in Siena some forty years earlier. In this composition, whose renown is attested by a half-dozen or more extant copies (Fig. 22),** the ascending Virgin, seated on a cloud, is accompanied by a flock of

angels who sing and play a variety of instruments. ‘The angels fly in a circle, seen in’ perspective from above. Luca (Fig. 21) has compressed the angels into the plane of the Virgin, deliberately crowding them between her and the frame, as Biondo crowded his figures in the Presentation. The angels are at the same time separated decisively from her by the repeated arcs of the mandorla painted in several shades of blue. ‘The 27In two contemporary Florentine repre- R. Offmer (Art News, XLiv, 1945, p. 17). For

sentations of the Birth, the upper half of similar compositions of the Assumption see Anne’s figure is turned around so as to be Bartolommeo Bulgarini, Pinacoteca, Siena parallel to the main plane of the composition: (De Wald, in Art Studtes, vu, 1929, fig. 68); Orcagna, relief on the tabernacle of Or San fresco in S. M. del Carmine, Siena, by the masMichele; Cionesque predella, Ashmolean Mu- ter of the late fourteenth century frescoes in seum, Oxford (see H. Gronau, op.cit., fig. 57). the sacristy of the cathedral (Berenson in 28 The style of this panel in the Alte Pina- Dedalo, x1, 1930, fig. on p. 334); panel, partly kothek, Munich, is very close to that of the by Sassetta, formerly in the Kaiser-Friedrich follower of Simone and Barna whose work (in- Museum (J. Pope-Hennessy, Sassetta, London, cluding a Madonna in the Houston Museum, 1939, pl. 24); panel by Pietro di Giovanni in a St. John Evangelist from the same polyptych the archiepiscopal museum at Esztergom, by at Yale, an Annunciation in the Kaiser-Fried- Giovanni di Paolo in the Collegiata, Asciano, rich Museum, and a Crucifixion in the Ashmo- and by Vecchietta, Duomo, Pienza. lean Museum, Oxford) has been identified by

21

_ THE NEW FORM AND CONTENT

sarcophagus, though related in outline to the two lowest angels, punctures abruptly the shallow space of the figural group. Three other Sienese representations of the Assumption from the third quarter of the century are essentially similar to Luca’s. Two of them were painted around 13551360 by Niccold di Ser Sozzo Tegliacci, one in the Museo Civico at S. Gimignano,” the

other a hitherto unidentified work by this master in the Museum of Fine Arts in Boston (Fig. 25).°° He had, moreover, painted an Assumption of a similar compositional type, though of different style, some years earlier—certainly before the middle of the century, if not in 1334 as has. been generally believed.” This miniature from the early part of his career carries into the second quarter of the century a late Dugento and early Trecento Sienese composition that shows the Virgin in a mandorla, accompanied by six or eight angels flying in one plane.* It is thus this older type with the angels in a plane, rather than the new composition of the second quarter of the century with the angels in a circle (Fig. 22), that is most closely related to the Assumptions of Luca and Niccold (Figs. 21, 25). It is significant, too, that the circular composition (Fig. 22) appears only once during our period, in a painting by Bartolomeo Bulgarini or the so-called ‘“‘Ugolino Lorenzetti,’’** a master whose position in Siena at this time was similar to that of Taddeo Gaddi in Florence. And though this design was rejected by other painters during the third quarter of the century, it was revived shortly afterward and in the early Quattrocento. Its history is thus similar to that of other Simonesque and Lorenzettian compositions. As we have already seen in the instance of the Birth of the Virgin, the closest replicas were not made, paradoxically enough, by immediate successors of these masters but by painters active forty to a hundred years later.** 20°C. Brandi, in L’arte, n.s. 1, 1932, fig. 3. and the Ducciesque panel (cut down) in S.

80 See Appendix mu. The painting has been Lorenzo, Terenzano. ,

considerably damaged. Richard Offner has 83 Siena, Pinacoteca no. 61. See Van Marle, independently attributed it to the same master. op. cit., 1, fig. 216. The Assumption in Girton

Though its composition is related to the College, Cambridge, by Francesco di Vanstylistic trend we have been describing, the nuccio (J. Pope-Hennessy, in Burlington Mag-

representation of the Madonna on a smaller azine, XC, 1948, fig. 13) is a rather flatscale than the apostles, because of perspective tened version of the type. This Sienese circular diminution, reflects a point of view more char- composition was copied by a Florentine master

acteristic of the early Trecento. around 1385 in a panel in the Kaiser-Friedrich

The third Assumption of this type is in the Museum, Berlin, no. 1089. panel in the Siena Gallery, no. 163, by a $¢ For the revival of the circular Assumption, painter close to Niccold di Buonaccorso. This see the fresco in the Carmine, Siena, by the panel is discussed below on page 122. master of the Life of the Virgin in the sacristy Orcagna’s relief of the Assumption on the of the Duomo, Siena, and the Quattrocento tabernacle at Or San Michele (Fig. 8) 1s simi- paintings mentioned in note 28. For the Lolar in many respects to these Sienese composi- renzettian Birth of the Virgin see, in addition

tions. to Fig. 19, the fresco in the sacristy of the 81 See Appendix I, p. 169. Duomo, Siena, and the panel by Paolo di | 82 See the stained-glass window in the Duomo, Giovanni Fei in the Pinacoteca, Siena (based

Siena, designed under the influence of Duccio on Pietro’s Opera del Duomo composition). (E. Carli, Una vetrata ducctesca, Siena, 1946) For the Lorenzettian Presentation of the Vir-

22

FROM NARRATIVE TO RITUAL

Luca di Tommeé’s Assumption exhibits, though in a limited way, a method of transforming earlier Trecento space that becomes common after the middle of the century. Space is compressed, as in the group of the Virgin and angels, but compressed areas are occasionally juxtaposed with forms, like his sarcophagus, that strike vehemently back into depth. The equilibrium characteristic of the earlier period between

form and space, between solid and void, is thus supplanted by tension between the two. The fresco of the Via Veritatis by Andrea da Firenze in the Spanish Chapel (Fig. 94), usually described as flat, has yet a landscape that recedes farther than any preceding one in Florence, however ambiguous its depth. In several paintings by Niccold di Buonaccorso, the tiled floor, derived from the Lorenzetti, carves out a space that the flattened figures do not really occupy.** In all these paintings the perspective serves to force apart forms that are unified otherwise in a plane, or to surround them with a deep space that is incommensurate with their planar character. This conflict between the planar and spatial aspects of compositions is enhanced by the use of frontal and profile postures, which are exceptionally common, as we have seen, in the art of the time.** Figures that had never appeared in frontality in earlier

Tuscan painting were now represented in this position: the Magdalen at the foot of the Cross,’ or Christ in the manger in the Nativity.** In one painting of the Presentation the Infant stands, frontal, on the altar, as in the late twelfth century relief at Chartres.*® He is turned toward frontality even in the representation of the Madonna del Latte (Fig. 24)*° or the Madonna of Humility, and in one example of the latter subject he appears in perfect profile. In many cult images of the Madonna, the Virgin gin in the Temple, see below, note 58. For Spanish Chapel, the figure of the executioner Simone Martini’s Annunciation, the panel in is largely frontal. S. Pietro Ovile, and for his Madonna of Hu- 87 Fresco of the Crucifixion, cloister of S. M. mility, the paintings around 1400 by Andrea Novella (Van Marle, op.ctt., m1, fig. 241). di Bartolo (especially the one in the National 38 Fresco in S. M. Novella by the painter of

Gallery, Washington, Fig. 131). the Crucifixion mentioned in the previous 88 See his Madonna of Humility published note. In Orcagna’s relief in Or San Michele

by B. Berenson, op.cit., fig. on p. 340; the An- the Infant is almost frontal. See also a predella nunciation by a follower, tbid., fig. on p. 342; of about 1380 in the Museo Bandini, Fiesole,

the Marriage of St. Catherine, National Gal- Room tI, no. 11. lery, Washington. In this last panel the flight 89 Predella, Museo Bandini, Fiesole, Room ny, of the orthogonals is intensified by wide red no. 12. Florentine about 1380. bands that push the Virgin’s throne back into 40 This Madonna, now cut down to an oval, space to a point where the Christ Child could was very probably the central panel of a large scarcely reach the finger of St. Catherine on altarpiece that contained the Saints Peter and

which he places a ring. Paul in the Museum of Fine Arts, Boston (Fig. 86 As in the Strozzi altarpiece, both the cen- 127), a St. John Evangelist, whereabouts untral Madonna of the Orcagnesque polyptych known, and perhaps also the Annunciation in in S. M. Maggiore and the adjacent Baptist are the Fogg Museum, Cambridge, Mass. I shall exactly frontal. Three of the four saints in the discuss elsewhere the reintegration of this altarframe of Jacopo di Cione’s Crucifixion in the piece. National Gallery, London, are frontal, and the 41 Master of the Fabriano Altarpiece, Dijon fourth very nearly so. In Andrea da Firenze’s (Offner, Corpus, sec. 111, vol. v, pl. 31). fresco of the death of St. Peter Martyr in the

23

THE NEW FORM AND CONTENT . is frontal, or the child, or sometimes both, as in the Byzantine Nikopoia (Figs. 11, 16). In these paintings, as in earlier mediaeval art, frontality usually has a positive value and a specific connotation. It is generally associated with divinity or at least with the most important figure in a hierarchy. Two fourteenth century writers, whom we shall cite below, assign it this significance.” Frontal figures of this sort were occasionally employed also in the first half of the century. In Giotto’s frescoes in the Arena Chapel,

for instance, Justice is frontal while Injustice is in profile. In general, however, painters of this earlier period avoided both these positions as too fixed, static, unfree. ‘The most exalted figures were, in fact, endowed with the most intense plasticity, the

greatest potentialities of movement, and they appear in the most vividly created space—just the opposite qualities, therefore, of the corresponding figures in the third quarter of the century. Though figures such as the St. Matthew by Orcagna and Jacopo di Cione (Fig. 59) resemble the frontal saints of earlier western or Byzantine painting (Fig. 3), they possess important distinguishing qualities. They are organically articulated and physiognomically individualized—often indeed to a higher degree than figures of the earlier fourteenth century. They exhibit likewise a capacity for movement, or rather a tension in many parts of the body. We sense it in the taut ligaments of the neck of St. Matthew, in the pressure of his left arm against the book and against his body, in the firm grasp of the inkpot. Yet these potentialities are opposed by the perfectly erect and inflexibly frontal position, by the flattening of the mass, and by the adherence of the arms and hands to the torso. The right forearm and hand, it 1s true tend to move away from it, but they are restrained by the folds of drapery, especially prominent at this point, that wind across them. Both arms, in fact, and much of the body are tightly bound by the drapery. St. Matthew is in this respect like the Infant

in the Presentation or in paintings of the Madonna (Fig. 138), and we have seen similar figures, encased in mantles as in a sheath, in the Strozzi altarpiece. They are common in the painting of the time. The tension inherent in these figures may recall the dynamism of certain figures of the preceding period, but there are differences that enable us readily to distinguish the two. In a painting of the Madonna, for instance, by Ambrogio Lorenzetti in the Brera, Milan (Fig. 23), the Child is almost entirely wrapped in a cloth—a rare form in a Tuscan painting of this subject. Unlike the bound Infants of the later period (Figs. 13,

, 18, 138), however, the activity of Ambrogio’s Infant is felt throughout his body, in the turn of the head, the spreading fingers, and the curving outlines of the torso and legs.

42 P. 107. of the painting to Pietro (A. Peter, in La 48 The condition of this painting, usually Diana, vii, 1933, p. 169, has attributed the

attributed to Ambrogio, makes it difficult to be painting to him), but its color, suffused light, certain of its author. Parts of the surface have and supple form do seem to reflect the style been badly rubbed, others repainted (particu- of this painter. The Madonna seems to me an

larly the mantle of the Madonna that now early work of Ambrogio, painted under the

shows a pattern of poinsettas). This reworking influence of Pietro. may be partly responsible for the resemblance

24

FROM NARRATIVE TO RITUAL

The figures by Ambrogio’s brother Pietro, likewise, are often no less tense than those

of Orcagna. They seem restless, feverish, tormented by doubt. The Baptist in the Arezzo altarpiece, for instance, twists in two opposite directions at once.** But the tension of these figures, developed within organic terms, is capable of resolution. That

of St. Matthew is not, arising as it does from an interpenetration of the natural and | the unnatural, the physical and the abstract. Qualities of bearing or behavior related to those of the frontal and bound figures are apparent almost everywhere in the narrative and cult painting of the third quarter of the century. In the works already described we have observed the inflexible masks, the dispersed glances, the halted action. The figures, exhibiting a more generalized intensity, are less responsive to their immediate situation. In Giovanni da Milano's Meeting at the Golden Gate, painted in 1365 (Fig. 27), Joachim and Anna avoid a familiar greeting. Anna lowers her head in humble contemplation of the miraculous conception, and Joachim, grasping her arm, gazes beyond her with a grave portentous look. These two figures constitute only one of three centers in the composition. At the — left Joachim is preoccupied with the angel. The exceptionally prominent man at the very middle, though evidently aware of the meeting, turns an enigmatic melancholy face toward the left, and one at least of the two women under the gate, though close

to the aged couple, likewise looks away from them. There are thus a dispersal of attention and an individual withdrawal that resemble Bartolo di Fredi’s Presentation or Nardo’s Madonna and that differentiate Giovanni’s fresco from scenes of the Meeting painted in the earlier part of the century. For Giotto the meeting was a joyful event (Fig. 26). Joachim’s retainer and all but one of the attendant women watch the aged couple with curiosity and delight. Joachim and Anna kiss tenderly. The arch created by their embrace, the germinal form of the composition, is echoed in the city gate and the bridge. ‘This warm and spontaneous greeting had been represented in earlier scenes of the Meeting;* it was suggested by the Apocryphal gospels, which tell that “Anna... saw Joachim coming, and ran and hung upon his neck.’”* In paintings by the followers of Giotto, and occasionally already in the late thirteenth century,*’ Joachim and Anna embrace each other at the waist, crossing their **C. Weigelt, Sienese Painting of the Tre- Duomo di Siena, Turin, 1941, pl. x1).

cento, New York, 1930, pl. 72. 46 Proto-Evangelium of James, Iv, 4 (see *5 In the Homilies of the Monk James, Vat. M. R. James, The Apocryphal New Testament,

grec. 1162, Joachim and Anna press their Oxford, 1924, p. 40). The description in the cheeks together (Stornaiuolo, Miniature delle Pseudo-Matthew (1, 5) is the same, and the Omilie di Giacomo Monaco, Rome, 1910, pl. gospel of the Nativity of Mary says that the two

6); they émbrace, their heads very close, in the met and rejoiced (see the Golden Legend, Menologion of Basil II (Menologio, Turin, chap. 129). 1907, 1, pl. 229), but both look upward to *7 See the altarpiece in the Museo Civico of heaven; they kiss in the relief of the very end Pisa, Room ul, no. 7, attributed to Raniero di of the thirteenth century over the main door Ugolino by Garrison, following Offner (E. B. of the Duomo of Siena (recently attributed to Garrison, Italian Romanesque Panel Painting, Tino di Camaino by E. Carli, Le sculture del Florence, 1949, pp. 26, 150). 25

THE NEW FORM AND CONTENT

arms. He peers intently at her. In Taddeo Gaddi’s fresco (Fig. 33) she returns his glance, in a panel by Bernardo Daddi* she looks shyly downward. The greeting in these paintings is less intimate than in Giotto’s, partly perhaps because in them the Meeting at the Golden Gate was more explicitly associated with the immaculate conception of the Virgin, a tenet that was widely disseminated by the Franciscans during

_ the course of the fourteenth century. The angel who hovers over the aged couple in Daddi’s panel is an explicit reference to this idea.“° Nor is it improbable that Taddeo’s decision to portray a less intimate embrace than Giotto was influenced by the moral injunctions of the Augustinian preacher Fra Simone Fidats, although he did not con-

form to them fully. Fra Simone, whom Taddeo knew while he was preaching and writing in Florence from 1333 to about 1338, included in his L’ordine della vita cristt-

ana a brief guide to the marital behavior of the pious. “Married couples,” he said, “should not touch one another, neither seductively nor playfully, because this puts the fire of desire in their flesh.’”*° When describing the Nativity, Fra Simone asserted that " no midwives were present because Christ was born without difficulty or pain. ‘These comments of Fra Simone disclose a point of view that did not, we surmise, welcome the growth of naturalism in art, and that was opposed to the increasingly familiar and human conception of sacred legend in the art of the late thirteenth cen-

tury and the first half of the fourteenth. With Fra Simone Fidati this point of view appears in the course of the ’thirties. It became dominant some twenty years later. It is significant that none of the five scenes of the Meeting at the Golden Gate that I know from this period” revives the composition of the Arena Chapel.*? They all represent a more formal greeting, like that of Daddi or Gaddi, and in some of them, Giovanni da Milano's fresco included (Fig. 27), the joyless Joachim and Anna are separated still

further, bodily and in spirit. ,

*® Predetla of Daddi’s altarpiece in the Uffizi L’arte, XV, 1914, pp. 107ff.

(Offner, Corpus, sec. 111, vol. m1, pl. 1425). 61 In addition to the fresco by Giovanni da “°F. Antal, op.ctt., p. 222 note go, says that Milano, see the fresco in the cloisters of S. M. this reference gives the painting a “severely Novella by a follower of Nardo (Van Marle, ecclesiastical” character. But the idea of the op.cit., m1, fig. 272); Orcagnesque panel in the immaculate conception was certainly not lim- Museum of Fine Arts, Houston, Texas—this — ited to ecclesiastical circles—the Dominicans panel was sold in the Chillingworth Sale, Luin fact rejected it. It was rooted in the intense cerne, September 1922, no. 100 (incorrectly veneration of the Virgin, and won great popu- attributed by Van Marle, op.cit., 11, p. 506, to lar acclaim during the fourteenth century. Jacopo di Cione); predella of the altarpiece of 50 “Gli sposi non debbono fare toccamenti 137% formerly at Impruneta, now in the Gabil’uno all’altro, né lusinghe, ne piacevolezze, le netto del Restauro, Florence.

quali mettono fuoco di lussuria nelle carni 62] doubt that Giotto himself would have loro” (L’ordine della vita cristiana, ed. F. Mat- represented the couple kissing in paintings tioli, Rome, p. 195). I. Maioni first called atten- made during his later years. In the ’twenties his

tion to this passage and to the relationship of art tended toward greater formality and an Taddeo with Fidati in an interesting article in expansive rhetoric.

26

THE EXALTATION OF GOD, THE CHURCH, AND

THE PRIEST

The ritualistic character of paintings of sacred history in the third quarter of the fourteenth century is bound up with an expression of the authority of the enduring Church. When the representation involves a priest, he is given an exceptional prominence and formal intensity. We have seen him in Bartolo di Fredi’s Presentation towering above all the other figures in the temple (Fig. 15). In a predella panel in the Haniel

collection, Munich, by a follower of Orcagna (Fig. 18) he stands behind a brightly lighted altar, frontal and dominant in the central bay of the church. In this panel the discreteness of the figures has been increased by enclosing them in separate compartments defined by the arches of the five-domed building. In the related subject of the Presentation of the Virgin in the Temple, represented in relief on the tabernacle of Or San Michele (Fig. 28), Orcagna has given the High

Priest an even greater supremacy. Framed by the arch of the temple, which repeats the outline of the upper part of his body, he looms up above the youthful Mary at the top of a long flight of steps, a formidable apparition, certainly, for a child. For the first time in Italian representations of this scene both he and the temple are frontal and they are closely identified, asserting together a superior principle of unshakeable stability and permanence. The priest raises both hands, one, covered by his mantle, suggesting his proximity to sacred things, the other in a generalized gesture of accept- ance and blessing not directed specifically at the Virgin. Beyond this formal act, he

takes no cognizance of her. |

The emphatic axiality and symmetry of the upper part of the composition is extended below. The Virgin appears on the central axis below the priest, enveloped by him as the Christ Child is by the Madonna in the Dugento image of the Nikopoia (Fig. 16). Joachim and Anna kneel in profile, like Thomas Aquinas and Peter in the Strozzi altarpiece (Fig. 1); and like them, too, they comprise the two lower parts of an inflexible triangle that reaches its apex in the frontal high priest or, in the Strozzi_ altarpiece, in Christ. Orcagna follows the Pseudo-Matthew and other apocrypha in representing fifteen — steps leading to the temple. He has also conveyed the exceptional nature of the ascent as described by the text: “She ascended quickly the fifteen steps, without looking

| back and without inquiring of her parents as children usually do, much to the astonishment of everyone; and the priests themselves wondered at her.’’** But, preferring a more formal and more static composition, Orcagna has shown her turned outward, gesturing with one arm toward the priest, while the upper part of her body, and, one judges, her face, are exactly frontal like his. In his famous fresco in the Baroncelli Chapel Taddeo Gaddi had already represented her turned outward, but with profound

58 See note 22. 65 Pseudo-Matthew, Iv (M. R. James, op.cit.,

*¢ Mary is placed exactly on the middle steps, Pp. 73). the seventh and eighth.

27

THE NEW FORM AND CONTENT

differences. In it the figure of Mary and the adjacent steps have been altered by later reworking, but Taddeo’s drawing of the composition shows that her posture is more casual than in Orcagna’s relief and she does not point to the priest (Fig. 32).°* Most important of all, and quite characteristic of early Trecento narrative, she does what children in strange circumstances ‘‘usually do,” and precisely what the apocryphal text states she did not do: she hesitates on the steps and glances inquiringly at her parents. The spirit of Giotto’s fresco in the Arena Chapel is even more remote from the

miraculous event of the apocrypha (Fig. 29). He sees in the story the drama of the departure of a young child from her home, and he shows a wonderful sympathy for the human realities of the event. The final moment of separation itself is represented. The child stands at the portal of the temple before the priest. Anne has accompanied her part way up the steps, but stops short of the final ones and bends toward her daughter, looking intently at her with mixed feelings while she both supports her and presents her to the priest.”’ The little girl, crossing her arms over her breast, accepts the transfer quietly, reassured by the tender but firm intention of her mother and the understanding warmth of the priest, who bows his head and opens his arms in a gentle welcome. Her entry into the new world of the temple is made less trying also by the appearance near by of her future companions, the virgins. They crowd together, enveloping the child and the priest and peering over the wall with benevolent curiosity at the newcomer. Like Gioito’s fresco, all the scenes of the Presentation painted in the first half of the century dwell on familiar and universal human experience. We have already de-

scribed Taddeo Gaddi’s painting, and in a Lorenzettian fresco, known by later “copies,” the Virgin likewise turns back to her mother while the priest bows to receive her (Fig. 165)."° After the mid-century, on the other hand, these sentiments disappear;

in accordance with the Apocrypha the moment is not that of departure from the family but of an unnaturally determined entry into the temple.*® The Virgin stands °° The general belief that this drawing is by than that of the welcoming priest. As we have ‘Taddeo himself (see Berenson, Drawings of observed previously, the compositions of this the Florentine Painters, Chicago, 1938, 11, fig. relief are exceptionally close to those in the 1), Seems to me correct. For the view that it is Arena Chapel.

a later copy of the fresco, perhaps by the 68 This important panel (Fig. 165), 64 x 60 Rinuccini Master, see R. Oertel (Mitteilungen inches and unrecorded in the literature, bedes Kunsthistorischen Instituts in Florenz, v, longed to H. M. Clark, London. The group in

1940, pp. 236-238). the lower left corner is taken from Taddeo’s

5? Giotto here develops a late thirteenth cen- Presentation (Fig. 32). Other Sienese paintings, tury composition of the Presentation such as likewise dependent in part on the Lorenzettian the one in the altarpiece in the Museo Civico, composition and showing the Virgin looking Pisa (Catalogo della Mostra Giottesca, Flor- at her parents, are: frescoes at S. Leonardo al ence, 1943, fig. 24a). See also the contemporary Lago and in the sacristy, Duomo, Siena; panels relief on the Duomo of Siena (E. Carli, op.cit., by Giovanni di Paolo, Siena Gallery, and Sano,

, pl. x1), where the child stands at the top of Vatican.

the flight of steps, her head as high or higher 59 See the Nardesque fresco in the cloisters 28

EXALTATION OF GOD, CHURCH, AND PRIEST

alone and, except in Orcagna’s relief (Fig. 28), she faces the priest. She faces him even in the fresco in the Rinuccini Chapel, S. Croce,“ though in every other essential this work copies Taddeo’s painting in the same church. Sometimes she signifies by an

extended hand her eagerness to reach the temple precincts. In all these works the authority of the priest approximates Orcagna’s relief. There is an increasing emphasis on the church, and the central act is the willful mounting of the steps, which signifies beyond doubt an ascent from worldly to religious life. The temple of the Old Testament and its ministers were closely associated in the thought of the Middle Ages and the Renaissance with the Church and its clerics. On the scroll held by the prophet Malachi directly above the Christ Child in Ambrogio Lorenzetti’s Presentation in the Temple (Fig. 14) is written: “And the Lord whom ye seek shall suddenly come to his Temple” (Malachi, m, 1). The most grandiose painting of the temple in the fourteenth century has a dual character (Fig. 36). Its style,

| Romanesque and therefore outmoded, probably designates the Synagogue,” while a cross appears in the arch above the nave. This remarkable building, Lombard in character, is the dominant form in one of Giovanni da Milano's frescoes in the Rinuccini Chapel of S. Croce, part of the same cycle of 1365 as the Meeting at the Golden Gate discussed above (Fig. 27). The painting represents the Expulsion of Joachim from the Temple. If the Presentation of the Virgin in the Temple may be a theme of religious dedication, of entry into the Church, the Expulsion of Joachim signifies rejection by it. The Expulsion is therefore a subject that we would expect to convey an uncommonly intense meaning in the art of the third quarter of the century. For Giotto the Expulsion was, like the Presentation of the Virgin in the Temple, a moment of profound and complex personal relations (Fig. 35). Following,a late thirteenth century tradition, exemplified again by the corresponding scene on the altarpiece in the Museo Civico of Pisa (Fig. 34) or by the relief of about the same time on the facade of the Sienese Cathedral,** he shows the priest pushing Joachim from the Temple. Unlike the earlier works, the priest has no attendants, and there are no of S. M. Novella (Van Marle, op.cit., m1, fig. rary ones, although in many formal qualities 273); pinnacle of the altarpiece of 1375 for- it resembles the latter. merly in the church at Impruneta (zb:d., fig. 60 This posture of the Virgin appeared ear366); fresco in the Rinuccini Chapel of S. lier in Daddi’s predella in the Uffizi, and the

Croce (see note 61). church, too, is prominent, but the priest bows Similarly Niccold di Buonaccorso’s panel in to greet the Virgin (Offner, Corpus, sec. mI, the Uffizi, though dependent on the Lorenzet- vol. m1, pl. 1477).

tian fresco on the facade of the Scala, greatly 61 A, Venturi, Storia dell’arte italiana, v, reduces the welcoming movement of the priest, Milan, 1907, fig. 717.

who stands almost erect, and minimizes the 62'The temple in Fig. 18 shows five domes, relative importance of the Virgin (G. Mar- perhaps expressive of its eastern character. For chini, Rivista d’arte, x, 1938, fig. 3). The char- the use of the Romanesque to characterize the acter of the narrative in the fresco by Bartolo temple, see E. Panofsky, Albrecht Diirer, di Fredi in S. Agostino, S. Gimignano, is, how- Princeton, 1943, I, p. 102. ever, more closely related to representations of 63 E, Carli, op.cit., pl. x1. the first half of the century than to contempo-

29

. THE NEW FORM AND CONTENT witnesses. ‘The two confront each other alone—the stern, perhaps angry but certainly

. not unsympathetic priest, who exhibits a fundamental humanity during the performance of his official duty, and the anguished old man, still clinging tightly to ‘his rejected lamb as though it were the child that God had denied him. Giotto has suggested very discreetly the consequences of this fateful meeting. At the left, more than half hidden behind a wall, a second priest blesses a young father. At the right, where Joachim must go, there is now a void, an expressive but unique form whose authenticity has often been questioned.“ In any event, the rejected old man is still retained within the structure of the composition and the temple, framed as he is by the pulpit,

its columns, and the marble floor.

The tense and moving relationship of the two chief actors in the Arena fresco is preserved in paintings of this subject by Giotto’s immediate followers: the fresco by ‘Taddeo Gaddi in the Baroncelli Chapel™ and the predella by Bernardo Daddi in the Uffizi,* although the priest, who now wears a tiara, becomes more aggressive, the church is larger, and numerous other figures are introduced. Radically different, however, is the representation by Giovanni da Milano (Fig. 36). In it the experience of

Joachim has not an equally central significance, and the dramatic personal encounter has entirely disappeared. The action resembles in fact the account in the early _ Apocrypha or the Golden Legend, which tell simply that Joachim, learning that his offering was unacceptable, left the temple weeping.” In Giovanni's fresco, and in the painting ten years later that was formerly at Impruneta,** Joachim appears in front of the temple, the only person wholly outside it. His exclusion is emphasized by the design of the arches opening into the building. The one behind him, though actually slightly wider than the others, seems to be much narrower. He casts a gloomy, furtive look back into the nave, where the high priest, ignoring him completely, receives the offerings of the fathers who are acceptable to him. The priest, as in Orcagna’s relief (Fig. 28), is a grim figure, closely identified with the nave.and the half-dome of the apse, and towering like a campanile above the kneeling worshippers. The five-aisled church

rises in absolute frontality, filling the entire painted area and extending beyond the framing arch at the sides. It is massive, rigid, all-inclusive, and it assimilates to its tight structure the regular rows of worshippers within. This insistent fixity and order renders more poignant the exclusion of Joachim. The overwhelming weight and authority of ¢¢ See, for instance, Rintelen (Giotto, end ing may reflect the Expulsion that Orcagna ed., Basel, 1923, p. 19) who suspects the loss of probably painted in the choir of S. M. No-

a figure in this area. vella. Joachim has a similar position and pos65 See Sirén, op.ctt., pl. 114. ture in the fresco of the Expulsion that

66 Offner, Corpus, sec. 11, vol. m1, pl. 147%. Ghirlandaio painted in his cycle that replaced

87 See the Pseudo-Matthew, nu, 1, and the Orcagna’s frescoes after the latter had been Proto-Evangelium of James, 1, 1 (James, op.cit., badly damaged (Van Marle, op.cit., xim, fig.

pp. 73 and 39). 40). In many respects Ghirlandaio’s composi-

68 Van Marle, op.cit., m1, fig. 366. tion looks like a revised version of Giovanni's,

6° This and other aspects of Giovanni’s paint- or, more probably, of Orcagna’s.

30

EXALTATION OF GOD, CHURCH, AND PRIEST

the Church is brought to bear on the old man. The rejection is institutional, rather than, as in earlier paintings, personal. The composition of the fresco shows opposed axes and movements, more abrupt even than in other paintings of the time. The nave and the aisles, seen in perspective from an axial point of sight, sweep back into space, their extension duplicated by the parallel rows of sacrificants. All the latter, though units in receding rows, are in exact profile. They look intently at or move toward the similarly profile priests, creating a

lateral movement perpendicular to that of the architecture and equally as strong. | The figures overlap each other with an extraordinary regularity, reminiscent of earlier mediaeval art. The nose of each of the standing men and women touches, or almost touches, the ear of the figure behind. In each row they are similarly dressed, and the women look very much alike. Despite therefore the more varied features of the men at the left—exceptions to the otherwise uniform character of these figures—all

the sacrificants appear less as individuals than as undifferentiated members of a congregation. This strict uniformity and regimentation of the figures involves a denial of the values of individuality—a denial that we have observed in other aspects of the painting of the time, and that is profoundly opposed to the art of the earlier fourteenth century. Though the regimentation of figures is most conspicuous in this representation of the

pious, it is not peculiar to it nor to the painting of Giovanni da Milano. Along with a partially contrary interest in individualized physiognomy, it appears as a rather constant trend in the painting of the time. We find it, for example, in the fresco of Limbo by Andrea da Firenze (Fig. 98), in the wings of the Coronation of the Virgin in London by Jacopo di Cione,”* in an Ascension of Christ by Andrea Vanni,” or in the shutters of a Cionesque tabernacle in Bayonne.” In the case of the angels in the Madonna of Humility in Washington from the workshop of Orcagna (Fig. 140) or the soldiers before Christ in the Way to Calvary by Andrea da Firenze (Fig. 38), it governs the appearance of figures which by their intrinsic character imply uniformity but which had not earlier been represented in so regular and unvaried an alignment. In Giovanni da Milano’s Expulsion, as in Orcagna’s Presentation (Fig. 28) and many other works of the time, the priest is a central figure, elevated, often frontal and motionless. Similar qualities of decisive hierarchical superiority are attributed to Christ in contemporary cult images (Figs. 1, 4) and occasionally also in scenes of his miracles. In the numerous paintings of the Resurrection of Lazarus from the first half of the century, Christ stands at the left confronting the shrouded dead man, who appears at the right, held erect by bystanders or placed in an open vertical tomb cut in the rock.”* Christ is attended by the apostles and all the figures stand on approximately

70 Van Marle, op.cit., 11, fig. 277. 72¥F, Antal, op.cit., pl. 44b.

71 Formerly in the Stroganoff collection; re- 78 See the fresco by Giotto in the Arena — produced, without a definite attribution, by Chapel or Duccio’s panel from the Maesta Berenson in Dedalo, x1, 1930, p. 274. (Van Marle, op.ctt., 1, fig. 20; 1, fig. 43). In 31

THE NEW FORM AND CONTENT

the same level. Giovanni da Milano fundamentally altered this traditional composition in his scene of the Resurrection, another of the frescoes in the Rinuccini Chapel, unfortunately smeared here and there with repaint (Fig. 37). Christ stands at the center, as in some earlier mediaeval representations of the subject."* He looms above the other figures, his head rising into the sky. He is framed by dark hills that ripple and heave as though they were activated by the magnetism of his presence and his miraculous act. Lazarus himself, in an unusual position, turns away from Christ, though he casts a look backward as two apostles help him step from the tomb.” Here, as in other paintings of the time, a direct meeting of the glances of lesser figures with the Deity is avoided. Though Lazarus does not quite see Christ, Christ looks intensely toward him, his brow contracted and casting deep shadows over his eyes. His move_ ment, moreover, is more limited than in earlier representations of the subject. Instead of the usual extension of an arm toward Lazarus, he raises one hand close to his body and parallel to its axis. His energy is expressed more by his eyes than by his gesture, and the miracle itself becomes the consequence of forces that are spiritual and ineffable rather than physical.

In view of the importance of the Church and the priest in the art of the third quarter of the Trecento it is not surprising that a subject connected with the reception and dissemination of ecclesiastical doctrine should have undergone a special development during this period. For the first time in the history of Tuscan painting, and so far as I know, the only time, the Pentecost was selected as the subject of an altarpiece (Fig. 39). The significance of its selection is not lessened by the fact that the painting, though now in the Badia, may have been made for the high altar of the church of the Apostles (SS. Apostoli) in Florence.”* It was painted by a close follower of Orcagna, possibly in his workshop.” ‘Though its iconography is similar to that of earlier representations of the event that were included in historical cycles, such as Taddeo Gaddi's in Berlin (Fig. 40), the composition is radically different. The active group in the earlier painting, with its variety of individual response, has been transformed into the most inflexible and schematic assembly of figures in the history of Tuscan art. Even the ‘‘cloven tongues of fire” have been congealed to a single flame and stilled to a tense quaver, and they are not too small to escape the almost exact symmetry that governs the whole.” one of the medallions in Pacino’s Tree of Life 1932, fig. 80), though the far leg of Christ is in the Academy, Florence, Lazarus is seated in outside the sarcophagus.

a sarcophagus. 76 See W. Paatz, Die Kirchen von Florenz, 74 For instance, S. Angelo in Formis (2bid., Frankfurt, 1940, p. 259 note 47. 1, fig. 64). 77 H. Gronau, op.cit., p. 40, suggests that the

78 His posture resembles that of Christ in altarpiece was designed by Orcagna himself. certain representations of the Resurrection 78 They start abruptly from the heads as do (see the Bible of the Duke of Berry, British the locks of hair of the Baptist in the Strozzi- . Museum, Harley Ms no. 4382, reproduced by altarpiece (Fig. 30). H. Schrade Die Auferstehung Christi, Berlin,

32

EXALTATION OF GOD, CHURCH, AND PRIEST |

The insistence on hierarchy that we have observed in other paintings of the time is _ no less evident here. The Virgin emerges as the dominant person, placed at the apex of a triangle that embraces the entire triptych. As the superior figure, she shares with the Holy Ghost above her a position of exact frontality. The apostles seem to have dropped to their knees as much in adoration of her as of the Spirit that descends from

heaven. :

In other paintings of the Pentecost from the period, such as the fresco of 1366-1368 by Andrea da Firenze in the Spanish Chapel (Fig. 41), the figures are similarly transfixed by the mystical experience. They are passive, tense, and erect, the Virgin again is perfectly frontal, but the scene is now not limited to the moment of reception of the Spirit. It has been modified and enlarged to show the consequences for humanity of the divine influence. The apostles and the Virgin are seated in a chamber, a setting which had been eliminated in the Badia altarpiece but which enclosed the figures in representations of the early fourteenth century (Fig. 40). This chamber, however, has become the open second storey of a building. In front of the building, the main door of which is ajar, a multitude of men listen attentively or gesticulate with surprise and wonder. Differentiated ethnically and in costume, they are the people described in the Acts, people “out of every nation under heaven.’’ They had learned of the ability of the apostles to speak their languages after the descent of the Spirit, and congregated to witness the miracle. They were amazed to hear their native tongues spoken, and they became suspicious, thinking that the apostles were drunk. But Peter rose to speak,

as in the fresco, telling them the meaning of Christ’s death and resurrection, and urging them to save themselves by repentance and baptism. Three thousand became Christians on that day.” This painting illustrates then the beginning of the mission of the apostles and it celebrates their first success. Peter, furthermore, is glorified above the other apostles or even the Virgin, and through him the Papacy and the ecclesiastical hierarchy. Here

once again is the familiar theme of the time, but with a more explicit reference to repentance, conversion, and the missionary zeal of the Church. Although the people from all parts of the world are occasionally included in repre-

sentations of the Pentecost of a much earlier period,” as in a mosaic in one of the domes of S. Marco in Venice, they are absent from the paintings of Duccio, Giotto, or Taddeo Gaddi (Fig. 40). In these works, moreover, St. Peter is seated with the other apostles. It is all the more significant therefore that the representatives of the diverse peoples reappear in several paintings of the latter part of the century. Two—a panel of 1370-1371 by Jacopo di Cione and a Cionesque miniature—clearly derive from the fresco by Andrea da Firenze." Andrea was probably moved to include this group and

79 Acts, 1 and Wl. altarpiece made for S. Pier Maggiore (see H. 80 See E. Sandberg-Vavala, La croce dipinta Gronau in Burlington Magazine, LXXXVI, 1945,

ttaliana, Verona, 1929, p. 379. p. 139, and R. Offner in Studies of the Museum 81 ‘The panel by Jacopo di Cione, now in the of Art of the Rhode Island School of Design, National Gallery, London, is a pinnacle of an 1947, p. 43). The miniature is in the Victoria 33

THE NEW FORM AND CONTENT

the discourse of Peter by the context of the fresco in the Spanish Chapel. His Pentecost forms part of a monumental fresco cycle that is the most elaborate statement of

| ' doctrine in the history of Tuscan painting. It is a kind of summa of the ideas of the Church, of divinity, conversion, and redemption that are so prominent in the painting of the third quarter of the century. The cycle, painted around 1366-1368, will be discussed in chapter tv, but it should be said here that, however great its influence, it was clearly not the sole nor even the major source of these ideas; they are conveyed consistently by the art of the preceding ten or fifteen years.

In view of the concern with doctrine and the exaltation of the Church and the Deity, it is not surprising that the Trinity should suddenly have become prominent in the iconography of the third quarter of the century. Represented on‘y once, so far as

I know, in Italian altarpieces and tabernacles of the thirteenth and early fourteenth _ centuries, and then in a subordinate field, examples of it multiply after 1350.°* Earlier

| Italian representations in frescoes or miniatures show a variety of forms: a threeheaded figure, three men identical in feature and dress, God the Father holding the Christ Child on his knee, or God the Father holding a crucifix. It is the latter, the more pathetic form created in the north in the twelfth century, that becomes common in Tuscan panels (Fig. 9). The most interesting of these paintings, and the earliest to have survived from Siena, is a hitherto unknown work in the T. S. Hyland Collection, Greenwich, probably an early work of Luca di Tommeé (Fig. 50). and Albert Museum, London, no. 3045. See painting of the first half of the century appears also the Gerinesque fresco in the former Con- in a compartment of the right wing of a tripvento di S. Birgitta, Paradiso degli Alberti tych by Pacino that belongs to Wildenstein & (Sirén, in L’arte, x1, 1908, p. 186), and a late Co., New York.

fourteenth century Florentine miniature in ws | .

the Kupferstichkabinett, Berlin, no. 643. ‘The "* In addition to the altarpiece of 1365 by a iconography of this group of paintings was Jacopo di Cione in the National Gallery, L

. . oe follower of Nardo (Fig. 9), see the panel by

adopted by. ;Ghiberti in the his first pair of doors q P se On: on, and Cionesque panel inona thealerys Gallery

for the Florentine Baptistery. . we ;

of Fine Arts, Yale University (O. Sirén, Cata-

82] have referred to the emergence of the logue of the Jarves Collection, New Haven

Trinity in Tuscan panels in the Art Bulletin, (SE 6) » New taven, XXvII, 1946, p. 6, listing examples of the sev- 910) Pl. OPP P- 49). eral types. To the works cited there should be &¢ Height, 2214 inches; width, 21 inches. This added the miniature by the shop of Pacino di master also painted, I believe, the Conversion

Bonaguida in the Morgan Library, Ms 742, of St. Paul in the National Gallery, Washingwhich represents the Trinity in four forms: ton, no. 319, and two additional panels of the God the Father holding the crucifix (also ap- same predella with other scenes of the legend pearing in Morgan ms 716, Bolognese, toward of St. Paul in the Pinacoteca, Siena, nos. 117 the middle of the century), three “identical” and 118. Longhi pointed to the relationship of men behind an altar, the three-headed figure, these predella panels, but attributed the three and Abraham with the three angels (Offner, to the Florentine Lorenzo di Bicci, whereas Corpus, sec. 111, vol. 1, pt. m1, add. pl. vin); Berenson ascribed the Washington panel to miniature, Sienese around 1355 or at least Lippo Vanni (see the National Gallery, PreTuscan under Sienese influence, collection of liminary Catalogue, Washington, 1941, p. 206). Robert Lehman, New York, showing three Brandi listed the two Siena panels as Spinello

similar men seated side by side. Aretino, with question (Catalogo della PinaThe only Trinity familiar to me in the panel coteca dit Siena, Siena, 1930, p. 365). The 34

EXALTATION OF GOD, CHURCH, AND PRIEST

The central panel of this tabernacle shows the Trinity together with the Crucifixion, a combination that reappears in later paintings by Luca himself in the Museum at Pisa (dated 1366), by Paolo di Giovanni Fei in the Duomo of Naples,* and by Andrea di Bartolo in the Castle at Konopisté.** But whereas in Luca’s Pisa panel God the Father and the dove hover over the crucifix, and in the other two Sienese paintings

God holds the crucifix, all three members of the Trinity appear behind it in the tabernacle. 'n this rather anomalous iconography the Crucifixion and the Trinity have not been completely fused, and the second member, Christ, appears twice. Even more extraordinary, and indeed rather disturbing, is the form of the Trinity itself. ‘The image of three almost identical men, well known in the Middle Ages, is star-

tling enough when carried into the more naturalistic and humanistic art of the fourteenth century. But our painter has not only eliminated their individuality of feature and dress; he has reduced and compromised their separate physical existence. Within a mandorla, two of the figures are seated close together; ‘the third is between and behind them in an otherwise nonexistent space. Only two hands and two feet are visible, and the mantles of the two outer figures merge at the center. The three men thus appear to be neither abnormal nor quite normal, and the painter has deliberately created an image of the greatest visual ambiguity.*’ Though expressive of the conception of the triune God, its relationship to the groups of impersonal, uniform figures in other paintings of the time cannot escape us. The Trinity now in New York is painted in a small tabernacle. Apparently, then, in the third quarter of the century this image was the object of private devotion as well as of the more public and collective veneration occasioned by large altarpieces (Fig. 9). Similarly the Redeemer, whom we have seen reappear in the main field of two altarpieces (Figs. 1, 4), became the subject of a small panel (Fig. 42). This extraordinary painting, hitherto unpublished, was made around 1380, perhaps by a Pistoiese master. __ His style is deeply dependent upon the Cioni, and his novel subject may have derived

from the same source. The panel represents the head of Christ, firmly based in painter is very probably the author also of the semble one or another aspect of the painting Crucifixion, no. 33 in the Lindenau Museum, in New York. In a miniature in a missal in

Altenburg. Toulouse (Bibliotheque Municipale, no. 91)

The posture of Christ in the Resurrection of 1362 the three figures wear a common man_ derives from the fresco by Pietro Lorenzetti in tle and crown, but each figure has two arms S. Francesco, Siena (see E. DeWald, in Art (V. Leroquais, Les Sacramentaires et les Mis-

Studtes, vu, 1929, fig. 43). sels, Paris, 1924, pl. 59). In a twelfth century

85 F, M. Perkins in La Diana, vi, 1931, pl. 18. “binity” in a gospels in Pembroke College Li8° Meiss, op.cit., fig. 3. Masaccio’s fresco in brary, no. 120, the bodies of God Father and S. M. Novella belongs to this tradition, though Christ unite at the hips into one lower half God the Father is standing rather than seated. (M. R. James, A Descriptive Catalogue of the In this respect his Trinity is anticipated by a/ | Manuscripts in the Library of Pembroke Colpanel by Lorenzo di Niccolo in the Museum lege, Cambridge, Cambridge, 1905, pp. 123-

of Bob Jones University, Greenville, S. C. 124). 7 There are images of the Trinity that re-

35

THE NEW FORM AND CONTENT

accordance with Tuscan taste upon a sort of plinth, formed by the shoulders and the inscription on the neck-band: PACEM MEAM DO vosis.® The qualities of the face are the now familiar ones attributed in the third quarter of the century to the Deity, to

the priest, and to other hierarchically superior figures. }

Organically articulated and solid, the head is also immovably frontal and rigid. Its tension is increased by the taut ligaments of the neck and by the relations of light and dark that show subtle and expressive variations of a generally symmetrical pattern. The contrasts of value culminate in the eyes, whose white corneas and dark, almost fullround, pupils emerge from the surrounding shadows. The glance is penetrating but unfocused and impersonal. ‘The transcendence of the figure is suggested also by the abnormally high dome of the head. Though spiritually remote, the face seems also very near. It creates a peculiarly insistent and dramatic effect. The head of Christ is reminiscent of earlier mediaeval images, and the resemblance may in this instance be the consequence not only of a generally related formal intention but of a more specific iconographic one as well. The painting may have been intended as a likeness of one of the miraculous images of the sacra facies that were venerated in Rome in the later Middle Ages.** The ornamented textile in the panel, held by two angels, may be a cloth of honor that falls behind the head. But it may, on the other hand, represent the sudarium, the kerchief of St. Veronica on which the likeness of Christ was impressed during the journey to Calvary. The sudarium was preserved in St. Peter’s, and it became the object of a rapidly growing cult, fostered by the popes, in the thirteenth and fourteenth centuries.*° Giovanni Villani saw it during his stay in Rome in the Jubilee year of 1300: “per consolatione de’ Christiani peregrini,”’ he wrote, “‘ogni venerdi, o di solenne di festa, si mostrava in San Piero la Veronica del Sudario di Christo.’ The sudarium was exhibited frequently also during the Jubilee of 1350, and over a period of several years special indulgences were granted by the pope for prayer before it.*? Badges showing the image were distributed among the faithful.

The pilgrim in the Spanish Chapel frescoes wears one pinned to his hat (Fig. 44). Before the fourteenth century the sudarium was occasionally represented in northern illumination,®® and although rare in Italy at that time, there is one surviving example in Trecento panel painting before our Cionesque specimen. This little-known work, one of thirty-six panels composing a retable in the Museo Civico, Trieste, painted in the Veneto around 1325, is a typical Veronica image (Fig. 45).°* Our

27). 82 Tbid., pp. 310-312. | 88 “My peace I give unto you” (John, xiv, 1 Dobschiitz, op.ctt., p. 310.

89 See J. Wilpert, Die rémischen Mosaiken 8 See, for instance, the thirteenth century und Mc'ereien, Freiburg i/B, 1917, 1, pp. 1123- drawings by Matthew Paris (M. R. James, in 1127, and K. Kiinstle, Jkonographie der christ- The Walpole Society, xiv, 1925-26, pl. 29, nos. lichen Kunst, Freiburg i/B, 1928, 1, pp. 589- 140, 141);. also H. Swarzenski, Die deutsche

592. Buchmaleret des XIII. Jahrhunderts, Berlin, #0 See the exhaustive study of the Veronica 1936, I, pp. 52, 128.

legend by E. von Dobschiitz, Christusbilder, 64 See Garrison, op.cit., p. 148. A second Leipzig, 1899, pp. 197-262; also Wilpert, loc.cit. Venetian example on panel is in the collection

36

EXALTATION OF GOD, CHURCH, AND PRIEST

Tuscan painting departs from it in several respects. Its highly ornamented cloth is unlike the usual white kerchief, but there are a few examples similarly decorated.” Only the face is usually shown, but once again there are instances in which the neck and part of the shoulders are included.” Similarly the representation of angels holding the cloth, though rare in the fourteenth and fifteenth centuries, is not entirely exceptional.*” If our panel is actually a Veronica, it is apparently the earliest one in Tuscany, apart from the pilgrim’s badge in the Spanish Chapel, and the earliest surviving example from any part of Europe painted as an independent subject on a panel.” The head is almost certainly not more than life-size, and very likely less, so that the panel probably measures at the most a foot or a foot and a half in height. This small size, together with the inscription PACEM MEAM DO Vosis, suggests the possibility that the painting may have served as a pax, a tablet employed in the liturgy to transmit the

kiss of peace from the celebrant to other clerics and to the laity.°* Though the surviving examples are mostly in metal, a few tiny panels, such as Fra Filippo Lippi's Man of Sorrows in the Horne Museum, Florence,’ have been identified as liturgical instruments of this kind. Whatever its precise use and iconic connotation, this little panel is significant as an of J. Pope-Hennessy, London, (G. Fiocco, in schichte der K6lner Malerschule, Liibeck, 1902, Dedalo, x1, 1930-31, p. 892 and fig., as Maestro Pp. 375 note 121). A similar representation ap-

Paolo). The panel is a quatrefoil, and must pears also in a drawing, of the early fifteenth have been part of an altarpiece or some other century, in British Museum ms Royal 17 A

large complex. xxvul, fol. 72v (Pearson, loc.cit.). This compo-

95 See the drawing by Matthew Paris (no. sition occurs frequently in later painting, espe140) mentioned in note 93. The cloth in the cially German (see the panel by Zeitblom in Veronica in the collection of J. Pope-Hennessy Berlin: A. Michel, Histoire de l’art, Paris, v, mentioned in note 94 shows four or five hort- part 1, 1912, fig. 13). In a Guelders Book zontal stripes. A diaper pattern appears in the of Hours of 1415 a standing angel holds the cloth in the tenth or eleventh century image cloth (Berlin, Staatsbibliothek, 4°.42, fol. 15v). in Vat. Ross. 251, fol. 12gv (see C. Osieczkow- °8 Apart from the panel discussed above, the ska, in Byzantion, Ix, 1934, p. 264 and pl. 16). earliest ‘Tuscan Veronica seems to be the one

| °6In the Venetian Veronica in the Pope- by Masolino above his Man of Sorrows in Hennessy collection the neck and the neck- Empoli.

band of the tunic are visible. See also the Both K. Pearson, loc.cit., and C. Aldenimage in Vat. Ross. 251, fol. 12v, mentioned hoven, loc.cit., mention a painting in the

in note 95. Cathedral of Prague which was traditionally

**K. H. Schweitzer, Der Veronthameister identified as a sudarium, and which Charles und sein Kreis, Wiirzburg, 1935, p. 15, Says IV was believed to have brought from Rome in that this type appeared ca. 1350, but his evi- 1368. This panel, however, is neither a Veronica dence is not clear. Possibly he had in mind a nor made before ca. 1400 (see A. Matejcek, miniature in a document of Pope Clement VI Gotische Maleret in Béhmen, Prague, 19309, of 1350 which was mentioned by K. Pearson, pp. 135-136, pl. 143). Die Fronika, London, n.d., p. 97. Pearson took #9 See F. X. Kraus, Real-Encyklopddte der his information about this painting from W. christlichen Alterthiimer, Freiburg i/B, 1886, Grimm, Kleinere Schriften, u1, p. 159. I have p. 6o2. not been able to consult this book nor to find 100 See Catalogo della Mostra d’Arte Antica

| any trace of the painting. C. Aldenhoven de- —Lorenzo il Magnifico e le arti, Florence, scribes an early panel formerly in Helmstadt 1949, p. 26 no. 5. The panel measures 13 by in which two flying angels hold the cloth (Ge- 22 cm.

37

THE NEW FORM AND CONTENT

independent image of the Redeemer in the painting of the later fourteenth century. Two similar images from the same period, though the very end of it, have come down to us. One, probably Sienese, in the Lanz collection, Amsterdam, is a Veronica (Fig. 46). The other, a small Florentine panel in the Horne Museum, Florence (Fig. 43), omits the cloth and is simply a volto santo. The halo in this panel is ornamented with an arabesque like those that appear in the paintings of Coppo and the Magdalen

: Master in the latter part of the Dugento. It is our Cionesque panel however (Fig. 42) that shows the more pervasive resemblance to earlier art. Though in detail the style , of the Venetian painter of the Trieste panel is much more Byzantine (Fig. 45), his , Veronica appears bland alongside our Tuscan image, in which the exaltation and intense ardor of Near Eastern Pantocrators seem to appear before us again.

THE SUPERNATURAL The representation in the later fourteenth century of subjects such as the Trinity and the majestic Christ rather than the Madonna and Child springs from an intention to magnify the realm of the divine while reducing that of the human. A similar intention is evident, as we have seen, in the painting of religious history, which accents the miraculous rather than the natural, the mysterious rather than the familiar and the human. Sometimes the more explicit representation of the supernatural led to a fundamental modification of the compositions of the earlier fourteenth century and to what

are, in fact, striking iconographic innovations. | Before the late thirteenth century the Resurrection was not a frequent subject in

, Italian painting. As in Byzantine art, the event itself was alluded to by the representa_ tion of the three Marys at the empty tomb. This is the scene that appears in the cycles of the life of Christ by both Giotto and Duccio. In the paintings of the Resurrection made in the late thirteenth and early fourteenth centuries, Christ, erect and frontal, or nearly so, stands on the tomb’” or inside it." Sometimes he seems to rise, though one foot remains either within the tomb or touching it.** These closely related postures persist in Florentine painting of the first third of the Trecento,’” although the 101 In the Lanz panel (no. 448 in the col- 103 Bolognese miniature ca. 1300 (P. Toesca, lection) Christ is crowned with thorns. For the La collezione di U. Hoeplt, Milan, 1930, pl.

painting in Florence, see Illustrated Catalogue 19).

| of the Horne Museum, Florence, 1926, no. 81, 104 Fresco in S. M. in Vescovio (Van Marle, p. 40, as school of Siena. These panels, un- in Bollettino d’arte, 1927, fig. 16). Reminiscent published so far as I know, prove that the of this early type is, too, the fresco fragment of Quattrocento paintings of the sudarium and the Resurrection by Pietro Lorenzetti in S. of Christ crowned with thorns, discussed some Francesco, Siena, and the Resurrection by

years ago by R. Longhi (Pinacoteca, 1928, pp. Luca di Tommé (Fig. 50) which is derived | 156ff.) have Trecento prototypes. from Pietro’s design. In both, Christ stands in 102 Crucifix, S. Frediano, Pisa (E. Sandberg- front of the tomb, but he is, on the other hand, Vavala, op.cit., fig. 381); Cavallinesque fresco very active. in S. M. di Donna Regina, Naples (H. Schrade, 105 In a miniature in the Kupferstichkabinett,

op.cit., fig. 16). Berlin, by a follower of Pacino di Bonaguida, 38

THE SUPERNATURAL

levitation of Christ is developed until, in Taddeo Gaddi’s panel in the Florentine Academy of around 1330, he glides sideways from the tomb.*** At the same time, however, the form of the Resurrection that had earlier become conventional in the north was adopted in Tuscany, or at least in Siena and Pisa. In these paintings Christ mounts from the sarcophagus, placing one foot on its front rim (Fig. 48).'”

This composition was quite familiar to the Florentine painters of the later fourteenth century, but they rejected it for a novel design which, like the new form of the Pentecost, seems to have appeared first around 1366 in the Spanish Chapel (Fig. 47).’*

In it Christ does not climb from the sarcophagus, an active figure impelled by a firm | will. He hovers high above it, and in the panel by Jacopo di Cione (Fig. 49), painted just about five years after the fresco by Andrea da Firenze, as well as in later representations,’” he is frontal and entirely passive. A weighty figure, he is sustained in mid-air or drawn upward by a force that transcends, as it violates, natural law. In the painting by Jacopo di Cione, moreover, the sarcophagus is covered by the lid, which is _ undisturbed, in accordance with the belief that when rising Christ passed miraculously through the closed tomb.**°

The essential relationship of this new type of the Resurrection with other representations of the time is evident. And like them, it is reminiscent of an older art. For Christ stands in the tomb (Offner, Corpus, sec. the fresco in the Spanish Chapel, in fact at the i, vol. 1, part u, add. pl. x1), In a miniature end of the century. He also ignores distinctions by Pacino in the Fitzwilliam Museum, Cam- between the several Italian schools. The Hambridge, he is floating, though his feet seem to ilton Bible, for instance, is Neapolitan.

touch the front edge of the sarcophagus. 108 Niccold di Pietro Gerini, fresco, sacristy

106 For the painting by Taddeo Gaddi see of S. Croce (Van Marle, op.cti., m1, fig. 344); Catalogo della Mostra Gtottesca, fig. 137m. miniature by a Florentine painter influenced

Outside Tuscany a similar posture appears in by Spinello Aretino in the Musée Condé, . the Riminese painting in the Palazzo Venezia, Chantilly (Giraudon photo no. 738g: in the

Rome (Van Marle, op.cit., tv, fig. 138). border, the rare scene of Christ putting his 107 In the north Christ more commonly puts arm around his mother in a meeting after the

a foot over the sarcophagus. Resurrection); fresco by a Pistoiese master, ca. In addition to the painting by Ugolino re- 1400, in the Capitolo of S. Francesco, Pistoia. produced in Fig. 48, other Tuscan examples of In a miniature of the end of the Trecento in this type are the fresco by a follower of Pietro S. Croce, the floating Christ is turned to a Lorenzetti in S. Francesco, Assisi, the central three-quarter position and looks upward (P. panel of the Sienese altarpiece of around 1335 d’Ancona, La miniatura fiorentina, Florence, in the museum at Borgo Sansepolcro (F. M. 1914, pl. xxi). Perkins, La Diana, v, 1930, pl. 11), a miniature 110 Just as at birth he emerged from the body (ca. 1350) by Niccold di Ser Sozzo (Toesca, of the Virgin without destroying her virginity op.cit., pl. 51), and the fresco in the Campo- (see Y. Hirn, The Sacred Shrine, London, 1912, santo at Pisa executed by an assistant of Fran- chap. xvi). cesco Traini (Meiss, in the Art Bulletin, xv, The miraculous passage through the closed

1933, fig. 29). tomb is represented also by Lippo Vanni in the

108 Schrade (op.cit., pp. 149-151) confuses Antiphonary in the Fogg Museum, and by the development by placing a Florentine panel those earlier paintings cited above (note 102) showing the floating Christ (Sirén, .op.cit., fig. in which Christ stands on the covered sar213) immediately after Taddeo Gaddi’s paint- cophagus. ing, though actually it was made later than

39

THE NEW FORM AND CONTENT

although the levitation of Christ is anticipated to a degree by Pacino di Bonaguida and Taddeo Gaddi, the passive suspended figure recalls the paintings of the thirteenth and very early fourteenth century in which Christ, erect and frontal, stands on or in the tomb.’ And this early form is itself revived in at least one instance, a predella panel of unknown whereabouts by Giovanni da Milano, which shows Christ poised majestically on the closed lid of the sarcophagus.*”

At the end of the fourteenth century Agnolo Gaddi returned to the active Christ mounting the tomb in the Resurrection," just as he revived other forms and.compositions characteristic of the second quarter of the century."* Many of his successors fol-

lowed him in this respect, but the new type of Andrea da Firenze reappeared frequently in later art, either in its original form, showing Christ suspended, or developed to suggest a more active rise to heaven."* Often its reappearance is associated with

the style of a painter or a period that is related in one way or another to that of the third quarter of the Trecento, but its continued use is also a symptom of a general trend to distinguish, more explicitly than in the art of the first half of the fourteenth century, the supernatural from the ever-growing realm of the natural. For us it 1s significant that the beginnings of this historical movement lie in the third quarter of the Trecento. In this way, then—and we shall have further evidence of it—the painters

of the third quarter of the fourteenth century made an important contribution to the evolution of later religious painting. The fresco by Andrea da Firenze combines with the Resurrection the representa-

tion of the three Marys at the Tomb and the Noli me tangere. Despite variations in scale and the slight differences of depth at which the figures are placed, they are united in a single vertical plane. The two figures of Christ and the angels are frontal or nearly so, the Magdalen is in profile. They are linked with the other figures by the rhythmical sequences of their outlines and by their gestures, all of which remain within the dominant plane. In partial opposition to this the landscape is expansive and deep. Its over-

lapping and terraced planes, exhibiting a variety of flora and fauna, extend further 111 Schrade (loc.cit.) suggested quite rightly also in Prato (ibid., pl. 27b), in which the _ that the new floating type in Florence was in- Virgin turns to look at her parents, and the fluenced by the Ascension. The Christ in priest, placed very little higher than Joachim Jacopo di Cione’s Resurrection is, in fact, al- and Anna, bends to welcome the child. most indistinguishable from the Christ in his 115 See, for instance, the terracotta by Luca Ascension. Schrade refers also to precedents in della Robbia in the sacristy of the Duomo, German Romanesque painting (see his fig. 20). Florence; Ghiberti’s relief on the Baptistery 112 Berenson, in Dedalo, x1, 1931, pl. opp. doors (though this is perhaps more closely re-

p. 1060. lated to Taddeo Gaddi’s Resurrection in the 118 See his panel in S. Mintato (R. Salvini, Academy); Castagno’s painting in the Frick

L’arte di Agnolo Gaddt, Florence, 1936, pl. 37). Collection and Bellini’s in the Kaiser-Friedrich

114 See his fresco of the Meeting at the Museum; Vecchietta’s bronze in the Frick Col-

Golden Gate in the Duomo at Prato (bid., lection; and, though Christ is more active, pl. 27a), in which the action of Joachim and Gruenewald’s altarpiece at Colmar, and Ti-

Anna is reminiscent of Taddeo Gaddi’s fresco tian’s in Brescia. (Fig. 33); and the Presentation of the Virgin, 40

THE SUPERNATURAL

into space than in earlier Florentine paintings, but they tend at the same time to coalesce in the plane of the figures. This unification is abetted by the light. The radiant Christ hovering in the air is the main source of it. A bright aura surrounds him, lighting the horizontal streaks of clouds beneath his feet and striking into the dark landscape below. It falls with great intensity upon a few large forms—the angels, the tomb, the two hills, the city wall at the left corresponding to the figure of Christ in white at the right—creating a symmetrical pattern of light that strengthens the symmetry of the main forms in the composition. But the light is no longer limited to its usual function in the earlier Trecento of defining mass and space; it becomes essential to the drama and mystery of the scene. As a quality that is no less expressive than line, shape, and

volume it recalls a late thirteenth century painting such as Coppo’s Crucifix at San Gimignano while it anticipates the art of Lorenzo Monaco and of the later Quattrocento. The new form of the Resurrection in the third quarter of the century was motivated —

by the desire to endow Christ with a more decisive hierarchical superiority and to accentuate the miraculous character of the event. In it the supernatural is represented explicitly by the unnatural. A similar intention and similar methods are evident in the novel forms given to other subjects at this period. In Andrea’s fresco of Limbo Christ floats toward Adam, scarcely touching with his feet the fallen portal (Fig. 98). The Madonna of Humility, created in the second quarter of the century as an intimate image of the Virgin’s sympathy and love (Fig. 128), was so drastically transformed after 1350 as to lose much of its original meaning."** Seated on a cushion, the Madonna is raised above the ground and suspended in the area of gold, becoming less the humble

mother than an exalted celestial apparition (Fig. 145). Whereas the painters of the early Trecento brought the sacred figures down to earth, both figuratively and literally, those of the third quarter of the century projected them upward again.

The germ of this new celestial Madonna lay in the original image and its copies, which allude to an identification of the Madonna with the heavenly Woman of the Apocalypse. In these works she was therefore exalted in her humility. But whereas her heavenly aspect was suggested originally by symbols of the sun, the moon, and twelve stars, it is conveyed in the new celestial type by the elevation of the Madonna herself and her unnatural suspension in space. Hovering or ascending figures are of course not absent from the art of the earlier fourteenth century: the Madonna rises through space in the Assumption, Christ in the Ascension, St. John in his translation. Their number increased, however, in the third quarter of the century, and often, as in the “celestial Madonna” or in cult images (Figs. 1, 11), the supernatural effect is heightened by showing the suspended figures in seated postures. Only a portion of the representations of the Madonna of Humility painted after the middle of the century belong to the “celestial type.”” But even those paintings that. conform more closely to the original image show important and characteristic differ116 For the history of the Madonna of Humility see chap. vi.

4]

THE NEW FORM AND CONTENT

ences. In the panel now in Washington, probably designed by Orcagna and executed partly by Jacopo di Cione (Fig. 140), the Child is no longer suckling nor even close to the Virgin’s breast. In other paintings he is seated upright on her knee.’" In Jacopo di Cione’s panel in the Academy (Fig. 138) he is wholly wrapped in a rich cloth, and though his head touches the Virgin’s, the two impinge like stones. The peculiar discreteness of the two figures is enhanced by the characteristic contrasting colors—intense blue in the Madonna’s mantle and orange-red in the wrap of Christ. It was of course not only the Humble Madonna that was transformed after the mid-

dle of the century. In the traditional Madonna enthroned, the throne itself was often eliminated, as in Nardo’s altarpiece (Fig. 11), and in a painting by the Master of the Fabriano Altarpiece, the Virgin together with her throne is suspended above the

, ground.”* There is, too, in this period an exceptional group of paintings of the standing Madonna. Though common in free-standing sculpture, this representation was rare in Tuscan painting before the third quarter of the century, when Nardo and Jacopo di Cione and their followers executed a series of six examples.*” In the panels by Nardo (probably the earliest, Fig. 51) and Jacopo (Fig. 53) the height of the Virgin is increased by the exceptional length of the lower half of her body. She holds the Child in a formal, diffident way, her own thought detached, veiled, and inscrutable. She towers above the spectator or the small kneeling saints and donors, more like a priestess than an affectionate intercessor or a mother.?”°

117 See chap. VI, note 25. 120 In two of the paintings there are allusions | 118 The panel, formerly in the collection of to the Apocalyptic Woman, as often in the

A. E. Street, London, was painted around Madonna of Humility. Stars are strewn over 1365 (Offner, Corpus, sec. 11, vol. v, pl. 50). the ground plane of the panel by Jacopo di It anticipates the Madonna by the Master of Cione (Fig. 53). Twelve stars appear above the

Flémalle at Aix. head of Giovanni del Biondo’s Madonna in 119 Madonnas by Nardo di Cione, collection the Vatican, and the crescent moon below her

of Tessie Jones, Newburgh, N.Y. (Fig. 51); feet (Fig. 52). Above the Madonna an angel Jacopo di Cione, partly repainted, SS. Apostol1, touches the lips of Isaiah with a coal of fire. Florence (Fig. 53);'Giovanni del Biondo, Vati- Friar Philip, one of the first companions of can Gallery (Fig. 52); Master of the Fabriano St. Francis, had a similar experience (Fiorettt, Altarpiece, ca. 1365 (Offner, Corpus, sec. m1, chap. 1), and this fact may be relevant because vol. v, pl. 44); follower of the Cioni, formerly Giovanni's panel is Franciscan. Another aspect in the Corsi collection, Florence; follower of of the extraordinary iconography of this panel,

| the Cioni, Museo Civico, Arezzo. See also the the corpse in the predella, will be discussed tabernacle by Ceccarelli in the Walters Gal- below (p. 74).

lery, Baltimore. Apocalyptic symbols appear also in two Cio-

Of the five standing Madonnas of the thir- nesque paintings that represent the Madonna teenth or very early fourteenth century listed del Parto, one in the Vatican (P. d’Acchiardi, by Garrison, only one is definitely Tuscan— I quadri primitivi della Pinacoteca Vaticana, the panel at Peccioli (Garrison, op.cit., no. 47; Rome, 1929, pl. x), the other in the Museo but se€ also no. 45). From the circle of the great Bandini, Fiesole, Room 1, no. 6 (Rivista d’arte, masters of the first half of the fourteenth cen- XVI, 1934, p. 217). This image, which has been tury I know only the standing Madonna by the discussed by Offner (Corpus, sec. m1, vol. v,

Dijon Master in the collection of Bernard p. 28), shows the pregnant Virgin standing, Berenson, and this may in fact have been wearing a girdle and holding a book. There

painted after 1350. are two Florentine examples of around 1335, 42

THE SUPERNATURAL

The Coronation of the Virgin underwent a transformation in the third quarter of the century similar to that of the Resurrection and the Madonna of Humility. In the early Trecento the scene was set on a floor or platform. The throne of Christ and the Virgin was raised somewhat above it on a dais, and the witnesses were assembled at the

sides (Fig. 58).* Shortly after the middle of the century a new composition was created. In Florence in 1360 and somewhat later in Siena the supernatural character and environment of the action was expressed by suspending Christ and the Virgin above the ground (Figs. 54, 56).’? Though their throne is usually eliminated, they

appear in seated postures, often before a figured drapery’* or surrounded by cherubim,’* and sometimes above a small cloudbank that symbolizes the natural heavens and provides a semblance of a supporting plane.’** The attendant saints and angels, who in earlier representations stood alongside Christ and the Virgin, are now usually placed below, and occasionally they, too, are without a ground plane.’”* When they but only the two Cionesque paintings contain that the first Florentine example may have the Apocalyptic symbols. In the Fiesole panel, been Jacopo di Cione’s panel of 1372-1373 in | the Virgin, labeled Regina Coeli, wears a the Academy. While it is true that Jacopo’s crown, the moon is beneath her feet, and stars panel appears to be the first in which Christ are strewn over her mantle as well as on the and the Virgin, together with the drapery beground, In the Vatican panel twelve stars ap- hind them, are separated from the figures and pear above the Virgin's halo, and the moon is the ground below by a strip of gold, the two

at her feet. figures were supernaturally suspended as early 121 See for instance the Ducciesque paintings as 1360 in the altarpiece by Matteo di Pacino,

in the Pinacoteca, Siena, no. 35, and in the formerly in the Stroganoff collection, and Metropolitan Museum, New York, no. 41.190.- dated in that year (Khvoshinsky and Salmi, 31; panel by the Master of the St. George Co- Pittori toscani, Rome, 1914, uy, fig. 38).

dex, Museo Nazionale, Florence; fresco by a 122 Panels by the Master of the Fabriano follower of Ambrogio Lorenzetti, S. Agostino, altarpiece in Ghent and in the Cenami-Spada

Montefalco; the Baroncelli altarpiece in S. collection, Lucca (Offner, tbid., pls. 39 and Croce (Fig. 58), and the Daddesque panel in 42); Jacopo di Cione, altarpiece of 1372-1373 Altenburg, no. 13 (Offner, Corpus, sec. m1, in the Academy, Florence (Fig. 56); Matteo di

vol. 1v, pl. 36). Pacino, altarpiece of 1360 (see preceding note);

A Coronation in the pinnacle of a Madonna Giovanni del Biondo, altarpieces in the Cain the Kaiser-Friedrich Museum (no. 1710), thedral, Fiesole and S. Ansano (near Flor-

painted by a late follower of Duccio who was ence), both of 1373, and in the Oratorio of S. influenced by Simone Martini, shows Christ Giovanni Valdarno (Van Marle, op.cit., wl, and the Virgin seated on cherubim (P. Hendy, fig. 291). in Burlington Magazine, Lv, 1929, pl. 118). This 124 Bartolo di Fredi, Museum, Montalcino, composition anticipates the type of the third dated 1388 (Fig. 54); Niccold di Buonaccorso,

quarter of the century. A ground plane is collection of Robert Lehman, New York; follacking also under the throne of Christ and the lower of Bartolo di Fredi, Siena, Pinacoteca Virgin in Pacino’s small medallion in the Tree no. 580. of Life in the Academy, Florence. The omis- 125 Panel by a follower of Jacopo di Cione, sion, exceptional in its time, may have been Vatican (Van Marle, op.cit., 11, fig. 286) and suggested by the unusual shape of the frame. Cionesque panel, Musée des Arts Décoratifs, 122] described this innovation in the Art Paris (Giraudon photo no. 26713). For addiBulletin, xvi, 1936, p. 448, and xxv, 1946, tional examples, see Offner, op.cit., p. 250. p. 13. See also Offner, Corpus, sec. 11, vol. v., #2¢Coronations by Niccolé di Tommaso, 1947, p. 250. Offner suggests that the celestial Narodni Galerie, Prague (Meiss, Art Bulletin, type was anticipated by Torriti’s mosaic, and xxXviu, 1946, fig. 23) and Academy, Florence

43

| THE NEW FORM AND CONTENT

cherubim or by a mandorla. , flank Christ and the Virgin they are decisively separated from them by a circle of

Thus in this composition, as in others of the time, the most important figures are isolated and remote. In this respect they resemble the corresponding figures of the thirteenth century more than those of the first half of the fourteenth. The essential aspect of the new Coronation, the heavenly locale of Christ and the Virgin, is itself reminiscent of Dugento painting. In the beautiful mosaic made by Jacopo Torriti in 1296 for the apse of S. M. Maggiore (Fig. 55), one of the earliest surviving Italian representations of the Coronation, the enthroned Virgin and Christ are placed in a round mandorla that hangs like a rising moon above the world. The moon itself and the sun appear just below the throne, and these elements of Torriti’s Byzantinesque composition recur in representations of the Coronation painted during the ’fifties and probably earlier in that Italian center in which Byzantine form lingered longest in the Trecento: Venice.’ In these paintings, too, a mandorla sometimes appears behind the throne (Fig. 57), and an ornamented cloth is spread behind Christ and the Virgin, adding to the luxurious effect of their garments. It is, in fact, not impossible that the Tuscan painters of our period were attracted by Venetian painting of the fourteenth century, as they certainly were by the earlier Byzantinesque art of the Dugento.

THE RECOVERY OF THE DUGENTO The similarity of the heavenly type of the Coronation with Torriti’s mosaic is only one of numerous resemblances that we have already observed between the painting of the third quarter of the fourteenth century and the Romanesque or Byzantine art of the Dugento. In the light of these resemblances, the conception current among the early Florentine writers and still surviving today, of Giotto as a sort of impassable continental divide in the history of Italian painting, clearly requires some qualification. This qualification is all the more important because certain forms of our period that seem to have been influenced by pre-Giottesque painting—qualities of expressive light and color as well as compositions such as the Resurrection or Coronation—per(Offner, Studies, p. 112 and fig. 3); late four- zantine, formerly in the Yates Thompson colteenth century Florentine panel in the Uni- lection (Illumination of One Hundred Manu-

versity Gallery, Géttingen, no. 62. scripts in the Library of Henry Yates Thomp127 See the Coronation in the Frick Collec- son, London, v, 1915, pl. 65; here the sun and tion, New York, by Maestro Paolo and his son moon are missing, but the figures rest their Giovanni, dated 1358 (Van Marle, op.cit., 1v, feet on orblike baldachini). In Tuscan reprefig. 6); the earlier Coronation in the Brera sentations, on the other hand, Christ abandons

(Fig. 57). this posture of dignified superiority. He be-

In Trecento Venetian paintings of the Coro- comes more fully involved in the action, and nation, as in Torriti’s, Christ is seated majesti- turning toward the Virgin, he bestows the cally and often does not look at the Virgin crown with both hands. (In the earliest Tuswhile with one hand he places the crown on can example, the mosaic in the Duomo, Florher head. The action is similar in the Paduan ence, Christ places the crown with one hand psalter, late thirteenth century and very By- and blesses the Virgin with the other.) 44

RECOVERY OF THE DUGENTO

sisted in later art. In this sense the “recovery” of certain aspects of Dugento form was a fateful historical accomplishment. Relationships with the Romanesque or Byzantine traditions of the thirteenth century are of course not lacking in the painting of the first half of the Trecento. Giotto and Duccio, each in his way, was deeply indebted to them. Even while denying and transcending the older pictorial tradition, they absorbed and maintained a part of it. Among the followers of these masters, however, the connection diminished. A few Dugento forms, considerably modified, persisted—such as the type of altarpiece representing in the central panel a saint and in the wings scenes from his life.** Jacopo del Casentino, when designing an altarpiece for San Miniato,’”* not only adopted this kind of retable, but retained the earlier proportions and the older means of dividing the scenes. It is possible, however, as Offner has suggested, that the close dependence of this and a few similar works on thirteenth century precedent arises from an intention of the painter and the donor to replace an earlier miracle-working image.*” Apart from such specially motivated instances, the relationships of the first half of the century with Dugento painting are neither so pervasive nor so central to style and content as those of our period. In the work of Giotto, Duccio, and the painters of their generation Dugento form persisted as a natural heritage; for the later Trecento it was the object of conscious interest and deliberate selection. The similarities between Torriti’s mosaic (Fig. 5%) and the paintings of the Coro-

nation of the Virgin by Bartolo di Fredi (Fig. 54), Jacopo di Cione (Fig. 56), and other masters of the period are not limited to the representation of a transcendental locale. In the mosaic Christ and the Virgin are clothed in rich garments, the large crown is set with jewels, and the cushions and throne are highly ornamented. ‘This material opulence, characteristic of the Byzantine tradition, including its late phase in Venice (Fig. 57), is approximated in the painting of the third quarter of the T'recento. In the panels by both Fredi and Jacopo di Cione the Virgin and some of the saints and | angels wear a figured mantle, and in Jacopo’s painting Christ and the Virgin appear in front of a brocade woven with golden threads. A similar cloth is spread behind Nardo’s Madonna (Fig. 11), laid over the throne of God in the altarpiece of the Trinity (Fig. g) or over the altar in Bartolo di Fredi’s Presentation (Fig. 15). It is worn as a tunic by the Virgin in the Pentecost (Fig. 39) or used to wrap the Child in Jacopo di Cione’s Madonna of Humility (Fig. 138). Frequently the ground plane itself is ornamented and has the character of a textile, as in the Strozzi altarpiece (Fig. 1), where a larger 128 For example, Simone Martini, altarpiece piece by Giovanni del Biondo in the Contini in S. Agostino, Siena (Van Marle, op.cit., u, collection (Fig. 68), which in this respect is

fig. 156). related to the retable of Jacopo del Casentino; 120 Jbid., ut, fig. 172. and the Madonnas by Ambrogio Lorenzetti at

180 Offner, Corpus, sec. 1, vol. v, p. 132 and Vico l’Abate and Bernardo Daddi in Or San note 3, cites the Crucifix in the Academy by Michele. the Assistant of Daddi; the shape of the altar-

45

THE NEW FORM AND CONTENT

area of it, significantly enough, is visible just below Christ. Precious objects such as crowns are large and elaborately contrived (Figs. 1, 54, 56). It is true that a related decorative richness may be found in several panels of Simone Martini. In the Giottesque and Lorenzettian traditions, on the other hand, the garments of the figures are generally plainer, and ornament is much less prominent. As has often been observed, the taste of Simone Martini and his technique of working the gold influenced greatly the painting of the later fourteenth century. But to his example must be added Byzantine and Byzantinesque paintings and mosaics of an earlier time. In later Trecento works the transcendent world of the Deity and the saints glows with gold and is filled with objects of luxurious and sparkling texture."” This material richness is concentrated on or around the superior beings, and the hierarchical distinctions that it implies are often augmented by clothing lesser religious figures as well as laymen in contemporary dress. In color, too, the paintings of our period imply an attentiveness to the panels and mosaics of the Dugento. Single hues and their pattern, like other qualities of form, vary considerably of course from painter to painter. Among the Florentines, Niccolo di Tommaso inclines toward warm and relatively mild colors—rose, lilac, yellow-green, and pale orange, which he frequently uses in the hair. Giovanni da Milano shows a related taste, preferring especially a light apple green. The hues of Jacopo di Cione are more somber and sooty. Despite this diversity, however, the colors of the more advanced painters of the time show a certain similarity. They are more solid and saturated, and less transparent, than those of Giotto, Simone, the Lorenzetti and their followers. Their impact is more direct, less merged with impressions of roundness or space, and they compose a pattern that tends to be more independent of the design of the shapes. Among the Florentines this taste was inspired by the art of Maso di Banco, who had given to hue and value a basic structural function—in one fresco in S. Croce the ground plane moves from buff to olive green. His painting exhibited a new delight in the evocative power of color as such. But in its density and radiance the color of the later Trecento is equally reminiscent of the mosaic and panel painting of an earlier period, and these broad resemblances become quite explicit in the swarthy flesh tones. As in Byzantinesque works of the thirteenth century, the flesh colors tend to be dark red-brown, and the terra verde underpainting is more telling in the finished surface. These somber colors, alternately warm and cool, contribute to the intense expressiveness of the faces, stark, dour, grim, and often anguished (Figs. 30, 31, 42, 60-62). The Dugento provided, however, no historical precedent for the intensity of the color contrasts in the third quarter of the fourteenth century. Extraordinarily strong blue alongside scarlet, which we have observed in the Strozzi altarpiece, recur con-

| 181 Bartolo di Fredi, in his Adoration of the and their crown. The tunic of the Virgin, the Magi in Siena (Van Marle, op.ctt., u1, fig. 318) wide border of Joseph’s mantle, and the archiuses gold in the large, prominently displayed tecture contain gilt motifs. Very little gold, of hats of the Magi and on the harnesses of their course, was used in frescoes. horses as well as on their gifts, their clothes

46

RECOVERY OF THE DUGENTO

stantly in the painting of Florence and frequently, too, in Siena. Closely crowded shades of red are juxtaposed, and a brilliant yellow alongside gold. These clashing colors, bright and dark, warm and cool, are set side by side to create a tense pattern of repeated abrupt change. One painting of the period exhibits such broad resemblances to Dugento dossals that at first glance it might almost seem a thirteenth century work (Fig. 63). Now in

the National Gallery, London,” and hitherto unpublished, it is one of the rare tempera paintings by Andrea da Firenze. Though many works have been attributed to this master, only the altarpiece in the Carmine in Florence (Fig. 64), and two panels

in the gallery of the Accademia are in my opinion by him.” The design of the Madonna and Child in the London panel recurs in the Carmine altarpiece and also in the center panel of the triptych that stands on the altar before which S. Ranieri kneels in Andrea's fresco in the Camposanto at Pisa." The polyptych in London is clearly connected with the Dominicans of S. M. Novella, for whom Andrea executed a great

fresco cycle, and it shows a special relationship with the Gondi Chapel in their church." The painting in London belongs to a type of low retable with a higher, projecting central field that was current in Florence in the second half of the thirteenth century. Only a few examples have survived.*** It is probably significant that the best of them is an altarpiece dated as early as 1271 (Fig. 2). Toward the end of the century the type seems to have become outmoded in Florence, and though in the early Trecento it continued in occasional use in provincial regions, I am aware of only one example in Tuscany—a painting from the conservative circle of Pacino di Bonaguida.’” Andrea da Firenze reverted then to a form of the second half of the thirteenth century. And the division of the entire field by colonnettes that support round arches (except in the center) draws his work closer to the earliest example of the type, the altarpiece of 1271 by Meliore (Fig. 2). The later ones employ pointed arches or a painted framework or, as in the late Dugento altarpiece at Yale*** or the one by the school of Pacino mentioned above, eliminate the divisive framework entirely.

It is possible that the adoption of this long outmoded form was motivated less by the artistic intention of the painter than by the wish of his patron to possess a sort of

replica of a Dugento painting made memorable for religious or other reasons. In weighing such a possibility we should have to bear in mind Andrea’s consistent interest

in the painting of the earlier period, and his use of a Dugento convention in the 182 No. 5115. The surface is dirty and some- section of a triptych of the Coronation, Mme.

what damaged. The painting came to the M. van Gelder collection, Brussels (Woluwe). Gallery in 1940 from the collection of Mrs. F. 184 A, Venturi, Storia, cit., v, fig. 653.

W. Myers. 185 See Appendix Iv. ™ Gallery, Academy, Florence, no. 3145. 186 Garrison, Op.cit., pp. 159-161.

See B. Berenson, Italian Pictures, p. 11. Close 187 In a private collection in Dublin. Cited to Andrea are Saints Agnes, Bartholomew, tbid., p. 159.

Nicholas, and Elizabeth in the Museum at 188, Sirén, od.cit., p. 17 and Garrison, Houston, and four saints, perhaps the left loc.ctt. 47

THE NEW FORM AND CONTENT

Carmine Madonna, where it was almost certainly not dictated by the patron nor by a special function of the work. In this panel (Fig. 64), as in numerous Tuscan Madonnas

of the late thirteenth century, the busts of two angels appear above the back of the throne, their heads nearly frontal and inclined gently toward the Virgin. But even if Andrea had been asked, when undertaking the London panel, to produce the semblance of a thirteenth century painting, the significant thing is the extraordinary sympathy for his model that he displayed in executing the commission. For in addition to retaining the shape and design of the older altarpiece, he has given most of the saints a Dugento impersonality and rigidity, and five of them are represented frontal. He has even inserted in each spandrel a colored stone, four of them blue and four pinkish orange—the favorite colors of the time. This means of enhancing the glitter and preciousness of a painting is unique, so far as I know, in the Tuscan Trecento. It was common enough, however, in the thirteenth century, and similar colored stones might have been visible in the spandrels of Meliore’s altarpiece (Fig. 2) had they not later been replaced by seraphim. However much the shape of the polyptych in London resembles Dugento dossals, in one respect it differs conspicuously from them and at the same time from polyptychs

of the earlier fourteenth century. Along with the Madonna there are not the usual four or six saints, but ten. It is improbable that this exceptional number appeared in Andrea’s model, if indeed he had one; and even if the patron had insisted that all these saints be represented, Andrea was still free to vary the proportions of his polyptych as he included them. To an eye familiar with the shapes of thirteenth and earlier fourteenth century Tuscan polyptychs (Fig. 2), Andrea’s central panel would seem much too small. Its size, including the leafy projections from the frame, would be normal in relation to two or at most three saints at each side, but not five. It rises abruptly from the long blank horizontals of the lateral sections, without attaining sufficient size to maintain a quiet dominance over them. These unusual relations are neither accidental nor unique. They recur in Andrea’s fresco of the Pentecost (Fig. 41), where Peter rises starkly above the eleven apostles and the Virgin, who compose an isocephalic group like the saints in the polyptych. In the same painter's Way to Calvary (Fig. 38) the long, only slightly varied horizontal of the central part of the procession is broken by the emergence of two soldiers, framed by turrets, just above and behind Christ. A similar unmediated emergence from a horizontal group occurs in Bartolo di Fredi’s

Presentation (Fig. 15), and to a degree in Nardo’s Madonna (Fig. 11), as we have already seen. And in Giovanni da Milano’s Expulsion of Joachim (Fig. 36), the relationship of the priest and the relatively small central bay of the church to the long row

of sacrificants and the aisles is likewise reminiscent of Andrea’s polyptych. | The tendency of this period to distinguish Christ and other superior figures by eleva189 See the altarpiece of St. Anne and the and S. M. dei Servi, Bologna (Catalogo della Virgin, Museo Civico, Pisa (Van Marle, op.cit., Mostra Guottesca, figs. 69, 84a, 958).

1, fig. 149); the Madonnas at Rovezzano, Stia, , 48

RECOVERY OF THE DUGENTO

tion, immobility, isolation, and frontality, is manifest not only in cult images and scenes of ritual and the supernatural; it shows itself also in narrative subjects that in the earlier part of the century had been the occasion for the expression of warm, spontaneous and intimate feelings. In the Deposition from the Cross by Duccio (Fig. 67) the mourners press with desperate affection around the dead body of Christ. The Virgin, Mary Magdalen, and St. John kiss the limp figure, helping at the same time to support it. All the representations of the Deposition in the first half of the century are

related to this in the quality of their action and emotion. Though in the panel by Simone Martini in Antwerp” Christ and the cross are higher, the figures below unite in a frantic movement toward him. His slumped body is surrounded by their clutching hands and by Joseph of Arimathea and Nicodemus, who are very close to him on the cross. In Bartolo di Fredi’s deeply-felt Deposition of 1382 in Montalcino (Fig. 66), on the other hand, Christ is comparatively alone, with larger, less active spaces around him. His unsupported, stiffly suspended head and the slightly divergent planes of his torso create the maximum tension in a very tense design. Unlike earlier ‘T'recento

representations (Fig. 67), he is very nearly frontal," and his entire body forms a rather rigid, unnatural arch that is the dominant shape in the composition. In all these

respects Bartolo di Fredi’s panel resembles the Deposition in Dugento painting (Fig. 65).

The trend toward symbolism in later Trecento painting and its method of expressing values by the relative position of the figures in the picture space unite in the work of one painter of the period to produce images of a very exceptional kind. In three of his large panels Giovanni del Biondo represented one figure trampling upon another. In his altarpiece in the Contini collection in Florence (Fig. 68), which preserves a thirteenth century convention in its general design and the absolute frontality of the — central figure, the grim, aggressive Baptist stands on a recumbent figure of Herod, pinning him down with his talon-like feet and long, predacious toenails. In Biondo’s panel in the cathedral of Florence, the enthroned St. Zenobius puts his feet on personifications of pride and cruelty (Fig. 70). Three vices lie beneath the enthroned St. John Evangelist in the same painter’s panel in the Uffizi (Fig. 69), a work which was probably commissioned by the Arte della Seta, perhaps for a pier in Or San Michele.”

140 Van Marle, op.cit., u, fig. 162. San Michele. (For this information about the 142 The torso of Christ is frontal in the Dep- Camera I am indebted to a notice given by osition in the Sienese altarpiece, ca. 1335, in Dr. Ugo Procacci to Professor Richard Offner, Borgo San Sepolcro (F. M. Perkins, La Diana, who kindly communicated it to me.) The panel Vv, 1930, pl. 16), but in other respects this com- has in the past been associated with a predella,

position shows the form and qualities of mood no. 446 in the Uffizi, which represents the and action of Duccio and the Lorenzetti. Ascension of the Evangelist and which bears 142 Now no. 444 in the Ufhzi, the panel came the stemma of the Arte della Seta (Alinari to the Gallery from the Camera di Commercio, photo no. ggo). This predella, conforming in an institution founded in 1770. The paintings subject and place of origin to Biondo’s panel in its possession were inherited from the guilds, of St. John, was probably made for it, but it several of them from the guild church of Or was painted by a different hand (a related 49

THE NEW FORM AND CONTENT | These compositions revive an old mediaeval convention in which Christianity demonstrates its victory over its enemies, or the virtues their conquest of the vices, by the simple physical act of trampling them underfoot.’* The famous passage in Psalm xc about the asp and the basilisk was commonly referred to Christ, who was represented standing on these creatures, or seated, like Biondo’s saints, with his feet upon them.'** When in 1376 the French Pope Gregory XI set out for Italy his aged father attempted to restrain him by throwing himself at his son’s feet. The pope, saying “‘It is written that thou shalt trample upon the asp and the basilisk,’’ passed over the prostrate body of his father and boarded his ship.*** The image, referred to Christ, appears in Giovanni Pisano’s pulpit in Pisa. And in two frescoes in the Arena Chapel Giotto employed the related device of the virtues, personified as female figures, treading on the vices. In adopting this traditional representation, however, Giotto modified it in

an essential and significant way. He did not place underfoot the traditional personifi- | cations of the vices, as they appear for instance on Strasbourg Cathedral,** but only symbols of them. Caritas stands on bags of money and grain that signify avarice (Fig. 72), and Faith treads upon pagan writings while pinning down an idol with her cross (Fig. 73), just as the lances of the Virtues pinned the Vices in the traditional compositions. "he exchange in these two frescoes of personifications for symbols was motivated in part perhaps by the painter’s desire to avoid repetition, for personifications of infidelity and other vices (though not avarice)'*’ actually appear on the opposite wall

| of the chapel. But it seei..s probable in any event that Giotto’s conception of the human being as the source and the emblem of moral and aesthetic values would lead him to avoid, if he could, casting figures on the ground, to be trodden ignominiously underfoot. When he must subject them to this or similar mistreatment, as in the Inferno, he greatly reduces their scale, giving them a miniature-like unreality. And though two of the personified vices are partly deformed, he will not deny most of them a certain shapeliness and grace and even dignity, while the greatest violence he does _ Orcagnesque Master) and it is wider than twice in this opposed pair. Caritas stands on Biondo’s painting. The latter measures 2.34 x moneybags, as we have seen, and Envy holds

1.04 meters, the predella, 0.55 x 1.15. one. By representing Envy instead of Avarice, 248 See A. Katzenellenbogen, Allegories of and giving her this form, Giotto’s thought is the Virtues and the Vices, London, 1939, pp. related to that of his Florentine contemporary,

14ff. Giovanni Villani. Though Villani classified

144 Twelfth century relief, Porta dei Mesi, avarice as one of the capital sins, he asserted )

Duomo, Ferrara. For this and earlier examples, that it arises from envy (see his Chronicle, see Trude Krautheimer-Hess, in the Art Bulle- book x1, chap. 2).

tin, XXVI, 1944, pp. 156, 171. Giotto’s Envy, furthermore, with her tightly 146 F. G. Gardner, St. Catherine of Stena, clutched treasure and her grasping hand, is

: London, 1907, p. 194. not unlike Ambrogio Lorenzetti’s Avarice in

146 Katzenellenbogen, op.cit., fig. 19. the Palazzo Pubblico, Siena (Fig. 74). Avarice

147 Giotto did not include Avarice among the here is an old woman who holds a grappling-

personifications of the vices. He placed Envy hook and a closed chest. Giotto’s figure is Opposite Caritas, but he alluded to Avarice clearly an avaricious Envy. 50

RECOVERY OF THE DUGENTO

to Folly, Inconstancy, and Infidelity is to throw them off balance—for him a momentous step and a particularly poignant means of expressing evil. Though such conceptions in their full range of meaning are peculiarly Giotto’s, they were shared to some extent by all the painters of the stil muwovo of the first half of the | fourteenth century. Inanimate symbols might be trampled, as the weapons of war by Ambrogio Lorenzetti’s Peace, but personifications, whether of evil or of a defeated good, were simply placed upon the ground (Fig. 74).'** It was, so far as I know, only in the ‘sixties and ’seventies, in the painting of Giovanni del Biondo, that the old device of human figures underfoot was revived.

In Giovanni del Biondo’s panel in the Duomo (Fig. 70) the drapery behind St. Zenobius is held by the winged Virtues, Humilitas and Caritas, and his feet rest on the corresponding Vices, Superbia and Crudelitas. Crudelitas appears here as the opposite of the latter of the two aspects of Caritas—amor dei and amor proximi.* And just as amor proximi, or love of one’s fellowmen, is represented in Italy by a woman caring for a child (Nicola Pisano’s pulpit in Pisa), Cruelty in Biondo’s painting assumes the form of a vicious person attacking a child. This motif is especially appropriate in a

, representation of St. Zenobius, who was revered for having revived a child—a miracle which in fact is represented in the predella.’*° Ambrogio Lorenzetti in his fresco of Bad Government had earlier shown Cruelty brandishing a serpent in one hand and choking an infant with the other (Fig. 74). In the more strenuous times of the later Trecento, when the tortures of conscience and of Hell became more intense (Fig. 83),*** Giovanni del Biondo turned Cruelty into a cannibal who sinks fanglike teeth into the writhing child. Below the feet of John the Evangelist in Biondo’s panel in the Uffizi lie Pride, Avarice, and Vainglory (Fig. 71). These vices largely coincide with the great sinful trio of the late Middle Ages, pride, avarice, and unchastity.’** This trio is supreme in the scheme of evil of ‘Thomas Aquinas. It is prominent in Franciscan thought also, as is

Implied by its emphasis upon the virtues of poverty, chastity, and obedience.** Though | 148 For the figure of Peace, see Weigelt, persists into the sixteenth century. Ripa says op.cit., pl. g9. See also Eve lying in front of the the vice is represented in this way “perché enthroned Madonna (Lorenzettian fresco at grandissimo effetto di crudelta é l’occidere chi Monte Siepi—G. Rowley in Art Studies, vu, non nuoce altrui” (Iconologta, s.v. crudelta). 1929, fig. 1—and several later examples) or 152 See chap. 11, pp. 75ff. Averroes lying before St. Thomas (panel by 168 See M. Gothein, in Archiv fiir Religtonsthe Master of the Dominican Effigies in the wissenschaft, x, 1907, pp. 416ff., and M. SchaRobert Lehman collection in New York, and, piro, in the Art Bulletin, xxi, 1939, pp. 325-328. after the middle of the century, fresco by An- 264 Biondo’s composition precedes, and may drea da Firenze in the Spanish Chapel, or well be the source of the image of St. Francis

panel in S. Catarina, Pisa). standing upon the same three vices, which ap-

148For these aspects of Caritas, see R. pears in Taddeo di Bartolo’s altarpiece of 1403 Freyhan, in the Warburg Journal, x1, 1948, pp. in the Gallery at Perugia (B. Berenson, A

68-69. Sienese Painter of the Franciscan Legend, Lon150 "The predella, like the child and the head don, 1910, pl. 21) and in the panel by Sassetta

of St. Crescentius, is repainted. in the collection of Mr. Berenson (zbid., pl. 161 This image of Cruelty choking an infant 20). In both these paintings Avarice is a Bene51

THE NEW FORM AND CONTENT

pride was usually considered the greatest of the three, and represented therefore in . the center between the other two, Biondo has given this position to Avarice. However, the avaricious old woman—Avarice commonly took the form of an old woman—who squeezes the mouth of a bag of money already firmly and conspicuously tied by a heavy cord, is less intensely conceived and thus less prominent than her neighbors. Instead of Unchastity (luxuria) Biondo has represented Vainglory. In general, and especially in this instance, the two vices are closely related. Biondo has designed for her, not without perhaps a touch of humor, a fantastic headdress combining a crown and peacock’s plumes. As usual she holds a mirror before her. Unlike the other two Vices, who sprawl on the floor, she reclines indolently, her supple, low-necked dress revealing the sensuous form of her body. Despite these evident allusions to luxuria in Biondo’s Vanagloria, it is primarily the latter that is represented. This reflects a shift in the relative condemnation of two evil pleasures associated, iconographically at least, with women—the pleasure of personal adornment now preceding the physical pleasure of sex. In this respect Biondo’s thought resembles that of Ambrogio Lorenzetti, who had earlier represented vainglory along with pride and avarice as the three supreme vices of bad government and a bad society (Fig. 74). Similarly Giovanni Villani, enumerating the sins of the Florentines that had provoked the disastrous flood of 1333, named vanagloria after superbia and avarizia, defining it as ‘“‘vanagloria delle donne e di disordinate spese e ornamenti.’”*** To him and to other burghers of the time a delight in elaborate personal adornment, associated with the older nobility, appeared to be disturbing to family and social relations, and incompatible with industriousness. The expenditures which it entailed seemed waste-

ful and uneconomic, draining capital from productive investment. Thus vainglory could become a real threat to the commune, and efforts were made to control it by sumptuary laws that set precise limits on the kind of finery in which the Florentines could indulge.***

dictine nun. (Pope-Hennessy, Sassetta, Lon- F. Antal, however, holds that the sumptuary don, 1939, p. 123 note 16, suggests that the laws were instruments of class conflict and symbolism of ‘Taddeo’s and Sassetta’s panels class oppression. He maintains that they were may originate in the Sacrum commercium. He aimed at the lower classes, and that the rich is not specific, and I do not see the connection.) garments in paintings of the “democratic pe-

155 Cronaca, book x1, chap. 2. riod” reflect the struggle of these classes for the 156 In 1327, six years before he had written right to wear the same clothes as the upper the condemnation of vainglory quoted above, class (op.cit., pp. 19, 207). But if the petty Giovanni Villani and his brother Filippo were bourgeoisie, as he says (p. 33 note 43, and p. fined for violations committed by their wives 34 note 59), sought the repeal of the laws, how (see E. Mehl, Die Weltanschauung des Gio- is it that the government which he believes vanni Villant, Leipzig, 1927, p. 2). This event was dominated by this class did not abolish may imply a discrepancy between professed these laws but in 1355 actually instituted more belief and practice, a discrepancy that is hard- stringent restrictions? (For the sumptuary laws ly uncommon. The event also demonstrates of 1355, see F. T. Perrens, Htstotre de Florence, that the regulations were enforced against the Paris, 1888-90, Iv, pp. 357-358.) well-to-do.

, 52

BARNA. CONCLUSION

Villani conceived of the other vices, too, in terms of the welfare, largely the economic

welfare, of the bourgeois republic. He associated avarice with fraudulent trade and highly venturesome loans. These ill-gotten riches involved great risks and thus shook the stability as well as the reputation of Florentine business. And pride connotes for him the desire of an oligarchy or a tyrant to govern—that is, to violate and despoil— the citizenry.” In the light of such views, doubtless widespread at the time, it is not surprising that Biondo’s Superbia, an aggressive warrior from whose helmet project two horns, and Ambrogio Lorenzetti’s Tirannia (Fig. 74) should be very much alike.

BARNA. CONCLUSION All the paintings that we have linked together as manifestations of a distinctive phase of Tuscan painting were made within a period of twenty-five or thirty years. None of them can be dated before 1350, and only one, Bartolo di Fredi’s Deposition, was made as late as 1382. Almost all these works, furthermore, were produced by painters who had become independent masters within a period of about fifteen years. Andrea and Nardo di Cione, who entered the guild in 1343-1344, were probably the earliest of the group. We possess no works by them from the beginning of their career, but the newly discovered prophets in the choir of S. M. Novella, mostly by assistants of Orcagna,*** and paintings such as the Baronci triptych of 1350 now in the Archiepiscopal Museum, Utrecht,**® or the retables of 1353 and 1354 by the Master of the Fabriano Altarpiece*® show that during the late ‘forties Orcagna had begun to transform the style of Daddi and of Maso, and to evolve the new forms that appear, highly developed, in the Strozzi altarpiece (1354-1357).

Andrea da Firenze matriculated in the guild around the same time as the Cioni, and he is mentioned in Florence from 1351 on, but the first dated work that we know is the cycle in the Spanish Chapel, ca. 1366-1368. During the ‘fifties we first hear of the

Florentine Giovanni del Biondo, of Giovanni da Milano who had come from the

north, and of the Sienese Bartolo di Fredi, Andrea Vanni, Giacomo di Mino, and : 167“ | . Ja infinita avarizia e mali guadagni executed, by Orcagna himself. I believe it may di comune, di fare frodolenti mercatanzie e be an early work of the Rinuccini Master. usure, recati da tutte parti dalla ardente in- 180 In the museum at Fabriano and the Navidia l’uno fratello e vicino coll’altro. . . . Su- tional Gallery, Washington (Offner, Corpus, perbia, l’uno vicino coll’altro in volere signo- sec. 11, vol. v, pls. 36 and 37). In the panel of

reggiare e tiraneggiare e rapire.” Similarly 1353 at Fabriano the central figure of St. ingratitude: “Io pessimo peccato della ingrati- Anthony is tense and frontal; all his wor-

tudine di non conoscere da Dio i nostri grandi . shippers are in profile. The ornamental rich-

beneficii e il nostro potente stato...” (book ness of the altarpiece in Washington, the

x1, Chap. 2). prevalence of gold, orange, and intense blue, 158 See note 14 above. For the career of are Cionesque, and the motif of confronted Nardo and other painters mentioned in this birds, common in the Cioni workshop, appears and subsequent paragraphs see Appendix UL. in two of the textiles. ‘The figure of St. Anthony 158 See H. Gronau, op.cit., pp. 34-38, fig. 23. Abbot in this altarpiece, painted by Allegretto Gronau believes, incorrectly in my opinion, Nuzi, shows a similar influence. that this triptych was designed, though not 53

THE NEW FORM AND CONTENT . Luca di Tommé. The activity of Jacopo di Cione and of Francesco di Vannuccio 1s first recorded in the ’sixties. Along with these masters there were numerous painters now anonymous—followers

: of the Cioni in Florence, the Master of the Pieta in Siena’**\—who likewise began to work during the ‘fifties or ’sixties in a closely related style. ‘There were, furthermore,

| one or two painters whose later work exhibits many of the characteristic forms of the third quarter of the century but whose beginnings go back to the ’thirties, so that their

earlier paintings belong to the preceding stylistic phase. One of these masters was Niccolo di Ser Sozzo Tegliacci. All his known panel paintings are, I believe, from the latter part of his career—he died, probably of the plague, in June 1363. One of these, a polyptych made in collaboration with Luca di Tommé, is dated 1362. We know his early work only in illuminations. The style of the most important of these, the miniature of the Assumption of the Virgin in the Caleffo dell’Assunta, always dated between 1332 and 1386 but perhaps not quite so early as this, resembles Simone Martini, Pietro Lorenzetti, and Lippo Vanni whereas the style of the panels is more closely related to Bartolo di Fredi and Luca di Tommeé.

| One master has been conspicuously absent from our discussion of painting in the third quarter of the Trecento. We have not hitherto mentioned Barna, by far the most gifted painter active in Siena around the middle of the century. Though not one of his paintings is dated, and we know nothing of his career, there is general agreement that his major surviving work, the New Testament cycle in the Collegiata at S. Gimignano, was made around 1350-1355.’ Unlike most of the other masters whom we have considered, his beginnings go back to the ‘thirties. His early work, such as the Madonna in S. Francesco at Asciano,*® is essentially in the tradition of Simone Martini, though

it contains intimations of the tragic character of the S. Gimignano frescoes. The frescoes themselves are still reminiscent of Simone, especially of his late work (Figs. 4e, 76), and they also disclose a new interest in Duccio. Despite these continuing and profound relationships with the art of the earlier part of the century, and despite the exceptional and highly personal nature of Barna’s later style, it shows some similarities

with the characteristic art of its time. The raking diagonals of the Way to Calvary (Fig. 76), the free flow of the forms in space, the physical and emotional impact of one figure upon another, are unparalleled in painting after 1350. But they convey a terrible © intensity that is related, in a special way, to the art that we have considered. We feel 161 See Meiss in the Art Bulletin, xxviu, Bartolo’s frescoes (E. Carli, in Critica d’arte,

1946, pp. 6-12. VIII, 1949, pp. 75-76) would permit, from this

162 In a careful study of the date of the fres- point of view, a later date for Barna’s paintcoes in the Art Bulletin, xiv, 1932, pp. 285-315, ings—later than I should be inclined to place

Lane Faison argued that they were painted them for stylistic reasons. before the Old Testament cycle by Bartolo di Faison speaks of Barna’s “strange, dark state Fredi and assistants, dated according to Va- of mind” influenced by the Black Death sari 1356. Though Faison is not convincing on (p. 285). all points, his thesis seems to me correct. How- 163 Van Marle, op.cit., u1, fig. 196. ever, the discovery of the actual date, 1367, of

54

BARNA. CONCLUSION

that the grim tension of these Florentine and Sienese works, their inner conflict and | repressed excitement, have in Barna erupted violently. The bobbing, twisting helmets, the piercing glances, the lances shooting up. at different angles, create a turbulence that breaks against the order—not really stable—of the cross and the ladder. Just behind the haunted Christ, who is brutally pushed on one side and pulled on the other, is a dark, menacing soldier, his face startlingly close. He walks parallel to Christ, the two moving together like Adam and Eve in the Brancacci Chapel, and he looks like the evil alter ego of Jesus, or the devil. With one hand he brandishes a long sharp claw-hammer, with the other a bundle of enormous spikes—actions that are unprecedented in Italian painting. The Virgin, more decisively separated from Christ than in earlier representations (Fig. 75), does not even reach for him. In preceding paintings her access to Christ is often blocked by an upraised arm or shield. Here a sword is driven by a vicious soldier straight at her cheek. She, the Magdalen, and their companions are less able to redeem by their affection the brutality and pain of the scene. Even more than in other paintings of the time Christ is alone. The Pact of Judas (Fig. 78) is a quieter, more orderly composition, but it, too, contains elements of conflict and strain. As in the late paintings of Botticelli, with which Barna’s art has so extraordinary a resemblance, the intent figures are bent together, forming a taut, indissoluble group. Instead of the three. or four casually arranged priests of Duccio’s painting (Fig. 77), one is clearly distinguished as a High Priest. He stands in the middle, disengaged from the action but craftily eyeing Judas and unable to refrain from exulting as he sees his plot progress. He is the central figure of the active

trio in the foreground, but not of the entire group of figures, and he stands a little to the right of the central opening in the building, so that there is an oscillation between the axis of the architecture and the axis of the figures. This sort of displacement, so foreign to Duccio’s Pact or to other compositions of the first half of the century (Fig. 14), occurs frequently in our period. In Barna’s fresco the tense conflict is continued in the design of the building and its _ relation to the figures. The figures form a round arch, but the gable, the only central architectural form of comparable size, is pointed. Furthermore, the gable encloses highly diverse shapes, which become progressively smaller as they approach the large arc of the figures. The narrow pointed arch moves upward and away from the dramatic center, like the vaults in Biondo’s Presentation (Fig. 13). Within it there is a rectangu- | lar door, surmounted by a round arch—the only shape that corresponds to the figural pattern, but also the smallest. While this nest of dissimilar forms conflicts in several ways with the figures, it at the same time intensifies, by repeating, their contraction

into dense and ever smaller groups. :

There is a similar counterpoint between figures and architecture in the Last Supper (Fig. 79). Barna’s composition again resembles Duccio’s, but he has increased the importance of Christ, as of the High Priest in the Pact. Christ rises a little above the apostles at the far side of the table, so that he appears larger than they. His apparent 55

THE NEW FORM AND CONTENT

size is increased by his frontality and the coalescence of his figure with the reclining St. John. The central arch behind him, however, is no larger than the two at the sides;

indeed, like the central bay of the church in Giovanni da Milano’s Expulsion of Joachim (Fig. 36), it appears even to be smaller. Large areas of the lateral openings are visible; the apostles are not framed by the arches, but distributed irregularly in front of them. The close conformity of figures and architecture in earlier Trecento painting is replaced by contrast and conflict. And this new relation often entails, as in Barna’s painting, an oscillation between a formal, accented, yet contracted middle and freer, more open and more active sides. In the fresco of the Presentation in the Temple, probably designed by Barna but executed by an associate, the swaddled Child is set on the altar, as in Giovanni del Biondo’s panel (Fig. 13). Just as the grave Infant is unaware of his mother, the young Christ teaching in the temple seems little concerned with the arrival of his parents (Fig. 81). He does not, as in Duccio’s representation of this subject, turn gladly toward them.’ Frontal and erect, he continues his discourse and acknowledges their presence only by the turn of his eyes and the tilt of his head. In this composition, and also in the paintings of Christ before Caiaphas, the Massacre of the Innocents, and the Miracle at Cana, Barna renounced the architectural setting that his Trecento predecessors had used. Relatively indifferent in these scenes to depth and to quantitative space, he tilts the planes of the floor and the furniture sharply upward, so that the figures—the farthest of them very high—fill a great part of the picture area. He accomplishes this extension, at once inward and upward, without the tension inherent in contemporary compositions, because the rounded single forms and the freely moving figures imply unequivocally a tridimensional space. The mode of composing these frescoes, however, without an architectural framework, allowing the figures to be set before a neutral ground that throws into relief their lively shapes and gestures, recurs in other paintings of the time. The most impressive example is Orcagna’s Mass of St. Thomas in the Strozzi altarpiece (Fig. 168). If the frescoes of Barna thus exhibit a special relationship to the artistic trend that we have defined, the work of several masters active in the ’fifties or ‘sixties stands almost

wholly outside it. The paintings of Taddeo Gaddi in Florence, of Lippo Vanni, Bartolommeo Bulgarini (‘‘Ugolino Lorenzetti”), or the Dijon Master in Siena, show at most a limited and often superficial connection.’ Most of these masters belonged 164 Christ faces his parents also in Taddeo whereas they are frequently omitted in earlier Gaddi’s quatrefoil in the Accademia (Cata- mediaeval works. They are also absent in the logo della Mostra Giottesca, fig. 137f), but in works of essentially non-Tuscan ‘Trecento other Florentine paintings of the early Tre- painters, such as Giusto (fresco, Baptistery,

cento, Giotto’s fresco in Padua and the Giot- Padua). . tesque fresco in the lower church at Assisi, he 168 The late altarpieces by Taddeo Gaddi in

is no more concerned with them than in S. Felicita and in the Uffizi (dated 1355) are Barna’s painting. In this respect all these works richer in ornament, and along with the Pieta

continue the mediaeval tradition, but it is at Yale, show a much graver mood than his

significant that Mary and Joseph are present earlier work. in all these Tuscan Trecento representations,

56

BARNA. CONCLUSION

to an older generation; they formed their styles in the ‘twenties or the ‘thirties and they continued to paint without essential change of purpose after the middle of the century. In the same way certain painters, notably those in the Gerini workshop, carried on into the early Quattrocento the characteristic forms of the third quarter of the century, though in the ‘eighties and ‘nineties Agnolo Gaddi, Spinello Aretino, and above all Antonio Veneziano had given a fundamental redirection to Florentine

painting.

The painting of the third quarter of the century in Florence and Siena presents then a considerable variety. Beyond the diversity of trends and of individual styles, there were continuing differences between the two schools. These differences persisted

despite the recognized influence of Simone Martini upon the Florentine painters, and the probable but unacknowledged influence of the Cioni upon the Sienese. Sienese art remained more linear, more mercurial, more lyrical, Florentine more massive, more geometric, and intellectual. There were no Sienese paintings comparable in the structure of their thought to the Strozzi altarpiece, the Spanish Chapel, or the frescoes by Orcagna in S. Croce—there were indeed few mural paintings of any kind in Siena at the time, and nothing of importance has survived. The Sienese masters were less concerned with dogma, system, and the institutional aspects of religion. Their painting shows a more spontaneous sentiment and a greater immediacy of religious experience. But we have found in Sienese paintings, too, a greater emphasis upon the Church

and the priest than in the first half of the century. The traditional histories, which the earlier period had understood more as narratives of the familiar, recurring events of human life, assumed in them also the character of formal ritual, enactments of ineffable mysteries. This transformation was not accomplished either in Siena or Florence without a conflict and a persistent ambiguity. We have seen these in the relation of pattern and space, or line and mass, or color and form. We have seen them also

in the tension between the human, the ecclesiastical, and the divine, between secular , commitments and a more compelling religious aspiration. The humanity of the figures } is only partially suppressed. Many naturalistic qualities of the preceding period are maintained or even developed, so that a relatively inorganic figure in a rigid unnatural posture is yet given considerable anatomic and physiognomic detail—often more, indeed, than in the first half of the century (Figs. 6, 7, 30). Even where this detailed articulation serves, as it often does, to intensify the religious rapture, so that there is no conflict in final purpose, there remains a tension arising from highly diverse or even contradictory means. How are we to understand these profound changes in Tuscan painting around the middle of the fourteenth century? Understand them, that is, within the limits imposed by the nature of art, whether of our own time or of six hundred years ago. Whatever the elucidation, by the critic, the historian, or the artist himself, there remains at the core of creation an impenetrable mystery. Shall this ultimate obscurity lead us to refrain from enquiry? Shall we dismiss the redirection of Trecento painting as the con57

THE NEW FORM AND CONTENT

sequence simply of an inevitable reaction against the art of the preceding years? That would be to assert an undeniably relevant psychological fact, but it leaves us wondering why the reaction did not set in earlier or later, and it tells us little about the art that we did not already know. We have also the possibility of inquiring whether these new qualities are related to circumstances and events of the time, and whether the state of mind that they disclose is discernible in other areas of contemporary culture. Without denying that each art has a certain rationale and momentum of its own, this is what we propose to do. .

58

THE TWO CITIES AT MID-CENTURY or both Florence and Siena the first forty years of the fourteenth century had JB been generally years of great prosperity and of political stability. Already at the beginning of this period the two cities had risen to European prominence as centers of finance and manufacture. Just before 1300 the contest between the rising middle class and the long-established noble landholders had ended in a victory for the former. ‘The middle class acquired complete control of the state. Though many noble families, particularly in Florence, had entered trade or banking and had merged to a great extent

communal offices. |

with the business groups, they were, like all the members of their class, excluded from

As in other late mediaeval towns, Florentine and Sienese society was organized for political and economic purposes in a series of guilds. Citizenship depended upon mem-

bership in one of them. The thousands of workers in the chief industry, the manufacture or refinement of woolen cloth, were forbidden to form or to join guilds, and they thus had no political rights whatever. The guilds of the great merchants, bankers, industrialists, and professional men (jurists and physicians) formed the Greater Guilds, or Arti Maggiori. The shopkeepers and artisans were members of the more numerous Arti Minori. The state, which shortly before 1300 had assumed the form of a bourgeois republic, was actually administered by a wealthy oligarchy centered within the Maggiori. Their rule, as well as the guild structure which supported it, lasted in both cities for about half a century. The great entrepreneurs were engaged in production for foreign more than for local consumption, and with their large accumulation of capital they financed the Papacy as well as many princes throughout Europe. Seeking wider markets in their own regions, they pursued a policy of local “imperialism.” During their rule almost all of ' Tuscany was brought under the domination of one or another of the two cities. As long as the oligarchy succeeded in maintaining a high level of prosperity, it was not seriously challenged in either Florence or Siena. Though political power was thus highly concentrated, the form of the state reflected a libertarian ideal. The oligarchy sought to maintain the approval of the entire middle class, which believed it had the right to determine the policy of the government, and at times of crisis, as in Florence in 1343, exercised it. The republican principle, which implied the evolution of a nonhierarchical, more horizontal social order, was apparent also in other forms of association—in the guilds, for instance, with their elected captains. It was apparent also, within the sphere of religion, in the confraternities. These societies, formed by laymen for purposes of worship and mutual aid, grew rapidly from the late thirteenth century on. Their members, though subject to canon law, lived in the world without taking vows or adhering to a fixed rule. They were drawn from all classes; priests and friars were admitted too, but they had no special rights or privileges.

59

THE TWO CITIES AT MID-CENTURY

The fraternities were governed, and their religious services conducted, by lay rectors elected for short periods of time. On the altar of the chapel that each of these societies possessed there stood almost invariably a retable that was the visible center of the cult. There the members assembled periodically, singing hymns to the Virgin before her painted image. No phenomenon of town life was more expressive of its democratic and lay tendencies, and none impinged more directly upon the art of painting. As in other advanced European centers, but nowhere more than in Florence and Siena, the new competitive economy fostered (as well as it implied) independent individual inquiry and action in all fields of endeavor, and it stimulated a greater measure of individual self-consciousness. The middle class, concerned with the techniques of manufacture and the kinds of calculation required by production and banking on an unprecedented scale, developed increasingly empirical, inductive, and quantitative modes of thought. The burghers emphasized family and civic responsibilities and they valued circumspection, moderation, and, above all, industriousness.’ Though they remained deeply pious, they believed with increasing assurance that they could enjoy themselves in this world without jeopardizing their chances in the next. Their optimism seemed to be confirmed by the prosperity and the comparative peace of the first forty years of the century. The arts flowered as at few other moments in history. The painters and sculptors, developing a more naturalistic style, created an image of an orderly world, substantial, extended, traversable. They endowed the people in it with a new range of intellectual and emotional awareness, and great moral strength. The realm of human values was immeasurably enlarged, the relation of man to man becoming as important as the relation of man to God. It is no accident that the most memorable episodes in the Arena Chapel include the return of Joachim to his sheep, his meeting with Anna at the Golden Gate (Fig. 26), and the lament over the dead body of Christ. ‘These are

: scenes that had held only a subordinate meaning in earlier Christian art or had only recently been represented at all. In the early Trecento cycle they seem more congenial to the painter and more deeply felt than the episodes involving the prophetic and the symbolical (Last Supper), or the supernatural (Wedding at Cana, Ascension, Pentecost—the last executed by an assistant). Giotto’s human sympathy and insight reach an astonishing profundity in the wonderful soldier standing at the left in the Massacre of the Innocents, a wholly unprecedented figure who, though traditionally on the side of . brutality and evil, now withdraws in anguish from the bloody work of his men. Such novel accents and reinterpretations of traditional themes are not uncommon at the time. The life of the Virgin attains a new prominence, along with the Infancy

cycle, and the mother of Christ is given a much greater role in the sequence of the Passion. Entirely new subjects, such as the Madonna of Humility or the Madonna della Culla (Madonna with the cradle) were introduced.’ In one of his panels Simone 1See, for instance, a collection of middle 2 See the Madonna della Culla by Bernardo class precepts such as that of Paolo di Messer Daddi and an assistant in the Museum at Pace, Il libro di buoni costumi, ed. by S. Mor- Berne (Offner, Corpus, sec. 11, vol. 1v, add. purgo, Florence, 1921. For burgher modes of pl. 1). For the Madonna of Humility, see thought, see also the comments below on the chap. vi. Villani chronicles (note 27 and p. 80).

60

THE ECONOMIC CRISIS , Martini represented Mary and Joseph admonishing Christ after he had strayed from them and tarried in the temple at Jerusalem—a scene that is as rich in human significance as it is weak in religious or dogmatic.’ The theme of the Holy Family appears for the first time,‘ and the Virgin's father, Joachim, not previously present at her birth, waits in an antechamber in Sienese paintings of the scene.* Sometimes Christ brings together and embraces St. John and the Virgin, recommending them to one another as son and mother.’ A variety of marriages are represented, most of them novel.’ These themes are all expressive of family sentiments, of the emotional bond between mother and child, mother and son, or husband and wife. They reflect burgher values and many of the paintings were commissioned by a married couple for their own private devotion. It is not surprising then that children should have become especially prominent. Scenes of the resurrection of a child by St. Francis and St. Nicholas were represented more frequently. In the representation of Caritas, the woman personifying love of man (amor proximi) is accompanied, not by a beggar as in earlier French sculpture, but by a nude child.* Similarly, Amor is transformed from a man into a boy.’ In this predilection for youth we sense also an ebullience and an optimism similar to that conveyed a century later by the putti of the early Renaissance. Though some of these forms were carried into the art of the third quarter of the century, their expressive meaning was modified. The playfulness of the Christ Child and the glad affection of his mother, prominent especially in the panels of Daddi’s circle, were subdued, and no new types or motifs expressing similar sentiments were introduced. The inventiveness and the creative power of the age manifested itself in

a darker realm of fearful, strenuous yet often uncertain piety, brightened only by : mystical transports and visions of supernatural splendor.

THE ECONOMIC CRISIS From about 1340 on, the whole of Florentine and Sienese society was shaken by a series of increasingly disastrous events. The persistent and costly attempt of Florence to add Lucca to its domain was frustrated in 1341 by the capture of that city by the Pisans. The expansion of Milan under the Visconti began to present a serious threat,” ® The panel, which is in the Walker Art 188 and fig.). As B. Berenson has pointed out, Gallery, Liverpool, is based on Luke, 1, 48. the same painter made a Lamentation in the * See the panel close to Ambrogio Lorenzetti, Philippe Stoclet collection, but he is not, as and probably reflecting a composition by him, Berenson maintains, Andrea di Bartolo (Inter-

in the Abegg collection, Zurich. national Studio, 1931, p. 34, fig. 10).

6 Altarpiece by Pietro Lorenzetti, Opera del 7 See below, p. 109. |

Duomo, Siena, and numerous later Sienese ® Beginning, apparently, with Nicola Pi-

paintings. sano’s figure on the pulpit of the Baptistery in ¢The representations are based on John, Pisa (see R. Freyhan, in the Warburg Journal,

x1x, 26-27. See the triptych of 1334 by Taddeo XI, 1948, p. 72). Gaddi in the Kaiser-Friedrich Museum, Berlin ® See E. Panofsky, Studies in Iconology, New (Van Marle, op.cit., 1, fig. 181). Also a panel York, 1939, pp. 114-115. by a Sienese painter influenced by Barna (Fogg 10 ‘The growth of the power of Milan weighed

61

Art Museum, Collection of Medieval and so heavily upon the minds of the Florentines Renaissance Paintings, Cambridge, 1927, no. that a large part of Matteo Villani’s chronicle

THE TWO CITIES AT MID-CENTURY | and the burden of meeting this, together with the failure of the English branches of two of the largest Florentine banks, provoked an economic and then a political crisis. In 1343 the great house of the Peruzzi declared bankruptcy, and it was followed by the Accaiuoli, the Bardi (1345) and almost every other bank and mercantile company in Florence. Many of the Sienese houses were brought down also. ‘Throughout the cities workshops and stores closed because commissions were lacking and funds were not available for the purchase of materials or the payment of wages.” The crash plunged the towns into an unprecedented depression. Long after it had passed it continued to weigh upon the spirit of enterprise, engendering a more cautious and conservative attitude. For many years, fear of comparable loss tended to divert investment from trade and manufacture to farms and land. The merchant and chronicler Giovanni Villani, who himself suffered severe reverses and who was even thrown into the Stinche for inability to pay his debts, reported that by 1346 the Florentine companies had lost

, around 1,700,000 florins. No such calamity, he said, had ever overtaken the commune.” He wrote this judgment on the eve of a far greater one, in which he lost not his fortune but his life.

POLITICAL AND SOCIAL CHANGE | The ruling merchants and bankers in Florence tried to meet the mounting crisis by the usual method of the Italian communes in time of distress—transference of munici-

pal authority to a dictator. In 1342 the Duke of Athens was called to Florence and given supreme power in the state. But this expedient, which in many other cities had resulted in the permanent loss of republican government, proved unsatisfactory to all sections of the Florentine middle class. Rallying to the cry of liberty, they united to

expel the Duke in 1343. The republic was restored, but with new provisions that ' curtailed the power of the great merchants, industrialists, and bankers who had controlled the state almost uninterruptedly since the end of the thirteenth century. _ Weakened by the failure in the Lucchese war, the financial collapse, and the necessity of relying upon other groups to expel the signore whom they had installed, they were obliged to admit to the priorate representatives of sections of the middle class that had not previously had a voice in its councils. Of the eight seats in the priorate only two were retained by this old oligarchic faction, which consisted of the wealthier members

of the “great” guilds of the Lana, Calimala, and Cambio. Three or four seats were given to the mezzana gente, whose identity is disputed. The old belief that they belonged to five ‘‘middle guilds”’ which were commonly grouped with the fourteen Lesser

Guilds has recently been opposed by evidence that they, too, were members of the from 1351 on (book 11) is devoted to it. For the 1926; also A. Doren, Italienische Wirtschaftsconsequences of the Milanese threat see H. geschichte, Jena, 1934, pp. 464f.

Baron, in Annual Report of the American 12 Sapori, op.ctt., p. 140.

Historical Association for 1942, Washington, 18 “Maggiore ruina e sconfitta che nulla che

1944, pp. 123-138. mai avesse il nostro comune” (book xu, chap. 14See A. Sapori, La crist delle compagnie 55). Villani was a socius of the Buonaccorsi

mercantili dei Bardi e dei Peruzzi, Florence, Company. | | 62

POLITICAL AND SOCIAL CHANGE

Greater Guilds, but distinct from the oligarchic party, less wealthy and the owners of smaller business enterprises.’* T'wo or three seats finally were allocated to the fourteen Lesser Guilds of shopkeepers and craftsmen, in other ‘words to the lower middle class. This distribution of power was maintained until 1378, when the famous revolt of the ciompi won a brief control of the state for the disenfranchised workers of the woolen guilds. They were quickly succeeded by the Lesser Guilds, and in 1382 the old oligarchy reestablished its power. If the smaller entrepreneurs and the professional men, the mezzani of the Greater Guilds, were actually dominant in the government of Florence from 1343 to 1378, this

era was not quite so “democratic” as many historians have maintained. But in any event the oligarchy was overthrown, the new priorate was more widely representative, and the lower middle class did acquire a share in the regime. There were, moreover, corresponding readjustments of power within the guilds themselves, so that the consequences of the revolution were felt through Florentine society.’® The rise to power of the mezzani and the necessity for the political recognition of the lower middle class shattered the confidence of the very wealthy, which had already been shaken by the

: crash. They and all those in the city who depended upon, or sympathized with, the old oligarchy bitterly opposed the new government. In 1345 Giovanni Villani ridiculed the rulers of Florence as “artisans and manual workers and simpletons.””” 4¢The character of the several Florentine the great majority of the working population parties and the nature of the complex conflict of Florence (see G. Capponi, Storia della Rebetween them need further clarification. Party pubblica di Firenze, Florence, 1, 1875, p. 245). alignments often cut across the guild structure, 1¢ See, for instance, the changes within the and within the guild groups there were funda- guild of the physicians and apothecaries to mental differences of interest—within the which the painters belonged, described by R. seven Greater Guilds, for instance, between Ciasca, L’arte dei medici e speziali, Florence, those producing for export (free-traders) and 1927, pp. 86ff., and A. Doren, Entwicklung for the local market (protectionists). Further- und Organization der florentiner Ziinfte, Leipmore, the financial position of the producer zig, 1897, pp. 51-59. and the scale of his production did not always During these years the painters acquired

. correspond to the rank of his guild. In fact greater independence and influence within the some of the sottoposti of the cloth guilds (such guild, but this was in part the consequence of as the dyers) who were not permitted to form special factors, chiefly the greater public esteem

their own guild conducted larger enterprises won by this craft during the course of the than some members of the Lesser or even the fourteenth century. The painters entered the

Greater Guilds. guild in 1314 as dependents of the membrum

For the identification of the mediani with a of the apothecaries, classified simply as men section of the Arti Maggiori, see G. Scaramella, who buy, sell, and work colors. In the guild Firenze allo scoppio del Tumulto dei Ciompi, lists of the ’forties or ‘fifties painters of panels Pisa, 1914. For the older interpretation of the and frescoes are called dipintori, and differenevents of this period, still maintained by most tiated from painters of chests and furniture. historians, see F. T. Perrens, Histoire de Flor- Not long afterward the dipintori became deence, Paris, 1888-90, Iv, pp. 342ff.; F. Schevill, pendents of the physicians, the only profesA History of Florence, New York, 1936, pp. sional group in the guild. Finally, in 1378 the 259-283; N. Rodolico, I ctompi, Florence, 1945. group of painters was authorized to form an 16 This government, furthermore, suppressed independent membrum and their name as firmly as the oligarchic one preceding it the was added to the title of the guild, which sottoposti of the woolen guilds, who comprised became known as the “arte de’ medici,

63

THE TWO CITIES AT MID-CENTURY

In Siena during these years there was a corresponding series of revolutions, though

they occurred at different intervals of time and on the whole the swing to the left extended farther than in Florence."* The Nove, the counterpart of the oligarchic party in Florence, was thrown from power in 1355, after having been the sole ruler of the city since the end of the thirteenth century. Weakened by the economic consequences of the Florentine bank failures and by the plague of 1348, the Noveschi were excluded by law from the new government of the so-called Dodicini. It consisted of a coalition between the nobles and the smaller entrepreneurs, shopkeepers and craftsmen. These groups, except for the nobility, corresponded exactly to the Florentine mezzani and minuti who had won a share in political power in 1343. A second revolution, precipitated again by the nobility, brought down the Dodicini in 1368 and led, after some rapid changes, to the most widely representative government in the history of the Tuscan communes. It included the nobility and all sections of the middle class, omitting only the workers in the woolen industry, whose riotous demands for citizenship in 1371 were suppressed by the expulsion of thousands from the city.’* The several parties were represented in proportion to their number in the population, so that the lower middle class held a majority in the supreme council. Whereas the rule of this class lasted in Florence only from 1378 to 1382, in Siena it persisted from 1368 to 1385. During the years of lower middle class participation and ascendancy, several Sienese painters—Andrea Vanni, Bartolo di Fredi, Luca di Tommé, Giacomo di Mino—were active in the political parties and in the government, occupying a variety of offices and serving as municipal envoys.

THE BLACK DEATH During the ’forties, just after the fall of the oligarchy in Florence and several years before it was overthrown in Siena, both cities suffered seriously from lack of grain.” The bankruptcies reduced the financial resources of the cities and weakened

| the influence of the great Florentine houses of the Accaiuoli and the Bardi in Naples, so that normal imports from that region were not forthcoming.” On top of this, crops failed throughout Tuscany in 1346, and they were badly damaged in 1347 by exceptionally heavy hailstorms. Weakened and terrified by these deprivations, which they attributed to divine displeasure, the Florentines and Sienese attempted to appease God. They engaged in collective prayer and public displays of repentance. Giovanni spetiali, dipintori e merciai” (Ciasca, op.ctt., Siena,” in Bullettino senese di storia patria,

p- 131). VII, 1947, pp. 35ff.; F. Schevill, Siena, London, i7 “Signori artefici e gente manovali e idioti” 1909, pp. 213-228; L. Douglas, A History of

, (book xu, chap. 43). In 1340, before the revo- Siena, New York, 1902, pp. 149ff. lution, Villani had advocated a government 19 Rodolico, op.cit., p. 24. representative of all classes (book x1, chap. 20 See N. Rodolico, Il popolo minuto, Bo-

118). logna, 1899, p. 51. See also chap. II, note 5

18 See G. Luchaire, Document: per la storia below. det rivolgimenti politici del comune di Siena 21See Doren, Italienische Wirtschaftsgedal 1354 al 1369, Lyons, 1906; P. L. Sbaragli, schichte, p. 391.

“I mercanti di mezzana gente al potere in

64

THE BLACK DEATH

Villani tells of great processions, in one of which, continuing for three days, he marched himself.*? These had scarcely disbanded when an unimaginable catastrophe struck both towns.

Suddenly during the summer months of 1348 more than half the inhabitants of Florence and Siena died of the bubonic plague.”* By September only some 45,000 of the 90,000 people within the walls of Florence were still living; Siena was reduced from around 42,000 to 15,000.* Never before or since has any calamity taken so great a proportion of human life. The plague struck again in 1363 and once more in 1374, though it carried off far fewer people than in the terrible months of 1348.” The survivors were stunned. The Sienese chronicler Agnolo di Tura tells of burying his five children with his own hands. “No one wept for the dead,” he says, “because every one expected death himself.’”** All of Florence, according to Boccaccio, was a sepulcher. At the beginning of the Decameron he wrote: “.. . they dug for each graveyard a huge trench, in which they laid the corpses as they arrived by hundreds at a time, piling them up tier upon tier as merchandise is stowed in a ship. . .”—sights not

unfamiliar to modern eyes. For years the witnesses were haunted by memories of bodies stacked high in the streets and the unforgettable stench of flesh putrefying in the hot summer sun. Those fortunate few who were able to escape these horrible scenes by fleeing to isolated places were, like Petrarch, overwhelmed by the loss of family and friends.

The momentous nature of the experience is suggested by the words of Matteo Villani as he undertook after a few years to continue the chronicle of his dead brother: “The author of the chronicle called the Chronicle of Giovanni Villani, citizen of Florence and a man to whom I was closely tied by blood and by affection, having rendered

his soul to God in the plague, I decided, after many grave misfortunes and with a greater awareness of the dire state of mankind than the period of its prosperity had revealed to me, to make a beginning with our varied and calamitous material at this

22 Book x1, chap. 21. Lisini and F. Iacometti, Bologna, 1932, p. 555)

28In a previous epidemic, during the and an anonymous chronicler (ibid., p. 148) spring of 1340, 15,000 Florentines died, accord- asserts that the “grande moria” carried off ing to Giovanni Villani (book x1, chap. 114). three-fourths of the people. A. Lisini, com24 These estimates of Doren (op.cit., pp. 634- menting on this statement (zbid., p. 148 note 635) are conservative. Others suppose a higher 2), says that if three-fourths did not die, at - rate of mortality. N. Rodolico, La democrazia least a half did. Lisini estimates as many as

fiorentina nel suo tramonto, Bologna, 1905, 70,000 people in Siena before the plague. Pp. 7, 32, 35, gives an over-all figure for Flor- Commenting on Siena, Matteo Villani (book ence in 1347 of 120,000; after the plague I, chap. 4) says “non pareva che fusse persona.” 25,000 to 30,000, a death rate of four-fifths. 25 See for Siena, W. Heywood, “Ensamples” Boccaccio in the Decameron said that 100,000 of Fra Filippo, Siena, 1901, pp. 8off., and for Florentines died, and the Chronicle of Stefani Florence, Perrens, op.cit., 1v, pp. 379ff. The puts the figure at 96,000. Matteo Villani gives plague of course became endemic, reappearing a general death rate of three-fifths (see note in 1400, 1411, 1424, and thereafter, but with a

277). greatly diminished rate of mortality. Agnolo di Tura seems to say that 80,000 26 Rerum Italicarum scriptores, xv, part 6,

Sienese died, leaving only 10,000 alive (Rerum PP. 555-556. Italicarum scriptores, xv, part vi, ed. by A.

65

THE TWO CITIES AT MID-CENTURY

juncture, as at a time of renewal of the world... . Having to commence our treatise by recounting the extermination of mankind ... my mind is stupefied as it approaches the task of recording the sentence that divine justice mercifully delivered upon men, who deserve, because they have been corrupted by sin, a last judgment.’ Though the rate of mortality was doubtless somewhat greater among the poor, about half of the upper classes succumbed. Agnolo di Tura’s comments about Siena are significant: four of the nine members of the oligarchic priorate died, together with two

of the four officers of the Biccherna, the podesta, and the capitano di guerra.” The painters were not spared. The plague carried off Bernardo Daddi, the most active and influential master in Florence, and perhaps also his associate whom Offner has called the ‘Assistant of Daddi.’”* It is generally assumed that the disappearance of all references around this time to Ambrogio and Pietro Lorenzetti signifies their death in the

epidemic.*° Undoubtedly a great many minor painters suffered a similar fate. This | sudden removal at one stroke of the two great Sienese masters and of Daddi along with

numerous lesser painters produced a more than ordinary interruption in pictorial tradition. It gave to the surviving masters, especially the younger ones, a sudden, exceptional independence and a special freedom for the development of new styles. 27 ‘Nella quale mortalita avendo renduta adds, “ma questo non possiamo accertare.” To l’anima a Dio l’autore della cronica nominata the assertion of the astrologers that the plague la Cronaca di Giovanni Villani cittadino di resulted from the conjunction of three superior Firenze, al quale per sangue e per dilezione fui planets in the sign of Aquarius, he replies that strettamente congiunto, dopo molte gravi for- a similar conjunction had occurred in the past tune, con pit conoscimento della calamita del without producing such dire results. He is mondo che la prosperita di quello non m ‘avea quick to calculate, and to propose laws and dimostrato, propuosi nell’animo mio fare alla principles: on the basis of reports from many nostra varia e calamitosa materia comincia- countries, he says that the pestilence may be mento a questo tempo, come a uno rinnovella- said usually to last five months in a given mento di tempo e secolo, . . . Avendo per region. It normally carried away three out of cominciamento nel nostro trattato a raccontare every five persons. la sterminio della generazione umana.. . stu- 28 Asnolo di Tura, op.cit., pp. 555-556. One pidisce la mente appressandosi a scrivere la hundred and thirteen of the friars in S. M.

sentenzia, che la divina giustizia con molta Novella in Florence died (C. di Pierro, in

: misericordia mando sopra gli uomini, degni Giornale storico della letteratura ttaliana, XLVU, per la corruzione del peccato di final giudizio” 1906, p. 14), and in Avignon nine cardinals

(book 1, end of chap. 1 and beginning of and seventy prelates, despite the great fires

chap. 2). which were maintained in the papal palace to The entire passage is interesting for its care- purify the air (P. Schaff, History of the Chrisful, precise account of the spread of the plague tian Church, New York, V, part 2, 1910, p. 100).

through Italy and Europe. Villani is assiduous 29 Corpus, sec. I, Vol. v, p. 119.

in the collection of facts and opinions but s0Their names are lacking not only in all cautious in accepting them, and he frequently documents, but in the list of the best Sienese records them with scepticism or with contrary painters compiled around 1349 for the operaii argument. ‘hus he tells about the reports of a of S. Giovanni, Pistoia (C. von Fabriczy,

great fire in Asia, and the belief that the Repertorium fiir Kunstwissenschaft, xxin,

plague originated in areas ‘ravaged by it, but 1900, pp. 496-497). ,

66

ECONOMIC AND SOCIAL GONSEQUENCES OF THE PLAGUE In the immediate wake of the Black Death we hear of an unparalleled abundance of food and goods, and of a wild, irresponsible life of pleasure. Agnolo di ‘Tura writes that in Siena “everyone tended to enjoy eating and drinking, hunting, hawking, and ©

, gaming,’’** and Matteo Villani laments similar behavior in Florence: “Those few sensible people who remained alive expected many things, all of which, by reason of the corruption of sin, failed to occur among mankind and actually followed marvelously in the contrary direction. ‘They believed that those whom God's grace had reserved for life, having beheld the extermination of their neighbors, and having heard the same tidings from all the nations of the world, would become better men, humble, virtuous, and Catholic; that they would guard themselves from iniquity and sins; and would be full of love and charity for one another. But no sooner had the plague ceased than we saw the contrary; for since men were few, and since by hereditary sucession they abounded in earthly goods, they forgot the past as. though it had never been and gave themselves up to a more shameful and disordered life than they had led before. ... And the common people (popolo minuto), both men and women, by reason of the abundance and superfluity that they found, would no longer work at their accustomed trades; they wanted the dearest and most delicate foods for their sustenance; and they married at their will, while children and common women clad themselves in all the fair and costly garments of the illustrious ladies who had died.” This extraordinary condition of plenty did not, of course, last very long. For most _ people the frenzied search for immediate gratification, characteristic of the survivors of calamities, was likewise short-lived. Throughout the subsequent decades, however, we continue to hear of an exceptional indifference to accepted patterns of behavior and to Institutional regulations, especially among the mendicant friars. It seems, as we shall

see, that the plague tended to promote an unconventional, irresponsible, or self- indulgent life, on the one hand, and a more intense piety or religious excitement, on the other. Villani tells us, in his very next sentences, of the more lasting consequences of the epidemic: ‘Men thought that, through the death of so many people, there would be abundance of all produce of the land; yet, on the contrary, by reason of men’s ingratitude, everything came to unwonted scarcity and remained long thus; . .. most commodities were more costly, by twice or more, than before the plague. And the price of labor, and the. products of every trade and craft, rose in disorderly fashion beyond the double. Lawsuits and disputes and quarrels and riots arose everywhere among citizens in every land, by reason of legacies and successions; ... Wars and divers scandals arose through-

out the world, contrary to men’s expectation.” , Conditions were similar in Siena. Prices rose to unprecedented levels.** The econ-

84 Agnolo di Tura, op.cit., p. 560. London, 1929, pp. 66-67.

82 Book 1, chap. 4. A translation of the entire 88 Book 1, chap. 5. : chapter—upon which the above is based—may 8 Chronicle of Neri di Donato, op.cit., pp. be found in G. C. Coulton, The Black Death, 633-636. On the inflation throughout Europe

67

THE TWO CITIES AT MID-CENTURY

omy of both Florence and Siena was further disrupted during these years by the defection of almost all the dependent towns within the little empire of each city. These towns seized as an opportunity for revolt the fall of the powerful Florentine oligarchy in 1343, and the Sienese in 1385. The two cities, greatly weakened, and governed by groups that pursued a less aggressive foreign policy, made little attempt to win them back.

_ The small towns and the countryside around the two cities were not decimated so severely by the epidemic, but the people in these regions felt the consequences of it in another way. Several armies of mercenaries of the sort that all the large states had come

to employ in the fourteenth century took advantage of the weakness of the cities. Sometimes in connivance with the great enemy of the north, the Duke of Milan, they

| invaded, or threatened to invade, the territory of Florence and Siena. These large marauding bands—the companies of the Conte Lando, of John Hawkwood, and of Fra Moriale, the Company of the Hat and the Company of St. George—hovered in the neighborhood throughout the fifties and ’sixties, a continual threat to the peace of the contado and a serious drain on the already shrunken communal treasuries. Florence, the stronger of the two cities, was less troubled by them. Siena paid out huge ransoms,** in twenty years some 275,000 florins, but even then its lands were pillaged and the people on the farms and in the villages lived in constant terror. For them the

story of Job, an old paradigm of trial and affliction, acquired a specially poignant meaning. Not only did Job suffer from a disease whose outward symptoms were like those of the plague; his cattle were driven off and his children killed. It is not surprising that his history, rarely if ever represented in earlier Tuscan panels and frescoes, should now have been portrayed several times. In a triptych dated 1365, by a follower of Nardo in S. Croce he appears as a cult figure at the left of the Madonna, and the entire predella is devoted to his trials.** Bartolo di Fredi appended five, or probably originally six, scenes of Job’s misfortunes to his Old Testament cycle of 1367 in the Collegiata, S. Gimignano (Fig. 82).** Another of Bartolo’s Biblical stories must likewise have evoked an intense response, stirring bitter memories of dislocated families even while it held out a measure of hope: the scene of the Jews fleeing from Egypt and of the pursuing Egyptian army drowned in the Red Sea (Fig. 80). In 1362, just a few years before the painting of these frescoes, Bartolo himself had written a report for the Signoria of Siena describing the movement of marauding troops in the countryside.

_ after the Black Death see J. W. Thompson, soon, Professor Lucile Bush has already in American Journal of Sociology, xxvi, 1920- suggested a connection between the Job 21, p. 565, and Kovalevsky in Zeitschrift fiir sequence and the ravages of the merchant

Soztal- und Wirtschaftsgeschichte, 1, 1895, companies. |

Pp. 406-423. A third cycle of the Job story is in the

85 Twenty thousand florins, for instance, to Camposanto, Pisa (Van Marle, op.cit., Vv, pp. , Lando in 1356 (see Neri di Donato, op.cit., 264-266 and figs. 173-174). It was begun by p- 585). On the merchant companies and Flor- Taddeo Gaddi (in the ’fifties?) and completed ence, see especially Perrens, op.cit., Iv, pp. 424, some years later by another painter.

457-470. | , 38G. Milanesi, Documenti per la storia *¢ Van Marle, op.cit., mt, fig. 289. dell’arte senese, Siena, 1854, 1, p. 260. 87 In a study of these frescoes to be published

68

ECONOMIC AND SOCIAL CONSEQUENCES

The ravages of the mercenary companies accelerated a great wave of immigration from the smaller towns and farms into the cities that had been initiated by the Black

Death. Most of the newcomers were recruits for the woolen industry, who were attracted by relatively high wages. But the mortality offered exceptional opportunities also for notaries, jurists, physicians, and craftsmen. In both Florence and Siena the laws controlling immigration were relaxed, and special privileges, a rapid grant of citizenship, or exemption from taxes were offered to badly needed artisans or professional men, such as physicians.** Throughout the earlier history of Florence and Siena there had been, it is true, a steady influx of people from the contadi. Dante complained of a population swollen with rustics from places such as Signa and—ironically enough— Certaldo, Boccaccio’s town.” But the magnitude of the immigration into Florence after the Black Death was unprecedented. Those historians who estimate the population of the city as 25,000 or 30,000 just after the Black Death postulate 45,000 in 1351," and others state that, despite the successive epidemics, there were 60,000 people by 1375 and 70,000 by 1380.** Siena, on the other hand, grew comparatively little.** In addition to bringing into the city great numbers of people from the surrounding towns and country, the Black Death affected the character of Florentine society in still another way. Through irregular inheritance and other exceptional circumstances, a class of nouveaux riches arose in the town and also in decimated Siena.** Their wealth was accentuated by the impoverishment of many of the older families, such as the Bardi and the Peruzzi, who had lost their fortunes in the financial collapse. In both cities, too, many tradesmen and artisans were enriched to a degree unusual for the

| popolo minuto. Scaramella sees as one of the major conflicts of the time the struggle between the old families and this gente nuova.** Outcries against both foreigners and

the newly rich, never lacking in the two cities, increased in volume and violence. Antagonism to “the aliens and the ignorant” coalesced with antagonism to the new municipal regime; the government, it was said, had been captured by them. Filippo Villani wrote in his chronicle for the year 1363:

“In those days the administration and government of the city of Florence . . . had 89 See R. Ciasca, op.cit., p. 291. Despite these that this figure includes refugees from the inducements the number of physicians did not plague who returned to the city.

increase as rapidly as the shopkeepers and *2 The chronicler Stefani, quoted by Rodotradesmen in the same guild (ibid., p. 117). lico, op.cit., p. 39. For immigration into Florence see also N. 4A, Doren, Italtenische WhirtschaftsgeRodolico, I ctompi, pp. 40-42, and tdem, Demo- schichte, pp. 634-635. crazta fiorentina, pp. 36ff. For Siena, see Kova- #4 Doren, loc.cit. levsky, op.cit., p. 421 and L. Douglas, op.cit., #5 Apnolo di Tura (op.ctt., p. 560) wrote that Pp. 155-156. All these writers comment only “tutti li denari erano venuti a le mani di gente

very briefly on the immigration. The entire nuova.” See also Matteo Villani (book m, phenomenon, and its consequences for con- chap. 56); Perrens, op.ctt., Iv, p. 391. temporary society and culture, has not hitherto 48 Op.cit., p. 34. Though Scaramella does not

been given adequate attention. | observe it, all references that he cites to the 40 Paradiso, xvi, 46. Cited by N. Rubinstein, homines novi are from the period after the in the Warburg Journal, v, 1942, p. 222. plague (Matteo and Filippo Villani, Giovanni

41 N. Rodolico, Democrazta fiorentina, p. 35, di Paolo Morelli, etc.). and Ciasca, op.cit., p. 106. Ciasca points out

69

THE TWO CITIES AT MID-CENTURY

passed in part—and not a small part—to people newly arrived from the territory of Florence who had little experience in civic affairs, and to people from more distant lands who had settled in the city. Finding themselves after a time enriched with money

gotten in the crafts, in trade, and in money-lending, they married into any family that pleased them; and with gifts, feasts, secret and open maneuvers they put themselves forward so much that they were drawn into public offices and were added to the list of those eligible for election to the priorate.’’*” In the Corbaccio, written in 1354-1358, Boccaccio compared the rulers of the city to a person lacking liberal studies,** and in a letter of about ten years later he said that the reins of government had been given to people who had come, as we would say, from Kalamazoo—“‘venuti chi da Capalle e quale da Cilicciavole, e quale da Sugame o da Viminiccio’—and who had been “‘taken from the mason’s shop or from the plow and elevated to the highest office in the state.”’*°

THE EFFECT UPON CULTURE AND ART | The painting of the third quarter of the century, more religious in a traditional sense, more ecclesiastical, and more akin to the art of an earlier time, may reflect these profound social changes in Florence and Siena, or rather the taste and the quality of

piety that they brought into prominence. For these homines novi, the immigrants, the newly rich and the newly powerful, had not on the whole been closely identified with the growth of the new culture in the first half of the fourteenth century. ‘They adhered to more traditional patterns of thought and feeling, and it may well be that ) their ideal of a religious art was still the art of the later thirteenth century—an art that was still visible almost everywhere in the cities, and even more in the churches of the

contado. At other times, less educated, provincial people have clung to an art that had been supplanted for as long as fifty years, and we are given hints that this was so around the middle of the fourteenth century. Writing in 1361 in his will about a | Me ce Meee aeSaeko a BB, Deotnoen: Re SS. Coa eeot ie eee Ss» PBR. RO Rete Sc SRRCe se,Sh sy No Oe ae fsRosen Bae eA See Pits ORE sae BER ORS SEes: ORS SOON B Ae tae : hs en : SS P & Soe $e Ree ee arene SS 4 ey SRR pe 3 Se a

: Se eepees. Ky ighie ete, Cee 3 RE 2Pee REpeak os SSE RRBO aReras a atti essOOOO BeSS aioe & BS HEE BoeFe;3eo $e Rsi ateasers aie Be ‘ogee SOO Ee faie fe: > poate easSecon sae SctSee SE ee Se RO SS aaSgBeare Ete o

| Fe oc ae - —— Cie i : sete ae eae . S Raman os Se igeees on ON SKScag CS ae)sBape me Sake ee ey Soe ee: e.Boa ma 7 a, OS, ea e,Minit sage tees at Seema serea SSeS SooSaas et eS Sees oa ee * oe Se3:Se SSeS ee ee ee Sees as, Meee Ries Sass eee ae Pree eS S ae ake Bares ee ee Rs SS

s Soe ropes Pier Wein Ses Soe. SE ee SR Serene sree Soe ee Po \o os re a8

So lee ee REO LE EELS SS Sree arent iares tusk gamananes: Rees § eo: bao ae Cie & 8 ~ aeeto eSe aa Bge Saas cae sagas ea ea REokaeSee SeSRsete. eae: Gono Seinen Sea PERE sa aS— EePg ge: PERE Beg bes ee ae ay eee #j

BF Reosaieaae ohh .. #Poy g e : oe ee pete ae es)ee mepees oe CanSe ettey rr as : ESS em, oe ompenten RES S35 BaseSeSot, Sonos Fad*Pit eg. re)

BL ereeecose ee eep>, ges Sete SM. ae anne Ses Ses tees ee Re2a 5v : SaatSane SORE SesSO al I camper > Peart eetSee nin eae Wee Soe=Me eaeSea gs cee Se Bree ees ts POS. 6LSA eK igRES: eet:ag ¢ Bees Seana S Wns oe SeeotSN "RRO RePe oeses £ ogo Sn oaGee SEKI thaee oe eS : Sees. Perea TeKS Beowe ee, Sore saeee OBS ER RE RED eeae. eSSaas iss Sie cin a SS oe Siero SPs ae: Sas : BS Se Deb recce By *, BS Res — Pte ee RE Se BRS ae » , “ Bees Deeley et ssenttaos Saroons ON ee an aca wes .$See a RES >. : se ee 2Ege: se Soe wt) 3e‘cae Aaes—; ESyesee&, r eae Bee: i a ribet geeasgues Rane KG om Aaa SeROae oeSoe nee at eas SS eee So 3 PS es Pos ee epee eae , eg teres sas See RSs ers ss oe ee es a. tes : ae Gon * Sf ee . By ee See ry = $3 ; Rg! 5 PR See Sai Sree Sak es oe Serco ens sy 5 ie Ba as Sten PR SRN Sai. Sasa siesta Ne Soot: Sea Ri = ee mS ges SE Be a & j ae

: RS Sh ee Ss es wey CRaaae a anRS SeeBs encanta Se poe ea Sudanese ane seepaeaest ae Be “Oe SS SaaeSoe. Sie ee%aeep aea Z. :ee Beg PX ns 32 SSa8 Sees eos Sa.$3Seas. Men ea Sete. eee bt ase Stags paSepa ee Shae at Ee [oa ; 5) Bes Sk,Pie ra Boe k.eee ne Seay es is ene ee te Fit, +ome Be a3 is SS e7 seating oaBS 2a See aa ) Sem SR BBO Be ae. oReeeae ==46

eypeig, Sas SOA ee (ag apeSoret eee is So. os Ogtoes . Breogsicicue 3 sens ine. Ss bas cae SE eS ee & Se Soe Sere Seg BS4; ee ee Srese ee es 2ae BR ae Rea Rohe | A pa moe ayaee Se SNhe, Sse Sa tee See a ee sg Chee Ruimeamanan toteane estePasse Re hg ae 5 ae$2es: Bae Sage Sota pe$eESS ° ceSéSEESees SS ae . per 2 SSK ae San See eae BR to a oS. e Sa 3 Sas 32a Eng ite So u ;:;s3S a3 Y Se ee Se Serena saci a Seer iat ero RB poe ct SA ean og So ote Seo Bs Shes os sear a a a ee re , eee, Bae RS eo £ sees ey . SORE Seo Ss. See ee se art S33 Rs Y RS = mae 5 aoe a3 oe Seg... > SSS

A NR Se OS eeee RS geen, oe gs: ee 33 =a‘$5 # pe f: 26 ae Rites acct See a -tshis oo7ones esotee ae # Peat) = oe 23 oq SREel RRS Se, ee Bony ee, aRS Sees ett = ce cSAbe : et Pei aie

ee: SoS aor encanees or eS eeta ae eerBs EES Bae Bee a ae on Son N | ee = Be es SENS “s heme Pant Se Re SS Bos Bas Sines Sane Bae oe Rate, Swe 3 : eB PSS 23 sects Ba Aas % a oo ee pn ES nene eee pies cts pas ae See Cian een: S25 “sheen Bee S soe SOS ae a” aon. Se ESeS earn ae og es ae : ee Git a gemmrrecrriste ieee prredesnenenaneereniies Ripe. eens peta Recon oe eg SB ste eR er hs HS. 3.33

| : we beoeee Poti ae seiIBeens teSea Se:eanbss. Se¢ Bsc: Sie$eoR el eae eee Sa Boo So i POROIRE ee BikeaR ee aeRg RS Se Se oeGoa oes FRR bee ° cheat Res se oe ee Se Seaman. gees Rc Spore pe mae : Bite Sas H Se pec a ea Frc rnanes ee SEE Y-

ee ° carer te oe > ii Ses Sees Po oe Eien eee, Bee eu rf

oeeee oateSoars aa i, SRarmen a ShSee as ae * ee . : i8 ee eecsshenaeen Be Bs eeatoS | r aae ee eeseen Si os SosSeer SaasRSascae Brae S058 ze :Vv = eesas oeee ace ae 5Sake Ber SS eeRica ee z one as 4eePRs ae ee Fae os OSoe aoensB. oe ce Oe se ice. as She Bets Sea . Bere ane 3 See oe sek BesSees PahotePena east SES ee :Bers : : Re oe D LSas$y Brite Sas.So3| : r ge eo!sea Ses a=eS Se eee, oh Dia ae Secon oe# ; oeee : SSS Sony See wee eee opts 5 Pa ee Ce Se aS : RPS S BS SESS ae on MES 3 >» : Pine tats tsa Rites, Seen oa Sei reer anesSia mn eenete SeStee ee sske aes Sete ae E.~ Re psesbah osc % Se ae 3ROWi ce aeMiagsx¥aoc oa ssa3-eee 3 33 | Sok ee ESOS 3eat Reese Sets FOOT BAS ih Smee. oe Se Be $e et serBi SeeiSaat ‘ Sikora a asee Roo. fn Oe RIG 5bis Ree iBO nc, ss oh SES Be oR Sar Sets PgR ect ic:es;goo : Bie p> a:y

ee RR Re: REO Soa geen eeasSosa x)oe: ees: : fo2 f:caf 3(eciaa ad ioe ‘ : : RESO menhet Se we Ue See eseons SECS taeaPORE St © na on Paul sii:Seager ss Bi ee EE eS he:3°5‘ cebis rs Secor eRaaeee ee aBh Be Ss aeGoes ES 33 pees Pee teehee $333

core - SS patna cosa: he $ arene cconanteaan Ba. ppt, Nets ee, SS Be Rags ot Sooo Bas Sos Sore See RS EBS Bae Sa Reker os” ee as “i ok i ee “pa Sesees ea Baer ae ee BS ped Be ee 8 1 h rae BOOP Ce ae PRR en eae ied ‘s ig Soa aa a SR Stes Bs Rees Sie a

eein Pts gee 1o ee oe Bt ee the eke }eiai og ko eegee oF et Ob a Se FNg awit eg|=eo He ae oO rrtrtsti‘i‘ SY ri: att Pe TecaePe; pinnae See nnsotand i ag Pee oS SS aes tt 6 gacake os eke atee 4 Febe tee Suc Soa pcre a etsee eesPe San 8 aessoon Seen See %:2 Pee ee a EE Se So a prReEeeeesa3Cec a See Reawe eees nied os3ha oy eePe PORsaeae s. anos oR Seana eg ine 8 Ses Bs 3 ¢eae fa

: es ae gS sa ae: ey Se oad OS Sse stamens Sh ies % eters SEER ES ee ae 5

eae tC Scat SSR ae Roa Peres 4 sts Sirens eaten Bane E: Oe os as tert cs bonne ttiiats aah sate Boyar i Ae sek as e ee 2 SesS pa aoa SSR Sesaeoad bag es bie stpres Ses oi ne Sao oe Bs FS

BeRoe Mc +" Sen RS eR Scosiiaionerennsasas Bessie a = Viais | ae: BR ae Se Beba 4 Lea rac Rk Pe Sakae: ee Res aeRO SS 0 Simmer 83 iS Ses ns “S eS B Sos Rs Bo, Sy Bos & oe

Ree seenceBe SSSEBa. osool cae a oe Sgeee eee see fe hsBe SeBSbe hae BeSapa ct,pein Sema vate< aire tence Sshagasacansnonnstonnnne : ee Sg Seg SOR ae Pi SR RE, Bes ERS nena SSX ee San Rigas ee 3 ee Soe She eae rane atest Sakae Si $3 MoeSo pi: sieSire ee ees§aes ,ronrencenee naire sa ee oaeennnanen eT Magee eon Rei om Shoe phar ad % sas Gheiseunaannate sihaitoaes DELO ee RR es Soe SSS % BEF: pe FF AE : eee oe in a Ros % Dietes Sey ann a 00 pivsaincncorsiy RoeSe es See ps eeb3Soa Soo sae eg Ps: Maes asa Ss Se ——— emerese es ee sya caesecetereed Te a aeSenmee $3 Sees penitentesse: beena.costes SES eee seas Sr 5 OO RR cect: eRe aos SEEN a secantyoeSsoaeneene eae, & 2 He eeSS me

Bes Saas Spas Suitcmaicones SEE Sh esCeSRR OES 2 OR PO De eeRE aoeAH Batata =PES Sees esi at eae & aise RS: Saas eSseca: paranoia eeieee vessaeaessaseensern, Sccuuge SSR sineaepote cee ac Ese een Sa Se 3a a atic Sea totes Se PEReames SeatSeen Nea areemeee scaMes eee Ranaiass See » Petise Mes Dspee So .Se is Sree Manistee sateen . Sea*oeSe Sane am peer CRS.RESO “> Se ReaSo es Re sig sae Sevee seratetstetatatate eos rake te ne Se eee RaSES Oe Denne oe OREO San secede Ree oe ees Ses oeSSR eessSe SS anennannen nner BeSa nas SsSEBS Spent ae 8POI S 23 | af SS setaies AReimers ghane anne cet eee aeeee SESE SSS Pays Rsecs SYcauses 28 eee 2 see. 2oe > I%DIOMOOOOOGIIO RECASSR Soe eeOe ees SteeBae Sas ee Rees Serene ELD a :. -AyaeBoe ee >. SSE: SRE ae a SE een EF RR RS SER Rs I SR A a ot I A NR AN nd mo 5 ERO eae een eRe bats

38 Se ey¢ose Ss Sp Bee : ee Paar Ce et eo=aeSe Seee 3 See ao & SesBe aeitaeeS aeae aeaire ss =PSOE oe ere.See: pe Sts eae ee LS¢e° Seeeeaeeeee aeBh ie oe ee ae getps: e PF “xteeg etSe PsHs ‘ Fite e SRe: NR % aes RE ceGRPR hae SG aRS tg aR Sas, | t ee, POS ee ae aeeg& BRBsRE oR «Cie. SSes RIeS SRR mrSeton «oa SSes a SRS. 2 Spo BonPRE nS LS Sa eee

Cheeoo, PR Bo.ce co eer BA Ue OR,AE BE nee,oO ae, okA bee a i boee Dae:ts Ra LO ee BRE Pease Binet ahem aR ae a PRR hres CRN CO Se BORN ecg ate as Sees SEER, oS NS, ae Ree SS RS SRR a

— e 3S Noatte sor oot ieee SS, Soe eSSG RES2,SSLPO MScea NE SR Ses SE Sara, CREE SAS. Sy CLSSS ae ee S23 SBseat RE ROSES SES oswis ORa:Recon See ‘eteSES eaeCo ghOEE BRR IE Oe aS soe OCR... RaRa BeaRS "BSS SsRR aoe 2S Ses RR Se, 3ete -SRS: #fh: Soe aan Seoeayy ay: a We SERS So$3?) ae a ee SEee RR rs;SS ee RRO SE a ik Re aeBe eascapone SSR Sea Sanne kaacoe So 2oe \ Bey x ates af : eeSeared ae Soe = Fa Be a ee a ae SE gre SaaS pS eee eee Ls ee : Sc Sete.@ OO eee. Re or Soe BES IS Miia ES SSS ES Sa SS b> eee Senna tesa S20 232: Mee ce Seen4 % ix :° ‘ b scan Sof, STeae a RES SERS SSTSeSe 2 eeSee Sr oe eg 4See , &tee eS aeeee. (3 eiseee wae eS Pt eee ee xe ae 4SPS oo Sea tes = Geeteee 2s See ee Bee s Bes 3}, fea8G Fos i! ae Se eee gS ee ae SeeShe Sh2ee er a.) ee AS So LOS SS O72 LA Se ae ee a sy Spree a SS Se aes at Ok Ss ne “he Se eee

Hip) ge es eee Seo 6 Bere ak tl fee TS Se eees

SRR «ot iol Se" Sa Roe. BS ReRee siete - Bae we Rao Sone © Samoemam Sm Seen 9 SS, aS (oO Peaei Cae ee ee: Gore

wae ae eeSonesstncencner ee, Geremt eee” ee Oe eae eegk Bes Ce US. om eea Me Seeee RR MRR PySS ek a a ae a Se e. Se. Belo” x enaee eo Sian hagococa ngaeMR eePaes sonata PR|eae a| Lae RR a eeisees ae ee Recess seats: SR. OT CO SO Sania eee oD, te See Ps Sa See SON pone See os ae Se ce ee See eS ee wee 2 Bueeoo eeahs . aesPS Sy Siemens ees ees Seca ee, Se i "ee ae 5 3—— LE Sao ee al as edn SSR * " ; ae cia bocea Rr es ERS ea etSee FS Cheam 7 43Fin ,seeraera” Sn ee. eeSome —ae2gene 2 2So SRR 2 ee aeeee FRoSSS in xeS a Ree .2efee: Rome Lee eS ts & 3aSe ehaa. ssa Sheree

eee es | eee rare TT ee gs BP eee 3 j

Sa ae eta Reabe ee lesen ths _atieramenm RE =Serco -. -se&Sees > aaSeoe Reso Ne. Ao

BS Ses coe Gee StSSIS a St Se ,REBRR Derren askaeaR Stes: same | egWe aeee ¥ 8: eee SBS SPieee ance : hee BRR BRE 5 4 Sette enc aSB Ge Ge. 8: FH igaseSi ooo: ¢ee +Syoy ieoeeegoes Rae one ORS PR OR Be Se Fae < Se wR & BS epee ; Roti, toe. Sas ts SRS Sora sedegee eae 7 2 ey eR eng 4 x Ba yt teas eae BF eateries. eee | os= FS eitse3:oa Sea

FP RRB Ra SORES OE Nghia 2 i= REanseca ee ae eSeeea 4Petco RO CS: IE EEE BES ON OEM. SH a Sie en = AOE AEE A ATR. F pommenne BS co oe IOS... GORE I, "ae s % See % ? ae: b See ny oa CORIO TOTES aa Be Let MN | ad : fy Rs ee PS % Ago — SSS. Ree eemenee 3 Se Ly ts ee aes aay . iio t aaa “S > : ae Cae oe oy rim 6.88 ss B Oe eee gaia eee: Be .aes Ss*:Mae > oshatte ae Ss ce tEceancients “ Pr ORS: ak 0 oRee oR SRE ab BE ak i RR Vince saat FPF PSPSPS Fe seer ws Sree Se psa Beate ee Ma aur >RR ana sea 4oat :. % a eS: Ses Oe Soe ee, Serene Ses ES a;rae 3Soe Rink oa

ee, oS ee eeeere. Ses. a a =Ree OO BRR OOS. oe aes eee eeRee Bara Ee ES SN geeZ aepee i PiesgE ct: Gar” a St eS a ae

ceva ee stir co£22 eae C'Seae Ce“ae:ce. ot eh Sa2— sues BEE SeSonam ‘| ‘-Se Fl Set ar BsSs4es Se eerie Semen ae GRO. aRS >3 =See iee peaoa Soe

aapSo in tee hieocbSROSSOSRSAeSSSEEEED 6 te ae ee Ce eee ans he eee eek es ee ee OOD —. Peenn ee ates eeetees A “ - ee a SS ‘ “ Paid SS oeae ~ *23 be Soo ep atati , «*rep Ns al phe Sas NOSE cn 6we a = "BES Bese eee

SPO OORT oi ‘Laermer cae can Nees ae pia oe cemeaeal ams OS. . ee SESS s : SS oe beer iat Sey 3 Soee see eae = gitar onan Sere.” SeerSes a SOON KCC &.bok SSF Sen Seek ee Jes eat PP. she Rae * beatae paon oe itreo. a Fe "See ofS SR Ee gs. .Sap. Cae iinet i Sa a ann oh gaFes o RES #3 Sane ag aVe a aBRR See fic ksET . Sle oo. Se San2 ee oePe iiemontic is. S 4es snlate Reeae ees RS ae EOE ESS ae ee SRE RSE See aenaiemeneo a. xat‘ Bes Soo SERRA pe mae 0 OT POSS ES SRE.RRS RES Se SPSoy SSE SLRR RL 2SS SSBR ae Rares aa ea Se: as goNORE Re oSelea Rae a rs ae

Pe hen ae ote: me SSS ee Te Se Re Be ee EO ‘iid 4 Pee SS ys SS eee ae OESRE ee Soea :BRE S Re xLS SS Ba > Ss So aennaenns nnySS Beasae 3 Rt ore ie5 aod OPOSS ReeeRT SS | Ve Ss ae ee OR 3. gh ¥ OS SSeS | Se ee Sr oe as er ote: Se. Se ce hem ee SR OES Se Pee Paces SS aaa 33 EER RR ee A eee OR a eee ee. OM SB ee 3 ies ° 5onennae, Se 2 CS. eas weet Toe Se = &Oe£2aeSS. SeeME RS aes . 23+o TSBESee Ra ee BS CORRE SES ep ee wegen, ee MR eo Ee EE ee RR ER ee a cx ee SF Beate sR SS BgSE3BBR Sc SR ae oe > oe Se > Pete, © oe Sa Se ee aS aS ~ So oo PRESS O

a oe eg” I eee a ee

jee. i~@eoOkget SeSe 1 CP MB BE OR oe ee FL Be pa Me BES wae sithieahiaeeme smenstenee $2 Bes SOG. eae e Se ahs san ee Se Siceancaaa > Ree aR sae ee oe ee: Sie So Sea eed

5. Orcagna and Associates, detail of the tabernacle, Or San Michele, Florence. 1352-1359

ge a8 me © cet” ag epectaponaniecscscaeient RR re ta aire Bhi a ane RES iat =Sage RoFo ue eeait See i,aOo aaadea portant a eaalee x Oe 3OSS 4 . ;os = Ree Saas: ae Peete eaepeaeoramsrs sinha sh tsiatee Seine SNS tahoe eee oe

MEY Se, . : sini SERS So AO Space —N: aeatar Reese Remus Cae . wor sierra eae eawees Scones epecapeer Sy Sees SS eseeareee asses ere RRS gt itawee .mace oe ieesGiese RLS esaconeee aoe Seis See pt KTM arsamen tine aSiege 2 hs aes nt nS Oe pacae Senne Se care sae er anne neain, Mane B oa SCR Soe Seen inane oe tf Ree 2 Ca a a aR Ste eng. SER RR RE Renn ance prams oo Boerne anne So oe Ret os ae peter 2 eee Bs ; Sire ri She: “5 ie a SERS 7 Sa a Re ce é < : oe : aSova Baesseertiein ttesesec egySeSe SR Be me a:Se Ras Mec RRee oe4 : he ee ES ae See : Sancta tte Rateee eae mae a ‘ ::SS ee ee Poee ane aS SRS Paes sie See osSosa ee RN Bs see as see RE * on Minne rahe | SER : RR RS. Poe : Per RS See Speci eas eee ¥ Biss POSER 5 oe eesp3 ae Rees Seinen ee sae ; : SNeee cirSees. aan Sas ers coer is ¥sf & oe gt Sas bsRRR 8 Se ae On >eae : : is Cee een ae BSee * Siete Nana aAS ee See. eae.: asi = NR aebeater a Naan nein SNS ese ae eSMareen 5 ee. Sa. Se See SSSee : & - : ak bok; Re pe emma cao> =SNe. % Sear ~ aeeek : . =Stans ae mes nstetatatateNe motata Samer

A ss: RES Se ROO OO a Pee nn. SS Se BE ee a = : se : | eee ak La See ae —— . : a $ aN eee Ne al Se ee oO a a ig ete perenne sat Se eR a oT co :

Res cee eeSoeeyae Sanaa ay Soa “Rta ereee: Se ER aePR ayam Bonn: ERR Seay eae eeiRE isaSEAR Sa SSaSR SasaFE oe SEN . Poe YewBRS 8 ico! Se ae Psp. 2 .at a ey . Be. eae S Seg Seas #2 Se. ess Beas RRR : SERA ene & : See eee eee maaan AS Ses eneg >=SoS in,ee PENS simmons. lo! ae = De Soa SS icon : Sn PacRee a ss me Rees aa oO nn anes : — Se SERRE Re,

Seen See Be ee Sem. REESE, ES * S: oe et ;Bi Ragen ccc Be: SS ResSees $ SS oSSeam SSRRR See‘Sees eee atBeSree a rash, ianpao. se ;a3 RN Se ESes* oe poy os eeRarmay eS bie: RRS bs : $i 5See Soe; anos tsBcSiete

ee eeeied eed & AnSees Secs Sn3;See Ee Seaaaa phce chy “ ace re $ Ragin nomen ne. omnes, OMS ee 8 ease i af SS Poss pees taeSones erence Em Feegieey Mha

ao. al. ffyo fe Sea ae Sess ” Baers : x SRE: aR Ceeeae es. Seea E Coo See eeSRsit< 5ER ocSteeSA? sa.: Fae | ae : es oe Seacrest eerBer cSceisennetatie Big: Rate saan Ree ' Gimmes. # MeSishee eae Sh chao, $e os ee Rp See ARR SS SaaS Sa ee ReEROS Sas Shee, me BseS et ee § e* :eeoe —Le seER eeSpisaaesiaae eeeonaeetae ses Tae BaeeaeSCagiome i mete ee been ee.POO sae So Sa. = aS SEBES mae aes See ee ci SE ae SUR Sg Sa eae ee Soe Gea kg oe 8 “ee re Fe gr a So ee 2 Fy. th Gee tS Sek Meee = : Be ae :< See ee eee i Ste he ae ae sg Ses rs SR + 3 SRS : Sra cater a a ee < io ee . oe : me agoee a wae Bee a ae ests oS 3 a ie fe oe Soa ee ; = Oe O ES bans RR N te sagt pean Peaeeeey Ms ices DORK Nee ngassn OeSo mm 7Cook. ae Ree Ce Pe RKO ; ee SRate Segeree BSc oa ae Saree x8 coe i SePeete FOO Rip spinnin,aata te Sa eS Ss Rok see iySOME oy Ss Sesoe Maes 8 Seca

DEAT to - Sn SSS, eae Se ae eis ae Saat om Siac SS Sin Ema:Rs ee oe Sete = ee ete Se . ee x : ec: BR = eR, SeeeSe PSE Ress Satine, Ses te RRS ce aeaceeegeeeee aeeees a ae EN atei RSStatens Se ae Senate Sr Be Statin Signa. enn 4 SORE SS Sea es panne SeeBias ee ANS RRRaeees rtc ge See Pike sa aang te Re stomata SRR eee 2S 2 Se ee aSse eeNgSSrena Bae

ES C< + moan tsoe coat Ses 2. oeOseen eaoeOh ae cee Shy re ePe StS. i Se Reece sits Sn See Poet Sina PS ge CeOok ee, eee b See Bee= RO Bateeeg nae teSeats .ae as Bo apm Se 2=en ssee ee ae atng %, ee iussmanann nae eee 3| Ss SERRE >RS eo So ScDae =% eee sock Tees Boake NCSSaas ‘ : poet ciaae Sl ee ak4ems éSe : oe

Ss FES > a$atas Pieee,*ae ygeSatc Fx ee ee Rs eee ‘ = Se A; grits sii; So RO esB22 eae: aeSS Rees Sa ye bes \See 4 ee§; % Ceo ‘i pooner Beets ee comme : Scam ee fe ¥° 4 =) 4233 ce =. AyBae 8 a Rey 2 Sees Sa con See Se. Ses Senne od Seinen iss, eas aSBI. Oe, RS cee Sak © 3 Soe Ses Se Eo Pr baer ee aeess parabens & iSeg aes be) DES eg ce. Sees | ete Se oe ase Se ae Sieh ercore Sar eoaah Reet S,Re Yee :> > hanouennr anaes Se EDS ae See aS. peerpecan aforatetarette neta Sonne aetia naps ee SSSpe ex" saeSees aetas "Speer aoe eo De a | ©° We ‘ . LC ae ae cree eens sie See nF REO SS be: we wg Oe: OR ire ee *ee ERR Sees) eee Beeson RR Ros a:eS Sroe he Sees— SPT ak aee -. aS Bs )Saas ee eees see bes SeRS os Be aeeon Basaran eee SEER TE he oo| .RS 225 eee Ses Se oS ten ae aen Sas SE ees ea os es 4:eeRe Rae we oe SR ' eae, eaeea reeS SeSead SPOR Be my SE aSes BRO Le . se be. sae Sa ae ee ee Co 3ee Gt Se » > Sa :BAER + Seo a aresee > SM Bae eos :siRT CecP ssgene ae eo Oe ae Ree ee Se ee paseon :ESS ane 8. Re | Ree A a Sout 33 pe SOLO ee Se Se eae ek ae Bs Yee.ore Poae ae aS eG Si Sesnace. ss i Rae S34 meh a ras: Res seea ‘SsERR < o xRS sg ae Sen ee a .snare :% wi ee Sie Seen sae Se oes 3Se Rte ;RR -& > oe Sey Sg ae RCS ae =e Soe Ro eRe os ie Bis ons oe eee | : yr a i se a, aE: ‘~ NiO es comein oe Peso BEN sex eee SS SS ‘ee aes Eee ase Sere 5 Re = oe i PE Kos Sea SO Ren PRS ee 3 Meares eeBae os se. Sa ereet reas Saas te oo os |eeSs) Vos oe B® Sea RR es»ed SPOS agro ge See2} one aera eeCat : :aes Be 1eh Ne ee ae Ria Sy = oe See een eeSet sere aeCORO oe ee es neeace Se = Soe See .tte. Be. :aRec See 2SERENE ae RIS Se So aeaes isYeSO See Sei ae Seca eee woes es ae :-em ee-Se Pie oe as8EN Ssay 3% be. bs ae 5:Me %3 Bs ee — See ee RR ae aSea seme “Sa ae = erae eS mont Pe Sa] Fs "Oe eS See RRS ae Sherer See et Dae :

x

ek Rt eee .

ean enSORES Mee RRS Siete. Saree i Pa, MOOG :ieee RE ea eentg Pe ae ae Err RE ota pRee ; eee SSS BR aa Fok Ss vo _ eninge eget i tahoe Bac See baer ‘9aS aa

ie See as SESS So Seip aes ee eS er FeeRee | a PSs Sh a, ie ee aE BOE ee SR 2 Se reas ee Bee: : Rages cae siege rcs eee O'S 5

PeetSee eaefs Se aeRO Or SOR “ee Seamer i. gees3 Sa a aS SaOeBe tes s96tig eh: Roms & oread eae ae eet On pears Sane“Sk SF SR anes Reae ae Lh)

Rage SSwee Re Re SS nate I eo ee Bionman enpea SSa:OR ee éaeRe SE 3S caer. = S3~2 SAE Recto Nee Sf Se Gers = ae soos my oh tts SNK ON SD Se: - a eR os ae a Sn see Soe pe dese phe me so ae ic.relaSaa Se te atSoe Se a Sa RR tee pe Be ee :© Bh Racseas ee Sey eet See ae ee ae age S a ee tisShserait RS 2ieoe Sees L

WG ge Be 2 er ee cei a oe See j

OE RSS Se 2 Se ames: am

ewan, Ps eeRARRAA SS 23 Ret hg aam° BaA Seen ERE ete itn estan Seats | ee sca? EELS BRaSeo oa MARANA ANP AO $e acs See ea LPO SERIO : Beiter 4 CAM Pipe " st ae ae 4 See Ree ae ge eee. oe oy Bios ee eae ho

ger S ee gE aeePe ee ee SE aSeOG 4 ii. ee Ce mS Sar ae Se SeoaoeSSagosaeSeKi eerr oisatSacks” a TR, eS SS BeeSees Sen oa a eee: bit, Sara a SER RRR rocco sh PNG SE RC ere Se ee Beer e ee ¥% = i =

ge : “¢ So aS oe ae ES RRS Seats RRO SERN eae ie Sa Sites Sees = pains oy Ss ae OO: 2 RR ee aes sy j SSsn a FR CS Be Ree CO ese Gem eS Ee a seer eS ee Be -* SOE OO Poe . Fee i RR Rent RRteEs eee

4 in eA fi ok’ aes See SBR Re on a ofa

So eReseeoSKErit iad open” Soma SRR Soeseee a So: RRSap ae asee Ne > enSf RE3SSreSees aie aes. Sea :acer Beg os anata Jeon RRR ae Retsee ae ee gh = bd aiiRS eM. fssa% Sane Bee 2aeSe. aK, Ss RS Be aS Sastre eutee ee a f oe SeSeg 8 See Sy Le MS Ses seen ee RoeK. eS OREO Re aan. ee. Sane ee ReFS Ree Oo: PN Soe Sega i RR eR 2. aR. a, bate 5s Sere Sites“3aeae>>

Ae pgSeeeee SSSSMEE xR eR er Pees ENO Ree Reeeee. RRSwae SonneFe ats oem SSG aie Se Sigs ea a PeoO. "ks

a a. aMa~‘ae ike Re ee aencacS tek oo 2NSS Keee ai aea Ree Ba SER ag Sie 3es ee Nag Sse aShtictiaa Pe eternaocean CO es ee RR eeeSe “ hig: Si ae ES gaan aaa=xeSes eee ESBK ee AS SS LSS “SSkeeeSS Spon Be se 3eeihy ae Ngee 223 ee See wy eg SS ian.a ky yee Seen BenSS So a bee $3 Bspe TES Pebieen f: AD

ig ee: Se San RasSEA ee asSa gSeR ae Se cs:Bain Senne: Seen es ae Loo

ge

“RES erg ae z oe. Seamer re tntneennnnndnnnrrionneonrance can ects :ieee Sree meeSeems oes ete 3 es 3:he ee tS Bese: ie nn ete 4 ee Pr ee we manatee : Saag Soe me So ESSE RSS aay ae Saeocnanasn ake

ee gk Bi Se ot eet a Bon Ree aaa bane ma aes Ses 2 BRE a ~

oe fonee. ea Ree — Sea. PRR easRS Bees Pee 2S: :Bak eoPeae eS > ee errs eeCy ree. a RR ee a eencaae We ae ee: e 2 < dé Pe ea a oe Pc Pid es pe $e : 1S)

SS,ate RO Pee PAteeeSegeN, haa Se ie hee. SeSS RoE eTSo Toca eaeaPe gage imme g Sere Ogg eee aeeee x3ya bay eee SeeaeSee kee SRE EEO aeNett teiarrensncanaenr Boi eeRR BeSo re as 4 bo 5 Fey a OE PERE Ot ee as CP Pe ES. Bo eee BESS eae Bis See SS Bien agit Bae se, seem oS RP ONO SR Be Seo ee Ss eS Pas C4 ae | Srl ese ae gee RN a cae Se ae os: eRRS Sobee Ra.Meee ma 28 RRsRs SeteaeSRie * ras Sees ae ae a Ra "ome Raccoon: ERESOE Ceseme Wy coal° 9Pe¥ og RE2& BR Ror RES Sk. Re Sete ee _. SORSee samee 5A Scene, Moment.

pi SS og nS PERE ie Sey oanBe: SEEBataan SS ek * sory RE PO ae emir Sia: a” . Res y >. :&ae eoeesedx Sef ee er ee ERS ee ge gi Rae, Pd Poe ee eee *Vv z hh af fe3 esae ae34RR BeieOe aCones ares 2Dy ee Seaate Spore or me RRS kaote e Rie gS RRS Rea ned . Seam2pet 38 ae eeePP Be os Se RR aR e: Me es Sa ae BS SPs eae os id BeS 5S Sige Se é3 at ea ae SS. emma e eae Eee Bees. Se fee 2 ES RI Ba es page Se Pipe Sn Rc ce ORE Yo aR, oa “

;barons Ss eSSoGe eegrmms 5 Se Camere fe ee 3Ss. ‘ofSaRRS aceon ikSees: ae srr ae RRC.-.&ata.eemea é gcse bx:oa SO SeesRg ee Bee Bo $3 t3Repos Ee ey 6Brttor SS, AES Fee ean ee eascsae x hsPr SSBB SER > Sa oSae PietFx en:Fg eeeRai sons ies ae eae seAMAA yiag Te itiSRO OS3 ee eer Bet § 8apes Fa ie, Pe Ps. Sl oN ce ae—ES =ageieee ge.

SEES on si a at Boe ie ra a oe a git oe in 5

RY3SE ORE Pit Re eae i ie ee Bre2S Res SRS Saaceraina Ss a ee.SOR Se Sg>aeiBe Aa Seema Sa %peceese ae :aeSes oer agma 23 ame SS Se SO: . eee See A ee % aOE EESS RR: seSoe SR Se :,:SO -DS > oes oy,Sa EPNe oSRR Sere es aR ESRee SeSeieeeries SN ieee eeie” >ceeBe poiS SS TSka Bi eo RE a RSS So emea ae Sst sos ef ies. ee eae Be ;> See fe Be pals Rese eg Se See bee PR a Cie eam oe : Sa ee, BN aioe cme So > a LS Se e : % Saes so ae 3 ee Bec >Sens ee .See eee saaaRSoe Eeeen Bos ie ae aeaeaeeae SRM soso nncae iee eee“AS PSCR POSee a Seeae aa ae BRO ais, ee oe aRES See 5 .oe cy eR 4aBie ies Po Bre RR: a eS ee ee ee S Se eae ; oi \ 9S tis Fo tee ee SS. Saad Bae oS ce Mae oe. : ee > os eee©? Sos os ae vB RB eee Sane ae Se ie ee . zeae Cnn . < Gee > Ox “33-5 SSN x. Same ey Bee SS a TE Sy 8 SIGN a ; 5 Ray . “Bae > 3 ee SE ee a pe ee os : me BS RP eae : Seeteos: | Saeaeee + em - Ris

a4 Bei eee BAS See ores ;~ 5 a;: ae ahs noes RBBB.Pe dae os Shoe Non Beeea ae TE ee Me te33Seee Se Se Berens pes %Sa es et % a SS ae ; %, yeeop Coe See Se ae pee Be Bete Se aes Bae se ¢ ewes aeaSBea See Se ea Bese ae 3Seepats aii 2 33 =“ *aS oaNS 5 Ee StRe Spe

RS by 2See ee ee oe Bee ea fe Gees Bis : %ose” Ger csRe RS geen RSSe oS: ae Sk ages pre : eaot =* es See SRSRee $3 |:See RS Reese $s. a:Reapeeae Pam ‘3 iecones akmake Os ne aePa SSR eee te re Seg hes st 2 BasRe = oe2eeeae Res tee Bee :Be : a asgs eee:ieSS: ES eee gas mee Aaes MGs ee=

Bes: SRS #3 Ree Se eeee :< asSERS $a : ts Pe ss oe -cope -Se Bee Be es :we =mee Se +*3+:SS ae ae kee oece aa RR aetna eS Bee Si ae ae Se Sees SES See ee Sas : eS 4 £28 as Re eee gee aes I ESS Se Bees & ae ok ee Bes e ee es a Re as : eae Bass ee a ee . “Seek ea Loa ee aee ‘: B: aeeg 2 He ee,Sst ‘3 34 = ae Bs Se. Re

FF ge 2S sis See aS

Bese Gea eS BRE SeSES Bs Se : err$3aS “e* Seaeae ae Soe Se ac ape Z poe! Bias: Bern cane zm wats " oe: Pre senneei Se a oe

:.CES :aeoeee So |%ae 7aeseBe SSss 3Sone a peas 5 aes ‘ we oy > SRR os SN Se 3 Se aS oars eres 3s oe ies . Bae = no RES = , vis PRS : ee te See Bac Sea ae See SOS Se gh ee ee 4 . oe s Bo e po oa eens te cae Seen eae an ean LPR eee smermes. CS a,By pS Se asaeco oe hs Roe ES Ree oe ee oo SaBec > fnRot. a aooa aa

Sea a. a Se SSR OWE a Ss

eae “abe SeeSES $s;>Soe ae: Se .aseeSeas mas SerSesae et ps SSR a SRR sok 2, aaa as ee ae : ee REESE SS a Se Pe ie : SS © MO SS a eee Be oa Se RRS. Kg), MRR Re SR as SO ee eee oe gts: aa PS SB RR Saat. AO PS Sn eae Bota sae pate. peta Se nS ae SRR AS iia secre crn Se eerie a

Roe eater. gp Reo ti ew pre AAA SSNS SRE ERE ERR RRR Se = Se Seacpanae Scsos, Seaman Soop ooo AAASESE STA ARAN NMA Donnan le 5Ee, Rae Rm ste Seeree e Boe ero PeRR areiw emma eae ee SAIN NOI «Soh Seana sree Sea a

SRR3Seee Pa oss ipeta. R_ Se Susann aa5essatiate ea emer, SRR he” SRNR 7SS BccRages AR os see Riper: OR ee SEE saRNS RO cc TRE BE=Si: BORE Pe ee Shh, Deere ieee a oa ees aes aaARES ESEPR SS esrenee xe ube EOS BS SA SR RAS tee aeee te eeSs Seeee Ve ee ee a ee RREE tach See ates eae ¢2ase Sn a3osapeg: p Bee Se ISS . poeta RadSee MESSRE pete. Best, ck eeeSeat See SasSS Be “Sees: “excesses ee ~ eee RS penis :Bs eS Bere i= te mesiim ENESoccer Bea RS RRR Ne NSS SER Oe coe ae seGees Son ar aes ae ee S >

eee ee Si BE RS

>se cases me Sees 2oR ER OO senate ict SENSES A NN OMEN Sr SERS ESS eS aaa Shes Se SS Se: eeesae >: Sees atate tere ia&| ‘.x:Se i.Re SS Bs SaSic SSa ae a Sumatera Se cee Soterecinisesits ie22 aaabocs 3seee :mer _ a: ed : ai‘~Ww 5.ae Sb, See ee Se Sp Oe)Nie: ORR pes as Sepiatesatat Seoeeen ey aee3ee ::‘s TR ene ne Sects Stohr agen oa Sires imei ns RES :~Q ~® so Satie ‘3 “ i Sie. ste S ecg FS Ba Baca estes es te : | 7 et ak Fe Pee. oesa.mS ee Re SS ‘cena ee |aq aae)S': : ea aae a*SS faeces. co sai RRS ‘ies oS y7 L,:.aan oe preeaenens Bice : baat :ey :Se ~~ eeSon SctRe SsaORR eas ee Rea Sea HfSaas oS Pe Saas

gee ee one cme eet aa | sS .oe,” boasccm eas eeeGe Sue" eaeene Pie ie Renee. atab nines «ee eee ee oe SEPA . Bee A eiatatetes Syee ery worn Pee 2 ¢Bae : ze NR :— *ss incon =. See ee : ieNtatetealatcesscerensce. CSE : 3 aSe Sie Ra: Sn Soa pete 4| | lsc: 8 tieRtRaise "Ss : Bers Biceecrnna SeasCD BsneaSS a tS Rea ahs ARE a Res &: : |oe

gg

| ~~ = cr Se ? ee ee coe ie age ee es ¢ =i

NR: tae ¥ BF SR, ae ete snes pee setae I EM Saat See a ae cee s eeeye Ba, ReSSeS “nae PE ben. Seema teats Fa Bee Siee os: aS i geist cate Sieie sae ae egnanneranannns Sesna estetSee RE peeRR a pa a a ~4 Bes eee BeinEk tent ei “aE: Ss as|Soe reSa 3ee ms ERREt ee REI SN ea eee eee So Oe. Sa SS Sen I I SE BeShes CRS abehe See eS a a3 SS Nae a3

” aoe peers ” oe ? bo Ree. werd ey % . Ma a Sate res OOOO = as B eS ; Sa Pao Ress 3 Ss > : ES $3 : : 5

A. —== ee eeeree: £ tees tnt tena SORENTERS enn QOsno oo ars , 4 se sate” eeees&SAS snes ,Ce hE Th : ee ae REE a Se Sih eee eo soe oe eee ee, Se. Ps os Ro ce Sek oe So ae Se = Roe ae ae ee > ae SS WOM Mee cS es pee eater Rs aS — Ves

2 CP SSR ee Sve ae Be eases ete oo ome = eee cope eo. SER ae SES OS .% mi

eee 3 ee 3. Se me aeoe Toe aSarena SOR S copa piensa Snesatnna catia ise; oeee 8ey 43: |Le eae Sy peer SS BX aeweOR se SS Rasit ee Seamer VNR SS Sa Se ad Se NONI > RRS SN aaRSee dsSere Raa oS mS SER essiniaeneteincotorsenneee a :: Geena ReaatePSs S23 QO.

i eeee SSeS sf SRE esBRi tecea Shas. ce Empaseae, eS i ee y ; So Seaaeee ae (ae "Saeenos bien eee Oe 5 Sete, ] pe Jf Pct lig a ye =. ae peut RF Fz: E SS tes Rts ee opaePoa oe ie,SessE> is Wy Bs PSBON AS as BN ae ees oe;Seinatontemetone Sten SX SDee oe Dioramas SoS ieee 3 ey aee See TS Oa SS ae: sar ~ oa ppasasseopaeate sso ae ean sae8eei)af2i SESE oeiePt est ReeSeen eae SRR Saco arenes eeeS> o 2Pt > 3Se =: nceFE oem adREE fs eae Regt Re een STR soso a';y ey soe ; : 5 SESS ce ¥ oe es SOROS MA b> See Bee 3 ERO pee pn e Pi . iy = ORR coca 8 33 : Seer , , gig, RAS ehCe: aaa es aRRR =e SR ye 2 ee : oe Siemans S8 Sts baoo pete Sa Meee P Ee #: 3© w: ce RS eee ene 3 : >.apis a GoaeSS> Se SereBig Cesass RRBs Rgae eeS: ee:EE eae

'.: 3 See id ig ee ea \ i

SX eeSSao es ee (Ee GS Be SM =0 bake see csaste eee ee i eS - “Ss Sees oyeeSees SS: Pass SRR tS em Ses a i ae a . i ae aFygeeae Pet: 4 e = De Loe BP =es9peas See SeSane os pane Be 9

+ak Som aie,a nes 2 Re Saeo egaeee Rises. Be Sass ee SesSas SS ee siaSN 4 : ge ee See a: 2iea 3Ses ERE SE,ese aha Beateee privet 3y

> Sees Bs 3 +4 q 3 Fg: Semmens aS : ee Beas. Se See aes Sie: Sa siete i Rie, Se 4 re a patapen ae = = a eg eee Le ae Bees See Se SPF ss Beets ot Soe Seepaancnnt < e Fi

Se ee sites aera y= BP Se =eS 3 on = a*Se eeag na S > TESS” SERS » eer Senne gleeos geBees Ratner SESS Y aes a ba é : Rise ae vena ne $3 ee SSeS ORT$ee RsMs ae ek Bai Sage cas Hees o Sn Soe . peepemeacas : & 5 bse Re Pree Siena oe a » See ee Seana’ ee ‘as Se ee i ie oes Ses Ss er Z 4

4 e ap : oe Sree ge 2 eae cc, < eee sie Serene Rear oS ee & Oo

:eee * ee 3 ss . =Senn Ua Se eaeeeae Ce Sy ernenna PARR osoe, * Tv TB ee Seat ee eae * Se :RRS naan eS eneeee SeaseS ae eR : ee aatebeeen es : es ey Peeot3 _2:

= ~~. x : es SS ea ae % a nr Berner eg ee Smee oS Se oe Ber ae a @} =)

aa cea Sees 2ee oe=seSeas : RSpee Sa eee es CP $3 Re aeae alee eS ae Os i. SebeSeSrc ic ate DaON Nearer A Siscncte oe Shee Soeater samara hevo ge3ae 2 3 g a weet*So.oe aoe 2} ¢:ane. ier eonsee ‘sacnihacaaise SN neaR RRaaa Oe hoes, ees. Tease ae Bo ener Sanne Se, ae a ie 3 is) | Me :oa~~ oyae . =Se So Fai Ree eae Bs. Sees Fgh Pe = Soy soars ee es ae Sena Sa 2 Sa Ree eS: Sie me : 8 ; 2 i. Sea tse cca 33 oe Bos 3 LR OI SN Seana tian Sma SOB se sioneniee Ses Stake a i |

parksBS at >? :aSees Se Ono SS peegee oe ee Rie Roe Sexes Bese eehiatus nt" = Se 5 ; ser" *Se ieSee Siento ge rea Berea SORES .. Zv ae ne ae ae ;-:bsSei Sei ie aaa Risinessone an aSeea:ae HE aes a ee cee sadeesseaeSa%ae

ee ae A be od & — sianatccantaa ie cua inane anaes re %. \ : 2|

oeae«SoS caaees 2 2Oe potent es Rn neSeaeec ne eoncee Serer ee spats. "Sees, aaa : Oe BaeCe Re hee Sa soca Retina nono Savon ateeeteien eninge pees pains Bs ey See% SY© = Poe Seniesa csicangtid Boneatineenne Ron Sato = sepeasant ieee ee ere oa FoSee NS el: ‘ 4

SeeSef mrRe fae Ropes Sey Geass Bs e aepe: ae Soon Sos Ree “os Seer BORD eSStes iatete eae osu caseee Sepenteannt: sihesiaenaaanemmenes easesae S : aSe : eaeoezseo Reeaees en aeBe ae, RusaBa >aaaeoes Rerecen emma : “RARER es Bssf BS if ge: | eB & 2 ee fe ee oe SRI ory oe “Sr, KB CAN Setecnstanera seers BSS Fae ae . wa ehatatatctatatet tots tetetatcfotteteteteietehs a See Son Sa Seer oS | Ue es Tee ee: Sane aoe pa nstnecannnmmnanenenc eS: meio taste. ER ecient 2 oO :So 3 Peoe eRe ee Se oe. pais Sip es 2 ee ann sian eee "Gp Ses Sea as na Sisco RE Sei mor, sass spices ies pene : oe . iesee ie oi nial Gs eeiseae es Ohfom Reg ceases Seton Soom See “Rega Fs #39 SRR eRte© oie ee cece ae oo ee es Se ae Senne : SS .SP, Res pd BS ORE Boy ,MP og RS ang aie ere oS Boehcats e a 4 fos > ae ee N Fe : Bat a ae >: Ss ee icapeas RE Ra GES Btn ee, Be ee i ‘e PO SS Tea ieee«set Bescnae tee Fe ee Fe tara eh,ey BFsear SS aeai 2 ‘See ee rao Pe ee ae ase BR pe erase % ee Bae eae ae Rene aeteSieeeSte. Ri ena en agwor. Ps ‘ Sse RE.:ee

aeae FeeeS eS uinaesaaneee aiihoaoatianecns Ee See peee BSSER areFee - 6 see PeEee5 Be RRS Re pesomes seat og aeeee. as ste ee eS eS bso>eee osSean heh ce ict paar neRn.teaEeeke HE tegseg a ee

SE oe Pk RS cana satees BeSee: ea a ae RSS O Soe IO pean aesSRE ha meROR SakePaasesne PSS RE .*eeaan OS am BieRetanec RieRStess SOE Ree oC ae NgSate SN Bees ea ae.OOTY 2" ce ee Hees

aiaSee * Seem . Sa eere See Bee aeSe SRR FONGSo ee Me ee 2eeRe ee iOR gee RR ae SRRR Re Y :: Rae a, ae saa fsSk mi ¢: SPge See eeaeeethpean he SaiaRS ae BR conc aa Se.SCR chat aes eae >CRae eee oeSee 3%: aahrae one : eee&S fe ence sae Se SR SRE oes Sa.yand SORESee 4 ae Rgae scuiaae Se co =Sa Ren,SS Se Se A Pees Sa -i

ee 8 ee ne ie er Smee eS SPER awe § Be aay is tg SF GEO OS eon pe ee Ses ees eee 3 Become cae oe aausnnan rane csceotty spade ar ERC OH ESS SEs Bete eee Mite RP MOR es ee 5 oti TROTTER ere rh ee Bs earns SARS ng Sorcerers Pinarettieiead cana te cesarean ee os an TR hontai ay aE ao se ae 2 ae Be

pease aS Cw bes aaa . SAREE RNR SES Re eens ale at DP SN a SRS . oe . atvrae?. SeTete ete ots otatetatelers Hate cPatctntatacatetetat cats’ te ats Steatataterotcsesste I SNe satin tes heaps aera anne ss ; Scece xe ae Re mines cee aay ee SEN POO ae Meccan Seine eteascate Seneca . xopoets Son Sa Se Bat Coa REsere, Be Stes 2ee Oeae Rashes sa Siikoee Seats eam i ae ances an en cian : Sen:ree a seehteoneeee Sam borate eeSoe peace Seaisn Re ty Se OS Stes Seal PSSRR Be areRE 2 eesete Sane ai peacess organs Srigeemesoe boom 3 Seaoe $ So esata Bie fo: Sogo nae Sh Ss Ras Pee rc ae =eSees sso , ans —hy5

SOReeS Sacoe Re = aoe pesecteceretecetetet ar Sa 2; Ress C OO oo ee Saget Scns DP RO ater 7: ocean en ed ee Bed poi Be ges hoaata Hennes REN ae ae S30 > heRI Soe Ses Seen: Tage BhSiow es RES Sey stata Scien S|=Q eS ORR PNoem ree esc “ee Tested eecsee - ooSe | oe Her’ome ens & his Ses cscs oeEe ee ee SeseG pai Meseats a Boareye Boeraac RateBiss es Sip cea aa pe:Sa es iit ee 9etMEE = Fe Repo i: poem © RS ek eee Meanie gg Gone ates eats eae Skea Ta a aueiccuaennsn nen iinet Hour Sk eeaeSaeae Saga See aaa SS ge eons Sestnc 5 Saes Bets a nadeeanenoreonecr Cte pentane, ne Oe eae: Bo v So oe geaeeee RySRE ; Be igiosBe ceeeeaaessebsSinton. Saas Bnennaoro RN Ri Cs RR aeal Sa Boers F etn Oe en aiae Sechrest ee ee ee ety Rian eee ns vinta see sae RO AA: NRA So RS tan = < cS ranean : Sectetige Pee. sons aa SS cee

a aoae. & Wee Sette es eeeet Y Se Riki Sie Re eestb speeeeneet we Sao Pe PeoMP Renee SEES Pa Seeek oetheas Ly eee on eR aSse peter te ci tees feeSOR ee eS ~Se: ee ane: SI ps a pee : cee Seoe aePRS nna ae oe ne Retire SO REcana aS ee REE ; SESS 2Bee Sree ae oe ee oe Bs - = aa BAe Ss Sei,ce pas Sabine sean RR RES iP ot Sige eee. Se: 3 a— oe Pyons aeaon” :nae Bsns 8Bis Boose aeeee eeNe oeSi: Oks i:stamens Garou Bee ee Wurman aoa. ReeaeMB” #BR Rise

= ee eee ee, hearsiistate Se Speak aa Seats Beckene : spihier ee eee pas ae: & i.a ;; ‘Ss SSSeen SSS=eShae SeBaa te Se4 RE SeesCaa RSS, Be TN SSE Sse Rosner meen Sea

aes as 2 eee Ee Rae: pe ae SOS mea e : -@ ae some a Seine Bi 3 ee eee Sees Sainte Soe +2 Bs 3 ~ ‘ eeEe patie Sea Bs % aes = es + es Pg Xaaeae:Sire ate as SSP oes SRS a te CSR SRcgse tO eeae fe 3a 5 erent cig Sisign cae ce ae S ER edaoe .TR Oca % Peek he eee ss BeOS eee Sy eea.” ee aeBR : eMBes van:Maines Eee oS, hes oe seitinnsccrtne : Rig eS Ser RE peed Wig Bee a Simms SS oR ee = Pines Snaan scoot ee RN ot a Oa vu Sse ae paeate Ls Be ito SA iinet BoM ee come enna eee Se iS See aR Se - SRR es Pacts NINE Be a = a Mg he

Se ee = Se ene ERR nea he 2SBetH atin enna encae eeier ct Rebus. Re Be3 See Sanat hae35RS Siren ee Reset ee ee Sere, wyEe spnacebiatin: SBRRS Seneca Ocean Seas ze. 3 Ay

Bisse, on Hi iitict akeseer seer oe is OO ae aes Rance pe Sings SS Se See Riess SSO RRR ng oe =] See Sees BRS SOO : eens eee hae Seana: SoaS aesSeeSesesc ete eeco eeSe —— % Bie 2 oeSe. SesBe 8 ee

Ea$:ONSEN Sica retin 3 Soee eeop emma Sac saree n e SS ; eR iCOS SeJ.Cae ee.ERS eS o oe ieetes eenate a, SCS See BeePax. Bs Saeee a a aeReiter ipa a cade * ROR cs pee eee ee

Pees Spey cecnre coca eossci cota ae SAO rs FRINES oes SERRE SSeS eae mapa canis BRO SESS eae sasctatatohacnt oe eaaaoo Ronee RE te ‘ aeBon Beige essaynein Semen aan Paceta LOSSES SieSES nae. eae PORE we ee SecSa ates Meeaneh Sass ee PR “eS ee Ne eensSo Neate Be a ES ee ee + mae

; ele © gees eas ee Pues siiosossoseatanp sis Ree OS RE SS kha Bseenaien sn ae tea Sa Sees eS os ee ee ER es : eal

ie asePees Reng Mises ee Se See aa peat ee eiees PO:Soe ee Saaremaa ee caiacress oS eats Bsa cee ® ees ae : oeSe OTTO SIT. eee Sees Sn Sa N3 wm searensect eas Ron cnet Posen . - : waa An ee 9 So - ReesAR - as . - Mina e SRN ie RR RS ee Se Sees Solera - aratetatecotecelenetenssernteteretetstote*ate pied Aeee. Sas rT Se : bg | so eas so ine one ees risa a CS ao ae OO Saale eee : ee : Seen ame Se SON So sepreonssercy Bx SESE Ss of. Re ae Ressoore es in sone ae Ro cs : ae | Se ee Ps Be: cee & Be Boke zB e ; eee PE et , *€. 3 er . OO Seer Nokon ets Sein >

es tee, AS oe ae Feeepee etcnaae eoag ete‘@ |= eeracagenmenae na 3gS>Ses aSeNs Soceeae ‘SOROS ae Rechts ie @ee Sora annn mea crests. aRRS 9 me SSSR a a he Rec Re Nic ee Bite. xters OOeel oe ereeion ‘ Sos Si &

ee ee eee. 9) soagear 38: RN eee cee oY ik. Seo ee ee es. 8 Pe Fag f

seen Sites"ae Sone RO 2% bs a Ee : oes atten tone =e ROR Sinton Seas an.See Bn nenteh nn ne Sitotact ne ay tee. ee SR > a Z oS Serene cecmnes. “ es a Sa enseers z poner es 3iease ARRAS tose Rementac Ree eae sienna ona aoe ee Soo Raones Se e Beate akSoeee ees eee ss esoreae ‘# Be eras se Os > Remon es aces a Bere > . Say 3a ee Rigen BOR: . es ga : oeee Ba Rah cnt&Rae 3 Be oR ease Sanpete a Rages:&BE oo SS eeae> =aeaeSee ee es = PR aR NR RBS SSR a OO CD RD eRe ee : p eae ss Sigs eee . aS Cara = YR Bo sie AARNE SO Re Se 4 wer ‘8 Bee ee egignite oi 3 ae 7 . oa es Soe Se te Sate sete nonneniaee eens . sbiesthoates escnehes Poked 5 as

ReSePee ad sae ERsa aceaeBrew eesetetetarrtenane ae Seemann eetesntatorecete’s een : aS: oN ELISE LEE POR Cahodhy7 C ene EexRES Be rs hues erateSe Reser Satie. ~esoan ° 7 Ri es peattcnscotece Sage e

“

As Pat Sees SES Ree oe eee “Eaten 4 easy BOR ren a 3 Be = Seater See Oe nt OE ate eS ee : eed =

SE er MSN Sie 5 ee 5 RR ae SON uk: aS SEER ee yk i ae LRP Zh Pane ‘3 cad : Peaoeian BOO. oat pcungeannetee part PRE aE RASS Seer soe gration ennsii cs icSOO tte eee €oh ; ae 2 Re Se Pe aeSan Se ee a ee. ©. paiement oggREE Fees J, ~ Es a ae Sie eae Bo sate ; x 3 ge SSS Se SS: eS Fok CR aN RS SRR Mae a a Sone g eee ¥ Sie bes ga ee | = Wes Pe oo oe a Ba de Fes are & eR ae oc inc i OI. Ls Sg ys ao BS eo nes Seo a .>° € SBR =

WES BRS ° th carr se smears Pr Re ee > as eae her song : oe SS Re See Bs, ies es etenteene aae RS ea ss Sa ot ae cone nae oa ee age a

Ses Brora "SES PP > aS Sea Sy: LSS. eee 3 ee eS RS eee bs shang tne ae oh eae Pores ES Bec ge Sa 23 ¥, ae ee _ ES ERS oe EOtee SSea ae oe Spates ee aieeccoconceet te a GogeoeEE So Sar Ee Ee en Soe oe Age Ase ea SS rn Be tre ne LBs: BeeEsFe ~

Be aeeae eeePER 3.5 SS secures eg eye RR Saar : heme eee ee eeBee aaymeen a ig ja* ag,sm 6S REEsoe PES eto s BER 3 ae PEeB SRS ERaee UR ce,Scape a ae eeeeetree tes ae 2h Po: 5 RRS So RO aan all pee. eae BeBe a SC MES See ae ee Se aN Pere See Soe Soe ees IM Soe SS RS Es Bae, eS Cn Sarena eee Sho eee ae ee ea = t ames 2s be oe ea Bees: | ue RS Soma ea Lee geSeeeeSee aoe Ae SS. Pe os NN eea Sa a Bok ae RAE SREBSis2eH he!AER en copa B eeSsan 1 Oe BS Say eeSos ae eyie> xe ee ona PE aSe i a. Saas seai eee Sg S ek BS: ios: : eaBOR as 3SURES oH 30) FRI Pee aca oesae Seiend BSSpe a snes < eeeees &Rh Se5% Bee ve Se SEIS “ro)

EER. aSE Se eee 3SSBo) cP Sisco RRS: 2S pare pabbor a. EERO SesFire: Ree es iaeae eens Sather ee eeSonne ste oe ateeee AR |nl R Sirsa ste3e3 SSMi ms aSpao NSea : ea eeSOR eeaaaa Bias Sag aeBie * ae Be seen 2sRee”. 5aE aoees otis ome oe. Seae 8seein *foe aats :=43 mae ae pe BS ee etns ee Re eeoe SS wes Bah Sooe Biryani A i S35: OR eReBee SEO rxSS 29 betes = ek, Oe a eR RS ons ta a Se ES Se eae eee oe aa Soares RS Re * pois $244 oe 2 RSceNe Peeet. he REM ance eae Seek Se eeee "aySon ABA ecNA ag eee . Sa Baton Seo eefiEB SN: BaePa 5 ae 8]S .Bag Siow See namem Spent saat teem in Aan See 3 Bie, he MR * Oe ease > Sas as Yak oS a&a. SeSo Se.i Retreat SaOD ae os Bore, ssSES See eels DossierRae anaes Baa Yin SSEERS $4

ig Bae ck SRE ResRem SS aa?hanes pie a See Seai ESS SR ae hth OE Se RR OT aSn SERRE Sx~ ue Ceiggeaetes ScOe,Sse RO SRS a Seegeeterecess hs se "Re soos aay reneaARS csSoBei a ake Resa taeXM SC coeeRe a 33et ae oe ee iach suanmare mans Rinne Oo SS Rath, taaenes Bo Besos soars eemm Seen,meen "IRN IP Slo eSNees RPA Riis aes >

see. Be i os Ee eee SR ee ae es Co a

Sanit Eisai Siaciaaonlipen ito ha ee RS BRS. eaeSsi So ateREE eer qe re Sia 6 cae es essa 3SBe saatRsaeSee oe Re RaeSE a ae A aseee Geers vu

ee Somcenes “hea Dek 5 aang: cpacae a waste orate enceate ta RRR Sess On ois Soe tepiestaeenty See N Or Bis a Se ae ty a Se Setieagee e= onan Re Siac nae ECRSe aaeSa Bo # am c

SISA Ot AEBe Ren aeeenaan pease Si ROE oe Re sco aweta en Soe ae a SR Sima Ry ge secotioe peers SR as8act ; ir : SK ERP NEI By Pe rors : OR Prorcce Scar CERES: aEEE :SERS , CO a ingrinet n OT RSe EASE. SSako ; Saat BesS: v faeSB : ; Re Beaks sPe & oie: ASSSoe :eas RE ean ene pe Bris: ee SSBga 8SRA ee eS «oes SO gasses ts Orin. Pree ea Saymd le) Rs RR RRR SRS STR ae goss oesonPa orn & SNeaSepias OC a Rees: fe

eae : Bao Sap Pope SS >. em ak eee ok ae eee eats eee 3 3 ei Be BESEES i seMatinee Sig eae tt aaaaswe _eS , NR: Se STR ie Se oeSec 22 5eaeen eee ae scear ttn SAREE ee OS Se &°

ESR: : :eRe : Say.Gears Pegee Batsatamiscaeinr ok Sermon eyaastits RE aaa eeegs © be. Sem ais:pares 7SSS es okra Ss 2snon eaece eae‘ae ian ca RR.,eS, boo Seaay ES RS ie case en Bar ca BEE vos cao Seo URE aaeE Beet t “Bo Re te Sie Rye wR Sees S $ SSS ee ae Ran enon Re Batt eae BSc Nr PSUR snanbinsaarassanrgnongee oo Ess § oe

PETS = See ee es cand

Sovak %aSos Sees RR aera Satna Soa See SaBeer Dns RRS = 2 ae OO ic wasn a se OR Mote SRR aes anne ORE onseBes wee io nena age eae ng ees SMe Se RRS zg SPIER BsONS See came Seon ac PCTS RONG ykee RASS Pag aPew minebScineeomonesetesse xan nooboooooiecnes REOES Senne DIRS Span Spee aeeae SheeSS ae hoes SARSoest: SAR RES , Ss es ae RRS SN Ea SERS Se ; < a BS Se aOR eee Se CNS OksSE iSO RO LNRM ed $4 RSET SIRES ReSee Se: ssOE epee sae eee. : 33 ; ° nae ae, i as aRNaS RRRonee INee Sa Shanice aet y

RGR See IN TS I AEaSM Se MN A Na 0WEE aa 3Theo. Pieaeee eens meme ums emetee seRees

oS sepia % eee pentennnedhsonsrane VHS RSH ORier I SS PRION oo os ae .= : 5esoem Saaen O a3ES SEES BaeRS Bee RRR SS Oa Reme i Sy RRS BS oe ee catat Sartell Bvcrcnananatont gas2SR SESS Ra See Se BoE RE iataSeon SIO ae”) Se Sees oss Seeee tS SS Paenetaeaneo Ra Se ne ea Bae See Se =aS

So Seeerat os SERRE Gtae Si rs “f RRO Who. a eaSeto aSean aeeBeSeas: ee RRR SSE Se :Tne : SIee Se Sees oa Bs Se Ee OO ORONO IR RRR ag eS atROL, aed

Pas oe NARI Re RN RSSee SSE Cerner Sota. SeeaeosSete Sera ste Sao Se soaie eeN eae pam Se cateae Riee SRR Seots ace: SeesAe Roe gee SRE. Rita Se Baa Sa tcecues .> eee ees So oS ee >

Be Soe a a Socrates % SRR. ospaseeeeem oS eects o>.eaener rs BRR SRE PO.esSe. a Eta,RR Leee MeO 2i Sa Reema Sate >7”Seer o_OSes eraseam aes SSR a esc ¥Roe on 4 ene ae te RS SSee Sa ok a aeese pie SEES SeBERR Saosin ss OE ee SS =#3 p 323 Sa es So ake SS Bo ROR Ee SS Ee Ree ee SS RC ar BP ooo Sea ee Reece Sed Sit RRR SAS. SRS Sorat Beets c SOC SG: RS ak aay I SRR, a Pa SORA cee ORR NOD RO Sa Rigi ces . .‘ .

Be se toeR ae ;en eae SR SSS RecsSe4Sota ees»tenets SEE SSR OSE: Saas aa oa. Sas Sei ORSON Iarena Bebe Bie ae oe See See REE ES«3 SeRRS PE ee. ee RS 2 Sp ee ee $e i aeSee aaeaeae SNS ooceéIRS ee SSR a RR » SSOLR Phe. vw OI) BonSec Poe ORES AS)ae ON = a ee Se te ee DOR OSS Rex, ae cee see SS ae OS Se «Sn ea Se. Do Sea eaeeeeSa 5 LoSesSo RS Seeee>i ee 3 oat Oo PSS SeeRRS baie SS :SnBe eeo :Ro SS eee Se See aes

SoipRe eRces SRS SS aorSERiera - =< esis aes pierce SoaeseaeSeeeeneees abt 3 eS Ss SeSS ONE Basenoo Ba~~ tg BN ae:Seah he Be3ae, > Be eee8 ee Se RS pte Se Sas So AY. PP. se! ae ae oe eke oe Pe orresetiedietetetecntat stecnteastents Bi ne See Ti &. ORR > ee RAO Ra aS. aoe Parse Sr Si siOOS eh eh Pero DR RR oncane EE RR OC Pots Rae es aee MEaie be Sea ae: Soy pa aaa os 5:Ren ANAK aaRN DN NS SeMNES nS EE nae Sete SM>RA Re tsSS Ske SeERS SR CRS ON. aBate Ban teeaMt a eeRN Stee Ray Seen PE RS” SS SEE LO aR SR 7+Be Seeee ee 8BR et as Sea gegee wee2 sen se SE 3eee ce oes :Ny SER, Baoan oe neon memes tr

RSS PORN RSS ape cere eens ss Sacha, eR Rca ponerpaaeartnsiatny seeaererreneererer reervine reuniteean treenrerr rm aay rrr orcaoa e reece ee es tae on neSN oeen ee e Se eS MN Sa Sega IN ees Seema a cay eeRee eR SS. aap Seisrese eee eee aa 6eetates: as ti is EROS pa Re Wierager 25 oe REE ORO nn a©Se eiBee ae noe gedRS aoSee odie: so eS See. Some rn ae S35 epoca ieeeGea innaCann. Soprosanest beSe ¥ ee Sensh, SeatBese Se ER ae sae ae cS: See cc eee eas Saye tes: Seetae SINSones Se4 SRE ee eae Sa, ok. sc ae bt See Saas oe ees ee eh i aOR See eePesce Fae 8“3gi Sa SS SN ae Bek erEse SR Se ane St aane conn enae seman aie. eae as BRS: Be aes oc ene aSaa 5SCS *SS. ws eaeeSee bes Ss wa ci oPee eae aes Seo oss Ny:£3 BOE Res - ag ee ee eecee : eee ate RES ee he eta "BS ,esc SSee oeRT oe Samra am “8 Bek eS SR Se LeSeeeRe RS oo Pa Sep es eeRR BSee See Son poSn SRE RTO: OBER aerial ob ee RS a Se: esSee. eeSew a oe ee,ANS reSRR SEBS: Ra Rare so ae ee SBS$s SeeBee eames © saan Sie Oo eaeBs:3 RR AS SRR SN par Se eSee Le Sant, ME SSaR RESPoy OS OS SDae SeaSe Ss Mio Soe Se saa eee SS SeeaeaeRR ee RES eee 5 Sa aoeoeSeat ERS ee Ss SRO a ea ee SetRo Snaed ee eS SS Seema eB SRf ESS ee adaSe eei ee exer: PSs da apeSS esSee Ba|ee sage $55 ¥ pare $s ee RRS Ree ea SoS esae 2S Seehe eeStes ae ee 5 oaSsSS RE aa ERODE aoe = eS Sees Oe, ES RR eee es Sets Bere aeDR ENSSS eaeae an 2) eS Re ee Se Seer: So Bd oe SconepS Tae a Se Dae&© Sree eee &ae SoeaeSos Se ee Sa eee

BBSakaSpeer es Bg sa Sen ge os kee Rae ee Sess SeeaSi éSHED Pict Ss Semmens eS skee.SS ag PSR se ace eee Se§ g=:RCie a aR1: Son ae eaeaa aR CSeeeSRR eya ae Sa aBa : > OSCR cose oe Sis “Sas Be Sess SSeS eeRin Omeae Se Bas Deseo sag Se $ 3:3 See ae Gay . ae. Kee aes satan REN st oa eesd - AP oN SS 3. Sepa Sao ce eo eas aoe ca BS: Bee Bien Ag aSa ee:samo See:tn, aaaEE Bee Rae aie ae 5aeaeSee = SBT Saati ana Sega rae tof. aeaeeememnes aaa SRR. RS BREN RRS es Sees a..See 3° Sagar Bee See osnna eines 2a Seeecen Ogaetee SROS 2 Seesons oe *anemia SRR Sa Rta SaaS See ra oe See S353

» Ree ete RES Bo SRS Lee eS nlchats RRM $3S eee SeSR eS. RTmae a Rn? < ae oeBSS So : & SR EN ee os eonsafoe S>ae Seas3Geet eee See Sy Sx aS Reser canton serocerertcttatate agenSee aD oon ae Mie ship fenS a pate

PE RRR Sears ae ae ae SOS POLLO ET ae ee RR ae ReoSS eo ae Bee 3S Sees: SS; ESeee SO aR StsBS oeEN Si aRE SR«aes eexSS eae SoS 2Bte < - ER e eae SoR ies Sees ee S, >3aeeamnanpenaaeanaaes Sanaa Rea oa Seman tee ffs to:eS Ramee os ies ae a 24

ees Rees ce cae ek te ee ES oe Re 2s Be og $ Be te Se oy Sok SRS ae See So ERS So canoe So a ea es nee SS ss Beton Se cae NS, eee oon near a re: Se ee ae i Seon o> See. RnSee oe SS : oeSoa. the es Sa Seemann sent Sa” yn aSaeeSe 3ee SEOer ee aa :ee ha Se Shree Narn>"ee aoeSR > So. a WS SaNomen a te aeSh AN P Soe Se CON Be eeaeaaaSE2aSeee ee ge RR SS aSSB ee 23 PERS RRR RRfaRa SS SS emeS es eerie. co tae eo ee ;9 Rc 3SRSte aeRR ee ans nc Reo os SSS tuegumrmamensntate Bo. ¢ See Sones eaeae asa SRRMeer eer so ates 2 SoS a aeSoon B33 Sc Seema Sakmae cae ee, ROSS ens tee ; RRcee «KS saree oan $22 See So os Bia ere > Sk SES SD PS: SEE nce ronan ne a ae 3 Separates: 28S Sooaes -x Sapam SSR Sere ee

: Bo So REE eo ene es See Se. Oe Smee Se SSE RNa. ene Nenana" See > a 3 Soe enna ae Be SRS: 3S RAR BN sre Bes Ree SS oe ie ss. oe Re ee NtrhOn i sean silane aeons 4 ORES.” oon hate neteSate’ctetane”= Sans ‘ ae Siar” Sorenerannran tats Oe, SS ee tae ee Ste OI aaaay eta” ches eSate? Da ee ene so BS

.....

3. Sees ae aSSee Si Seca oo aes eee eee. tae”SO See a keBe aeaSS Ba Bie samen saree | one ca Spoe a Sa ig hai Sereaeam 2noc Bae aeSen heSoares Sse wae eeTR ees Pe RR aSee aS Be Soe a5. Mag Sea. SeAo ana = RN i steeRa ae De SS: Siemens, ate Se Rae. “aa ae:3emi ee aa RRS RRR SE. 2 Se a ARR A see RO LSeneaeennnnnt ES esc OS:ale i ae} Seems eyee $= Rae eens ae Re SOS ae eee aa Sh. Sins > > emma nS ek ee aa ce BS 3. Serer ec ii aa die sta cae Ome ce aan aN CIES Co IS’ ARR, SS, DS NOON ae Ge Se ARE ee ae § ee ne, na OL i in ER OT eR RASC NR eee SE OE Noe Nea nae i a ee eo. 23

$e Se aPOOR =eeSa SS C AION. SR eae RN SReae ERRamones ONTOS SSRIA CL EN OS RE eeaton neSee ASerine enae SkePs aes ad £5. See State OOS RSRR Sea RSTi o>. SRR oem ROSEN BRO oeBe oe

$s pearance cnNS naan ametaREE RIC . :SancS : BESS Sr Gotaneesan OS 3 RR BAOSs ee,SERIES ¥ See RRR PR gah stat POOR RN Rremoaccnn SSS oo OOShe ae Se Rog Cet ee .Me rstatanatity!statatateteterersrecereteces suman a peeesha geese tatarer iatasyne adNE s taal se Ms caaetorabonecsees es SN ee EE ee OR SA eS Rona cc as oa nada neccagoashaahaananannanannnantaRaamaEte sidan un nn DE RRERC SS.

OOOO . OOOO RII IIS ore o AAA A ‘ ARARAe ‘ . RNIN PROD IOS ‘ Sate nt ORD * ox . +

RS ithe Patan ate Minyiaratatet ater ctoteseteentennscratstavotaneteratetecneatareret sete cian ctbtntnrpreterersenteronser isan. subsnieee eanenee oxoatamcnatanatatae co Saath Sa tataS tab caleba tae . nana ata nate ras areseteleteleTererarssecnssstet th tahatetiestotstsevssestcastyertyhies tosses Satara males alee diiarans ths ness sseneiacescssis sees ee Se END,

SONN a ee EEE SS Sait Dena NACI ARRAN RRR A oeALLEL TE ORALLIANSIE a ining Rien adoe Feee Sess ics nbaOD SsSASOSO OEEEE es SncOSO555c AsieNMOONSET SACS SSMS RSE

18. Follower of Orcagna, Presentation in the Temple, Dr. Franz Haniel collection, Munich

Se LION cclnaneinnianna aedSNES SROANNAN IE NSPE ANN VARA SNA WN DORIA PRE ANA eS

SE oeDPR OR SR SO SG RE I RRS TR ge *OR § Sa eee OR OO ReeSS Ls:: eS nS. 3 Boa Beate eSB nc Eugenes “Dhntninnnnnannanannnnnnoro bone ne nescence Nite NARDIN ANARNNANRNID

ae Se ges Pe pee ne RRR Pig Oe BsEE Ss ene re>ettae . eins aca ae ae iv oe a ROR RAS Bet atas seemwre*-%s Sooe oe PD RAN ke RAK NING . Fisaen coconconsotsononse oonontsseonconeecne cit SE ata eR ES. RE ess. MR a aaa ennte nes eieanetnsea ease oo aw “a ee ee: LE oe Seen pete eet LT RRR SR a as| Sete Seas es ini. ae tn Secrest acca DOSS aneaes enn SeasSree os MS SeaeeeEe eRe 2 esSMS SteakRNY SRR pies eae een SR be & SRR Sl See, > SN PGS SOP a coe SCO anyeS traeRS ie nay SS ge RRR SRR cosSema’ aaaNS Rees MRE aa Sain ets Sa RRR Ra a SoBRR ae. SNS ei Ske Se Sp SERS oF NnBae ON eeSee he Oe ae SS SR RKoo PRR: RE RRR RRR cies PRE oe Bio ae aes SRS SOnonniaas Gane geen ea SS ae SoS ESeaRRS SE REO Se SaROSE. SOOO: SRE > easaee SR Re a caBBS Boa oe a eaecetacean ae aa he on a “RR See, OS.Ra 3

Pena ote seSIRO2See eee ag * oR BR 2° Pn = -:-eS anew c Susate saa cnat het tat eaten ctahes see oe cages Lee hn nee 22> 2 235 mcaearaane oana> Se .s f RES Soe te ae _ piers ee ee be SS SSS 2) SQ em cmn os Se aes Rees See OSE Seen ne RN, Mak Se “2 RR a essieeicse eco ems So RR ae oS gai bs Sera eee SS Ss $3 gi ee ea < } Ut See Sees SP in aS os a ees anaSegieo: be SeenSarena aan a sieSR 3 Soames oe Ses Foe ee SRa $eShane ctaaeea ae Semone cn a sheae ton Nee ee BS ees Rehege ian cunmingiom ean ea SS aaacae Ses Soe is: SRR «POR RKPORES Oo RO ON. RMR yank ecpe one nama anegees aan ma ae aorem SO SES SPSS tenon ens Pa et bs >: ame Sig Sie oe ee aaa oo: earn Seas Be So | Sea he SRE ee EE pik eR Saetaene SBS SEES eee rains RS SteSe es emeaee Sepasa SR api Mecsas otaR sa eae ae 22 SER So. Sie a aeSESo yeERR RB arCaS eee aan RRS as aSSes eee bs

aS RY ee oe pe RS os ie eets eee cet ke

Se BSS BSS om ocean Pa eee SeBiot SESS aeER mead ae ee pe SSR SSeaeae ee. ae Sees oe BRR n> SEES rere ee aneocons ae persree Sts Sra ec SpeaNeRN Srna aera bee meray ee ae Soe SO Ses Se SOS SRRS SR area tatene ohoRD eMece sand utiienonennccnmetennoon

Fo ee Re Ce CO a

DSSS Se coco RRS. OS Ngee Sx Bo atesVRSRenae le eeRRR RISERS s peta ces ES BaSoo eS eon me Rt eens erate Senn Go BS beens aa St ovage aeeenceeee Dk Sa S.tos AMOR Uocncerelabetebale) * \-Bsacesaetiagy oe ee 3Ste! SRSee ee ee ea 5 Ea es SRS oo : Bagge Sea eae PS RRR $s Oe RRR Seog Seeee se SSR RR Sm aes ot 3 bs Se Sguauaaneeeooaees CRRA RR ERNE SSR a a SSR oR ag aR oo Re canes SRR Pecan RR RR % es es aSRES SloeOl SgSSS RRS socioS a aRieke eS RR cae eS apie Seen3 Si eesone ee ea: See Se OSE aSssgive? OScaRRS RR See casaacaer

ny ae.” vs en SesSS . Seeesas ies“ aeaeaeee ented Ne es — . oe ~ co) ES ee atteNata eS: ete ogee i ae faretar tel eS aes co SS = 5Onpana 4 des Pare os RR eea BoSRR SERRE pees Te aeansSe SeSe RR Secoeieee Sabo Semen RAR SRS aeee ESS Bees Oe Be cae B ee Bee SS RSSue oh RO : gar A ee Oe BSS ta Seca Fee: Bp RS Se:ae ae ae an ee *Ee SstS SyFe: Spaeieeae 2}eteoa See. Se ae ae erasI.steserey Sot ae ca eeSeae: aSee eaone asetSSP Pee a Bye SRS SRR SR SRN. ane eeSos. eeeSS $:eRen PERE Spr stacetenche RR ROS SERS OROt eR SO MER ek RSee a RR nea So Sa Se extn Oees aRcS >syst a$ RNR: PN AS SE: NE eS: Re SeeRe

Pe ahem, Pee ae SR RESOR. RSS:ee SRSSRR Oe a PSS Seat: Bri Se aSS BSCS open RE SSS SR Stn Bete oanSates asa ee eee Re ere eae sen Beton ete ROSSER § Ri Beaton. Se Soe Sa SeiaR oc Re eoeSaa8 Sske >ope ef Oe aeNS SeeSSS Rm syRE ennaBRE Sc aTN eae ae SS SR eyae Bapean Se ae aSS Sine Pe eeSaeko aReese ieaR SSRR Bs an SS Se | eeSee a ea eeeaRR SR aeaS ee PERE ae SN Beene ras Poe peo ASRS gira SePON ee Soh * eee BaSo: , Sy on aaa Sen Sua eS COR aae &Se a

Lona eiPieseond aS Saar eeSR Se SS en RES os ee ee aretge no SNSod ay hee See geen ae OE ek SS ¢ Beene ssbate Oe RR“Sa SS RR:a.a bp ame SoaeStee ee OS See Sa RR ooSoee asso ee SNR ERI Se SES SS, SR 2aaa. = Oe aosARS Sp; Sy aR Re ae geo 334 STRESS a ae Brame sks SONS oo Bc ete nae Gite ee eS “apes > > Seem BS Sai, oaSOae SS Bi Se RO a RR SB. IRS e: Rae fete : Pees Ren 7 NaS. Pn RS. cS: RR SE a aaROR nS SSSR ace PSONS ReLS Seat oe So Senses aes Bi. Se: Saee SSS CS RR BB REE RS. SoRR 2 RRS Se See en SN RE Ste on ees aa NR a te Se Sa OS PRE a es sigh Se met ea So, Se RR SS See Se ce eee Se OOO RE RE BR aes ee Ng spear asesRoe SR a Boor ; Bie 2 Yas ee Se See Ree ad ET a i ote eee nn os Se eae aco cetatecn pe Sete: a aS aie saa a SESS re Vee ge teBe amg =Fe 3SS ae Be pe SSSexes ieae Soeemo 5 Sa ome Aeee See eS SRSeee Sere atesee Se een. es Sete ee ee ae EOE OR ee Pee aSigua Sasa go Sa See sume Rie RS a8 AR Rear i ingtionetne eo. persed Ses Ptah’: aeSea RES. Stee aeBr Se: 2B Sas .oS =ES eSet ot:anee Ca ee OeEe ae eee se nt Sa ; es RR Shean ¥ SSSR aoa nn, aa So ae See See onetater See Secs eae St 8 bs ete sen 3 PA oe eee eae aes sinensis ce Se SeSS Sa |BR se ee Se COOL ORRIN eeREN cecaeae s. eM > “Sth? eeSs oRSe a ea nnn seeseeSe RIE, eos :OO We RRS etSeni te aeMie xoeoy SRR He ag oe ae BERS coins. eeeene Rosai Bs.xbe 3 SS Dag eee ee Te ib Sr Sia eR, SO SRS Na SR. cR o % TRE Ri Secs sn eee “z ; aes sees aa. 5 ae Ses ie * SSRs Bin SS RSE RN Fok. a, i DR LOTS SS Be epepanee. a Sees BOS | nae oseeeto eee Ra ee a,gears eS BEE OE OCI OC SeSOAS aes ee aa SSBee. toSRE ee i oo SOc seine Se etd Re cm IRSEBoe See SR < oe ae ges ahaa Pe 3 eiatatehs Pt St Oe SMecaeeeaay SN. Bibi: OS: Se SOsRe SS Se dee nee

% Sh) Res eto en cee EN Pt : SB. Seneee See SPOOR RRaca ee ee Sa rigcare Be ;ee SS

Stik eee wl So gs ees: SERRE cement eG RE Ree eS ae sk 3 Risencnme sony seas aaa Se Re Bee Sage aeeaae ec aSeans Oa RM nee oo AES RE SRO SR. Ssneame acsORReae io.a gies cup oy F REate xBB SRS aBIER eeSgeee! OR gang atinte gee Sa aa oS oo SO eoth a> BB So. Mute aaa cae SS OR ACO Rr,me i i See OE SaaS She SSMand ae Raaao Ria gal ies Poorest SRE RRORBo! SeSSPOR Spee ee sence coca XSROO NSeas REE gi a RE EO ees Soe RS OCR RE RE MO Ka ORO eee. SP Se Sheneeaaooprssnssssoomomoaroaonene MeN Sige OO” RRR Os A a aS PARAM ON ms SL ERR SSRI OI LIS ae eR St eo aa ERS

..*..

ao Cn a See Setseers 38 ican at cx te oRena SION IooC nee Re EE RON REPO IOO RS ER SeeOSRaahaaene CI| no Sanne RnTR eee Sn an RE MNS a SRE BRSe BIE SIS ROE AK RENEE RE, RR Bate Ma ROSS REN 19. Osservanza Master, Birth of the Virgin, Collegiata, Asciano

rs SERS LER PLANT N O ONS NOMIO YT Oe ee SNe NAAN SNDSatSR SERRE TS eeeerie SON sx 2 ERROR este reese ee cot che Srnnaaant een eaemnnenceen ence eee canara tne aei a Ngpieces ics Cates3 > ee Be nar eh eenaeNRE eT oN RReeenne Rea RSs eee eS %Be gtSee a ce Goss tion MeN cea eenSA aa paces Shagianaanicmncnawe aoetnnematomte scan cane ee ee4 SBR ae son: LR ee Siig a are anaemia arena arctan Sanscena Secearat

ces “sesaera 23 RSet: ros enn SorSeana ei can Se SOS >scan Ssa eh esmaa BR Bae caeseecneieae Ses B SEB ee eee epee IS aoseeCente antes ctestaneiitnans anette eestor nesta eee a:ee =. = SS Soon REETesnips See nnn. eter ental Seetacanusnnanaaammiaannate eich tans np RSS an Sik See Se RRR

oi ates Rateresatetes oe rs ing “2 =aaa noeeatin ee Sean eeeansei csc teraction uta ane ener eee an :S: xBee Se ee a # ee LE a SAR emwhanau State. castme nese a nua aecnaaasRR annenace ea nates ae:SRR esPe SE terete aeons SRR RE a a a ce RR $ Bitrate mena numa uanen sneS eee ee ee Tee ye eee oe Rees a BS Shommnen ton ene RN OS Ce ES. Ra SE aE aa aaa a Se SEN er oe eRe RTE MEER SS RE Sa o> Sichouennn ae Stine eee i peacaanecencns natura ce RSE oaks Sean ed 4 siSieceee ese Stee |S < RR eee My STR ees Shee tata etatesstes : OOO, Se Seca SS: taeay Seana >See Nise aes Soe BS «cow epeeSas Sages apne aieae a aan ane anaen Mae aor.SeSaect acne Mae aees Sasa Be Seat cose ies see: Sacre amen sn ro SR, SEO"Sa cae.ee, Serato BoatieSS eggs 5 Re Se See mS ; " oun : ee. eee pester eae a en, GNA Breveroverstelstsveeaterstaethe" Sc Mus one : Sean 9 RARE eS Se

of Soom ESS eS ee= rer eeeietiees ftSnee Seepen a RR ee AREER | Pe as eeee eeaE: iEe NSE eee ts tsa Ree Seas .Y, Se BROS See Sate Rete Pies BS Se» en«oes Nn."Saas Seen eset A¢Oe OS | OO” OT Rees Sans Ra aeBRR pe: ae *Senen aaSO SO La ne eae ee aoe So CE ReSs aeRe ee oe 2BSBR NCR 5a gaia :3Saas anemone ae Une SRS sie sacs SecsSeaton eae a eo ee Ro&gaa BOER ae : cS REE tNPee ED © “alssoSeamer amis OOS eee ® 2oe Stern ethene enSpeen hee NC a sewer. eae Sa eae eI Sees 7So Bee Sea bee . oa BS Sg PE See, Se RR B: akenn. pate 3_ae RRR eeaeas oe Beery sire asSas nee ae eS Ss SNe, hanes Bae cana See 8 RRR SSS sosSee ee oe Roe beee ate -$3 . >‘ SEER lS” Sa Ne NE Dey eeteen ee sae Poiana sgt OR asae 2S Se NON Re ScERNE, ikeaseSRR StSea ee qercaaE ge:29 ge: St nae aBESn RRR ceSy See ate aca oeneeR atari oon ee

SS (SetteSees mene Sas Ses sereneeee ee tanta ae eng RNS Ae ee Seat Me eee, So ROS. Se Oe:Re eaten eseaenmagae ie eae| Shear “¢TRE RESS ccomes SOaeons RRaieRRR onSee anh SsSRR saeRASS es ES: oF” Pees : nn . SRR eeeanes a Re ae Se = APS BRSRRR SRS RRR oo Xai. © Soe ko.SRSeStee Oeenae Ses

OESAR Sh ee RreeeBO OS eee ee=aRESRaere eeeeeee Se eG eo ee aASee _Saat re Ce Re eee: RRS CF Se. SSae SSaeSe ae° SOR oo Le aEtee mee OsNausea Soeaghh sees Semen nr eeeOS ae pict Naa Reeser SSRSs osha NR. Soe.SS ae : Sioeee ee Se SoS AOkama SIN: SI sa seroma see CRS Beesensi See See Seek Ee eas ss amerannenaem =. Sin. niente Scone ee Se SSE rs Se eee S. eae eee iiescetececnrosonscorocons Sa canvas ee See eee Ses Ca. ae grees Se pee. ee Sosa See asoe + »SeSais eee cc RR aS SON neaSR SRR eeeee a RE eTSeaSOO Seop,toes

3: Siiiieiosrenmmeiemas eager oe ers Sas "eee: oesen ROBE Sis: lai.” SeaSee She 2% eae. Sees peneSN Serer reSeca Boo2: Cae x oes ae ok Seeae9Bese Sr Senna RR lS Se aes: es os oe % setae nceeeer oe Bang epah eeSeems a ag Reg eas© atime i SPsOURS Se. a Re Tae Re Ss 3 Seoreeenememenanens ot akan: Sh en anan ae SL iratorstatecnretntotetocatatotnrerenstesetecoteemeesrensseecneriens meatetatatcrat ata teta So > vee teens 7

entero 3 cpt ; eae Sees. Sana koeoaaensi oe a : SRO TT aS ae ee: ;: Seen oe SeaSee Sarmeomeens, foeeha SNR Semen: SoeRR st een ee :>BRS SeesRoses = 2 RES

bSeavey Sopa ae Sener pee Sinema ) Sook 75a Sef Re aon. ee RE neoo SoS Seek ae SeaeeeS & Seo aSets aR ae 3feSee 3Sao EPDoes STS SS Oe SRBoRM: See Ree oeSeas See Sas eaeBeaks seisf&See: Sgomeotear.” Ss sae aaa3ee Sea ee a ennai St eesSt : PS athe. Oaks aes a ae RRR eae Sa eSshygewts : EEaie eS :. s :

Peet Seay See ee | eee eee Ct eee 5 eo She ees Me Goes Oe ces > Be SRR EE

Se 4eo Ce| OS Seay sarees 33 >SS eee aeSee PPee eyshe aieae 5 ene eg: SeeSak SeSots Sata aeeee GRP eEe ND areeee a ES RRRS + ae en. FS aeaey” See: eeoeaes ke ges te oReo. ae §nee :eee bE §rs,i \aiSa eeSee PeSeste Sey

Be ck TBR AEE RU Lee Cae FR Ook Soa ae eS ou SO Senne Sek Be: eaeeS ae rae eee Oe Soe es aeeS ees f° aige Se” we ey as |SSE >eee SROR eee CnHet RIGees es acat SR, eR Sa 3 ce =oeSeem xOORT “2fe?Ss8: 2Be ,; eeEe See aeLEER Pe ectarto, pee tes near ee “eeon tees. Se mS RY |. gee eee Sone | “Sete on ii Onin Gans cae es iatatetep canteen te Se a, SRN a Se SRE Ba td 35s SR OR. Sy a OR Pema 5 ok Sea ae. Ree Aare

Bead eRe ayeeeSee St ie eee | “ees Bae @ feme pyRog eeSeBO EA Ba Re it dora “Seb SasSane ©my Retnneonnneenenmeninnaee 2h2:wenn < RE Saas Me eT REF pea © Ss. Seman Sane samen ee Ss seaman em On rcs Se. aS $ke3 ean Fe$xes. saeSee Re ee RaetSart Ree ; }

Bo SIR ce aac ae RB ce aseRe Aehe ee AAS ce = ae make Bosca es | ete Pat PO Sa SS meme 5FOSS aa! BEa) RMI SON RRO eSel eteitRe eeSee ee ee a ffaeaes ke cae Poke Mics: eee ME a, teat we «> tes Snr Ee fates ee tae, > we e.g SS? ts So LS ete RS, Say Seta eS ee Se ae Bi Bee oe oe: ae } Sit Se S.. RR Y See SRe See a Ce SSG SeBak eek one eae ne Se eae See en gona: $a Rc eet oaXn > SORE 2 7 emoSR Be Dees ] re eee Seei3SS © ee See. em seers eePie ee,AIP Sa Se >Sen. : SpE a Ma > =Bae SsRee Aad > :es cee Sere Staion 22.3 Coes ae a ee Fe: to cS fed ay = 5 Ae ee os einetetet restate Se RRR eS: ON LRN RT SN LER Oe ee: ee RR Ree. a ee ae ee. 3” Sa oe a SC PS” SRR te” ——_ te. .

ee ee ee aerieSeteey“ae * eeeeae ee5gees . ee EES ee ee ee 4 $a Ps Sie % oe eet a, Cre 5 BRR ee ee Sf oe edt « i ae SRS ee ieee es nein tit 3 ee gg Gee: Ms & See” Gee et ee tgs eee IS ae ff 3 Sens, 8 "cc cee, irs Sem eee ame cc a ae aia ee fe gE 2S ea ; eh See, * is ie SEE DeSean Co" oe ec niaee erotetateco cee eaten ee See saints eo SO LO Le RE RR er tase sesetee res ¥ “ Lae . Rass ms ‘ tee be RSS: 2 Ree aie ey Smee Oe 9 2 Sa reaR OkCo MR SOOO a BN Po SSSR, SRE ae Ks >. “= = me PS me ERE

2 Fee Pe Bee es Beg. ts.

‘3Po BaSR ig eeatick RR gS ; Peek 3a i SRS EE CN eee. aeaa Snox 5BOS Eeee Ef Ba a BER PSR eale RN a tae ROSS, ee 2} attics ais

ae Po RE ae a ke Ps irre Gees eee eee 3% Ps Bere Pens Se

> ee eeRS eeseeeCoe SR” anitaaM nan ie esa ROBe es,oS. eTeens Ps & SoegeeAS SeRE eae PS SRT sentient acne rt SF SE

FeRee ae oe: saSot Soe Se Meee aaa ae +S 2% Bie aseske ceam aS , 3 ga. SeetS Be SS mK SEES So tZ 3 ‘eee ees ee Seteeae eee cs aeeaeeS SSs 3Se Bie3DSoS

a ee SS RF IR 4 oR teea aSS REP ORS Ps BER RR FR eg okeg NN ee Bs

Esk Eo OR Se $3 Rem see: ee MEO) S SMa $5 Sa a ere eats ae ead

Pe LPRGe REFRE PRS eefFRR a Eeee eRe Pies eee a

Se Bes oe Sa Sos Se sa § SORE ees Se, >, OES Re BE IRR SE RE a ae Re Bes SN 3 eae Seon OFSoe ee es 3 Sok. aecn : Nei: Bay akeRE S. Be: : Bee Sete2S, SeSeroeae Sen. Seas eS Seer Se See Sn3oa SSSS SN a Se =.Sees a ara re 4 :thas eee = . ORR: praca lotetat ants SO Denna tatarnte Baap ee: as eeae SE Pe3— Roe hee ss So. ~AD Sea See Se 2ee esemaesce Oe.aepts =eos Pasa ctntesae neSRN nSRSet SR weet ae oa O ee : ee ee oes Sia 23 ip aanaoe ear me ce ee Se * Se Bee Seen aes Recon nace Na Sots o Poe Sons — eae. See Ser oS MKataOR ee apeRS tenes >, Scare es 33 SRS Rs2igiarsn pete? ee =uae pacman Soe SOILS Pact, Saoe aN eS SOaa Ae ORE aetna nee pternente 35 Beem seer “42pees ee ee So Se Soe hasan 3.) RLS cetciisieeieee Sosa yo. gen pea area ndee : toe en"aS owe an Seen ree Seen nrnonr * Seas poser aBe: Be °SS gue Ree setae |Sen Pheme BERS Eas SO Ps Ros ~eens 4ae catia seomrrre pee ore ee . s: og 5

2 Te esr “ Res 3% eigenen es LS aS Sterne a be eee sabre % es . Senn, ee ON AQT siete ec tees 3 ee o S“Ss. bates nes Seteeneceintete :ee Ber mcnseee Pete eee ReneS Se ee Sencar ioe Sino 2S oe RO a| ss.#3 “ 2s Soe Sain ee aa Aes oes ncn an ROS eaewoe OMRON . ahaa ee. en Pomc Rae oe ASesausaaseees a Saas Reve -See 39ee Seed See eisOX eereens rate ee a-atnayi penne eeeee . SE VERO eSoe oe ae atetene aaa oOSa Sesinner oe Mancina piconctnmn es Ree Soom ee|as “ 4 7ec : ! 7 | cme 4 : BeRR sie Beco €cate ys 2+Ne Serenata nae ie wel Seonee ntaotetcnannteee eaters eee oe. na=FS

oe See : mae es 34 aaa Bie a bcanon eas See Biome eesee eres cca aeoe s a3 3 oeaxed site see $3 Sse oRSime s 33 onPRES teas PRTPoe eee osBao Sie ee x“ pecan SERS Sie BESS > Ses Semen bees — .:=—O~sB oo sap pee een Cees J Sports See ee Sa *s 4 bbicpmonesate Agee ers steettecrcneetnnetey secs Bite naan rpatetoamtpeonanen net Seretranese Suibcaoaeasath sasereeceanneen Seman Seer Bechet boca 7 Se ot . | ie a a oe Sees prea secrouaano Siu Sohencnnaas sires oe aa soasntna s $: =Sees cae. ae 2 Bocas Se Mirae=nerepee oo hata Se See pracaee: os sisters Soke cone srrppensa ca .ae_7|( ) Son eas: potas bsrare Soe 3Rosaria SaSessisesseree ahetatendt Sosa oa ea EE aS eke ae © :7 aene ,ot _ ‘/Sa 4es oo . ee pee Bea Soi Reosonenec oma Soe Raat ceieronpe cnet Rees eee S :Sars Ce aes Bes a es a rane he soci eae 3="Saas pe. BS Sos SRS Bos Sates “EP Re BOS Pes: — eae SS ; Seams Ss sien es SooSree Sacerse soScere ie er : Sen gg ae Basscnsies nnn $ Kierra =. % e% trent K 2 Sar ee RE cen ee SR oR Se na Se Sossamon : pena encaAR xs : sae Sima S:rarer ; Sead prc Re ae Rae BSE Sate Spagna aan So. Sa ae > ss Macca > > Seae Te ae Petececncetnon . peat. Cane en ee i eo oe — =Se: Seer Shoes ae pg:StS$Soe Some See Sc ee Sot oaneat ny sr OO oi Re .Seomeeee ;=Bis ¢ ee " RR NS peeatestotac ote otat aren RRS siikoshoheetomonos ete wetetatanatatct at eraP haat nes Ss a SIS Brosssstst eae coe Sd

- 3 ee : bee Boemaemosmcsiats, - : No ea See a one Se . . : ZOU Sees aca PERO eee Son Pose ee Se ee apaeeainstateen poster = ae saan :

. 3 — | /_ CsaCCN i ee see § Se See os oa See °

-& - ija-. |:cSrrr—C= ee rete aetna ee. patpeatad PETROS SRA teeager ic SnPtSnPay an ops aa eee Betts =NS . 288 ik Sao .Seo Reeens oe Nrr Nn NN Ro ar, Sees J i ‘ :ee oe eeae. Sameene isisSees peace: = SS Beteae pS oN Peta sekinn oeaOe Aiseids cnn neeptelctatetec acer oe OE aN Soe Se BN ee aa eRBES oeeiateneronenee Ser ae.Se Sac Rasess ae ee, eeeSa:3;aewo ->:-->=ae = es ee Sista cane Se ee seas Soe. Ses on ee ee Risa 5 ge ee = pe See a we ae Sie Seer Sere” hens res Rinse nena Bi os “epee SS seers Se tS we - oe es Sore PRR bes Bena nes = ae eiete is oases aero aeene rate ie PN een BR Naieatatnsstenaren Cs ee Mfetaterateteterstrd ‘ 225

:E.ts| Y ee seNs aie .aiSeer Sees SS 6eaeay RI Se SoS ee Re a: aa: \Somer 9aSoe esee oo RES Sae perma eO 2 >eee iee ee ei Ri ee veers SaSr SSsss Samana SPOT araens ee eeee Papen , Bt ars a iUN : fy — be }Se a .eee SoRS ON, na Seana ee Seen ge“ie ES:

: ' | | eesSee eo— ae Saas Sonesta Patera or can Pee eeBee ae ; oe ti. ieee Be, a OSES bots 3 | ccs % Se epee | | = a : _ “

a Oe . Sao eireeny +e ae bo.st See i RS SN aN SS Soe Ries Sens Se 3 & ear seen = a . OSes ae ae % Bi : oeSepa : es Be Rokeneie Cea aares: Re aswee Nese? Rea eas Br Be See es 3 bs pi ae 3foe Can ‘ ak eae xe Pt ae S: sR sin) Sans edON SSmnt) Sos ene TERE: Sy, ON NSoh ROT LEeeee es ioF | oae. -Rts —oe=snes aeciter asScone apean Shite See ;etBerge eeeen ness BeStnges. i 3o> :noNS gaan aerd % gaticines age Rees en pSene moe Sas max ¥ :eile, aSeaeoieOER sis Reba BO amine :: oe ersie SR: : eS a eae as Sere — ‘Soe aretha” RPee Seseae ye on CO Setatotatetennae eed ae fosatatassbatar ecient atesee 9 ee REARS ae gies ea tae (ee ES RSS Sees eS Shots 3B aeWaseca aeepeeener AER pigs e2NS iSN isrtviens teehee Pea ee BS Oe Cons See, rane Rb sence SS Stes aoaSRR noone nosh Mena Sonn DROS eoastra 3Capped eon ana ihe” Sa EP eeraNaracen aeeetee neSs >see pa ana:ES hs es Sa SRE Se an Senses See Sige Giana ae aes SOLS Sees, ee SE Sioe SAKA RET Sameera ge. sees acetecctates .RSPR ROO a Ee eeSaas See Soe ee rane Senne SR 8SDS paar Seas PoeSoh aeRRS, eae Sa ages OOStens ae cites

.eae CSentra, eSaeee . pase es Se scaeaes es PES ee See . Scena, 3 PRESS Soe ”SSey Seay Cea Se OOOO CSsake piasSas a Oe oe aRetiiate ae See eee ees Be Neesaci She oe Ratt See ie Span oo ene Roerae cos .ke . CRORE on aren nas Etats ones SR sgnis RT . RNS cS ee aL wrap =Bisset heoeie cena :reSe hera ane ne eae eee ane ENP OI ee eee no oy “aeat Snes RSM AsDee ree Mabe oy oe Rare nits2SSeS Bee sikterete oS ‘Sete Sots esate arn aeseeconecaa eS ree breneencnosceie BBS: Sas Boe Snes ea ecatenoreets Fi< i Sense Seas pea Shesree cresteams eee RSSaeeee se a SOO aaoe Ese os es a See St ee Sates enstssae

Soe So oe Ree eS RE CS ae Nes >og>°s me aoa paper Bape

aaa a a eats

$P PS ce feease :tee connate a : So eae B. ¥32°F eeSSon ea . SSS nba Be. SS Rhee neOR NORRR NOCBe oe ts Beoe oe oe | Be, Bis Le F Beas okaot esaSe RS as4eae See SERS aeea eeae postenenonemenr oe oe eee 7 So s . ae=Be ea :a:ros een oemara Sig aaa rae— Roses aaa RTSecreta . Saa : ol wot: er ies paca oe ae EON eekeeSSSe ‘Reese so Stee RR NO wc eeeee Senne RRR SES SS ORS NC oS Pa souwemenn at Spncceapouamametas BRS RC Se RR EIBea ORT Seca Ronee See $2 Be : em

oe ee ee ae ieee ee ==Reames Sn Seann Sonia : : .ieee . ce Lo ReeCane ae See raneesaspee LRate OEial mseos SO: |: |ZoePe,

are Samm ay pee ok ee Saree se oRRoe Scrann BsSt eee Se eae ope aesgeSaSee a OS srr, Se SyaeaeSete. oR Seeman. Ska seam Sika Saal : =ecane Been ccc RRRea eeee CP Se Se ag

eS eS ieee Seance cco eeaeter ppcencae sence See SE Boa a ,=: SaaS agina : |Se: *aoe itsSetoe ;San —ee . as Be Bee Na proses = See Rie Seeee Recomm RSS ee Bs te» ee Sa eea aSee. SS es Bea Peete epcag: Biase. ° atee See 5 ROSS LR aibettatiegs Se See seroma e ipa penbeo tte sae nen aia os srspo a

3 Be oe Syeee Souteee BikaSeek gee 2see Pca aanoe eats. s ies RE associates hae Beane ies BES essee eR ae Bsa Sa” SoONRhee ~ Se a De ae Semen BES —poe So eis Bh ote Saaaaa Sea egSaRatio Rego oaneats ee Sinise ae : ptoaienntnctnre Seo Se OSsome ERnacage ee aeSSSee 2a

teSS SBT eo Ram. Caecain Senet Bees eat ieeenO ae ee BeSee - SRR oes bene nre tet Geigugsemaee or RRS Mw eas ig 3Pe2So es CR Seteae BN Boe SS Retirees ae ete seeceenennnen satis peat e ccsats SOBRE SS aes ee he ae. eee Bans oad Be F/O ey fo: “SSS beaoe ige 3 bsoegeen otReams Seca e tn RSaes Paranoia teseeePensions es Ree eescenes Ra Resa enncone pee gir: centSee neta Bitsees ee: Soe, on Sea

ste =oeee Seoe Deas eeSennen OS SeSS Ses a ae a aSk ee Loeaera eeeSessaUeeBe eeeeeee :eats ,eeSs :oe ‘- ‘ove oo. tt:Coen Bs P=) ¥=ee SS ee Sore senenaas Seren ox a— > aece ene ee ees . Sn a oes tenement SPOS & :tae shed aeee . Pe aeeeenSS as mae Sea Sea eeaSeca gee : ;= : es Fr ae eS Ban eee eS aes Pe. RE aeSe Pers naySeen ee A aePs NeSs SRSee PS 2Se > Sam

i. % ee SLE Sco ~s aoe See Seip afatn coh i OS ree a ae Fe ne MEN ae ee SSS ee So eae oes > es Se : PRES Soe ee, a ae 5 iain BS Saas SR Specs ace (NL Se cmemaena oasis secant teats See Aten SaSeecn i Seit ate, Batre non on See: Pomoc ees siete ae ee,eeae..--* a. > a ea ERR i ee in cp ees enerae iat oaneSprensa Rte ee eeoF conde ce Baa ace>Renawaihe 2h Saaemse Unie sarap snuSA nn aoe age Beeos Seaeeae tes -Ree err RE e:Seier SR SRS Bia Nee eeRant SieNS ntos eee “SSSR SRS a,LSSe aeSROOM enn a oe oa 3S Seo: * SRERRES pe Ss Bae. ean A nncinnnincnn neato BERS: Se oo ee : a ot Sa & See Fe oo©RS RR ate Besos Satna sotaetne amen $Sone re co eee = me: ,.eo _ TS : PRES eee Perea st: Re ORO etree 2 OO Ronee Boonen sees ee ae Giese Sok = =:oeSet 2Sees iaeth 3 aBR Rar tGneae “siemens ae SeanSeSOO Soe Scns OREBet Soeey eee Sea eSSiok: es - eeSoe eeeee Se Breese oF Sea onsen Siuasacnumensoaeate reraRope ns Sosa, ease —, .Se| “SRS on coe > SESS Biren Sennen Pe se SS rene ay Ree Ba cannes SE Ps Teese ioe Beer a 4ed

1 sear ete Se See ee a— eeae fiaSees Rk ORE Secn Sothosun eneraeoes CEE eee : +ee| — | -.. :tn ceeran eee a Roe Merten Sea Co ahie a eS mae See Sea ai eater RS ee ee See eee iced ee . & ein. 7 atte. Se ea Bs. Se Seams: aise Se Soe — 2. hee She Se ee See nS as z : a . Reasice rea Nill PRR oe . ERS = Nant oe bosses BER Boe Se s Se Seema Soe Serena Sansa oes Ss an ee oan aes pat * Ba a>

Ot SNR ecSNsii ee é

Cg Bigs os OO Ses baSSeS ns Oo enc stg thts. erties nan naa sirnncecaaatien Sas: cS Se Sapam: SS sce SaREET: ees SSNS — eae oe Sea Seene See SBR Sen SeBeSpee Boke GS ahs — . = se aqo oo ake * SS Rapexeatin sanaSeow Rosca a ae Reeee sei Sinus spushnne saSan Se eRe Se Uae ae ae. oe Cotes SSS Rs cen tae as es 2.38 == 2 Se Bee iSe Bes SSS Scess aN aati Bec S2g eexncn Sate Nae Pt SNe come oe : Caer =oeSS Seana oe se Sa Oe go Sete Seba nas IAS She piesa sone ose Recep ie ease ee :ook ota as =aes ce Ses wre :ORO Sees soba sohetis > ReeSS ateGS eS et x Reeerne a Se awe = 2ee oeNN 3 Ng i aeebae eS EEE ROT : SERS ROS on Sakae ke ee

> ae a S & toe Bo ena eon.sor SeaSO SS seein inner : . 4SE SE SRR RR eeeEe REBR Rae eos ee a : See aaSS ag aaa aan eenin.ieee See So a SRD RR os Sen. mi se a os aSee aa Sissies sa on oleae eee: eS eeae:ae SeNS Se SSaR Bases siterecese grace oema eta, SV ee ., 6 ‘ ty : . = 3 te, en pes tae ae rete hte eee ee . seer nscnees eet aanetehctnsnsetdNtatn ot ooa ~e = . aes — SRSa eeSRG Re. Se Naan tenement ene POE eae Sse Cee . . ss _ SRE echnmannn Shee as Bis Sona tae a satageanne acanannec occ paris : x Se LER SS mcrention * FERRO SR aera ree wintetstetatetate’efetetatety so ee ORES PERS

senses eens pesesaiin pa rataennts POSTON cere RRR SitenenctotcisBiain ns persicae Citatcata RD Sra SO eee aia Spacananunsea Mrretetehctatste® tetnsate arsenic nnn Se nn PROS: in rl PR Re

gS: Se Se sense AND aaN [SSS eeas eee DR 3..SE See ee” «= ee MSS SAR aS RE le.SoS ete SEO Ea oe MRR ee CSTR ae RRR Ree a atresia 3 Be cece ecard ee eee Cee a ™ae : Se ee ,. .?. we peer 2 gS a” ee ae ek Sa erLEaeae a sauces ee Fe .2 7. _ 7 giiieresessss sae RE Se” ky Seslereteteterectoreeeraeee Se MO tiatuaahiai ce os , asot ere - _ aieSans BERR aaa Sa” cian aaa enon aNcanna _ RRR oie

~ ~ LRTI Rio. Cy” semen ee ae ste :aa Sessa coees Si tetetennentnne ea cincacsest sn% i es. .4 : Geos og ne Se Rise es Sa ee Re | , WO eee aBRR EE eee” ee SA SVR a.Bee See SR ot, *ee,cn iirc caemannnon? = Seeanente se BE” _ eee : ee et, MISO See fo SS Sessa aa SS eS sae . =e a ee pesca ee Sepia be Soe Se cee Sane peri caiSee sar sesencsra acne seas ssiaushiicn nunca teMee: Es ee Scene Sepo of spanSe SERRE 3“5 Sorina ae ane eT aa Sanur anu cna eee SORE ee See ee”o>Sie” _Saar ieee ae ae aeARN : ; Se Se Sete Sanna See ean cman oS Seiientherpesnereancrss san Reree Sa. a Some ey Peis Semsaeoe aeee See 2Se See ae Sean $e ae el Te ws tiie Gan. So aii iieinceal Bcc ey caeneater os SS”cay SarotSer eeSeRee esee Se SSnem “erate oe aOS ePacnsn asOR Pa acs OOO Se Siro ae Bese nr ae “SRBee : hentai 2 ty » Bacgee dvonnemerennona sieae ee ;fe: Cena: Deis Ss Rises oeness a eS eea,Be

Bactne ..Beg Stanthea nanan Sa Garo i Bigshot nna aastanton Soe. RE earns ees seats asssantas seambh i Say enna ea Re Sb CBR ent OR pecan Breebcnsssnc Se Ba teen A Sena Se” _ eee .Soneenoeee eS SeRee IE Sees Sea secsstrsn ena situ rere tiastcaten chs snbstn ao ccc Cheeta be ret 7 potter SoS i”. Sema ecco aeae ta ea SSS aeattEEO. cern aeapaeee oS >.SaSeon wa /~ . sa s 2 ee eg FS rg Sekanenea ee Ree Pennine Marana ss san eo acannon a SS” thoes {eas Sobers Coens posconenminna. Si » RRR Ss Neh a Suan, ean. a Coon naaananam” 2 Ronee ti otatetese ccs RRR OS ESS a aemeee re eee ——.. F Cn oe PORT” p a Rose ScottSe thn dome aletareteaaeata as Pornstar Shissescnnanemnsesn eee IO pie Lo BS pennants See ene se Beietecsssctetarctateteneeaeen Bebe ee Seana EES SRE pater skoe® Soa Sas Baa BS Reaescos S SM ce — A f a. Bee fF. re sae os. Pas eS ote ee ReOe ro giSg SS ee es ies ss Societe: See SRNR eee ipmSscrn a ... poaseconannasem iE Oe soe —Sees) * _Sa

Bcc 6 Yaa SES Soon, eee pease . Cannes psec OT oe oe NS

oS a - ie sts*irs Barca prenatal SotstaranstetoneneSS Rann POOP Ieee” NR oe mest eeeei!aEv fSor fF FU Sr ee aad ‘ei aRese Rtn a=all me ee soca Sax ante 3: Se. aryo ai CI See SS isin cane aa NR ase HOE aeae eee eR: ae :,Se Seana 3 paceman sce eeoe Bae pi IE ee SEAS Sieherenmmnmanri Sa © 2 Se— “Eee emer. aaae ae5 Bae %.Siok Seonneneaemanammnny ao PROMS Ree ages ae ee aes = :anaes See Site Se ee SS SeRaa RR a aSaSN sk ocd ..:: ss2S £3 saTER SEBS RR ae enemas Hi Scecco cee See PSS [— ems er —“i—i—OO_SsSs— SS ae akeSee sc Sept ee Se Se SR aae “apiBartorn hs ae nie Ee So aaaRaghiosncae nae nnesuencaeneuais ce 3

;-: 4See - ee SNPR 3e ines FRcnSesame. Re ae Saea ean rete SESS Sooee Some Sank Se Se SRR BEW RESTS Reais fyinnviiotenate stores SSESS a EES aetna > epeeen eam Re Soars Soeeae SR oo SeeRa. See Gece ee |

= oe sae ince a ae mee Rag ens be steer ea Soke wena anon kc oan ee See.aeee aS RR Sons saeaaees Sea So nF c .Ss =SeSe ae ees2 See es ceaceaianias Soa aa: Sa ee. aeRene a ge SR a Steet Sees. Ss. Sin see} ssSSakhinnseusceees coe eRe ee Siesta RR SS a aOR i ee eS aeoeSopesenae.. RR RR Sates ease Seca a Ss asaes -siieaeaiacomees seamangg eeeoe Coe ‘SS Sr a, nO eeae SRR a Eee een Sane aaa Seems. sae Ree eee >Beat Se Ste ee et 5 os | See = eee — SRR RIT RO Sa | ee uate a eect be eae ee: ° Stone pee sae Sees TS oeRoe SSRS Soaea ean eae Same neeSpore Se Seances | Beater, hanna, S see he Res Bieta. oe cries tates pear ates an Racnxdined eee nS Seabee. Rn fae Ba. tee ane ca Bor Soot a etanas. Semone cena Sas. Sa Sonn Rigid ~

a ee Re REE SS EERE REE SERRE ORE eee 5ites Sceaten cca Screen SRSeRe BRS een Sie a ce Sn. Seema a Sener 3a y{Seas SES ee sosseoeee enor .Seaiaen , Semen es z Retr Saie: SpDe cemnenasaecnonae eee scans: a iera 8 SC i ee ee res = OTC a Stanton tn ree oe eee Seuietanecee oe ie anne ie 3gest. eo eeeee sonnaagaees:

Re cs See ee aes Saar cae a ate a SSRN ae et args Me es eee mS: ee $ |Sise, . a Ce te, Se saoeace Sheeran DeenSecs Papeete SaseteSaas uaa “See ee‘>qi = aeate s Gioia annem SERS araeeaati SteettesSept rae porn SirsRa — oo 5 eeee se a ame aeSone i ee aead Sotenrarenenaantn ‘ Caen : a teielen iti nn was soit aaac eae » Ber Steere Deseret ai setae aieae MiSarees Rak LN “Sac ae Roam aaaae F Fey Sia S SeSee SO Saale Te hee Became earnsPa iaanenoatnc act, ame $. Se sg. sdx, Pn OSpeste aS zRSs crac inn Rae x See peem o oe oh 3 aoa ~ Beg RE, Sota Seemann > Sees bat “ie poe ee aa iy Re Bee sence eee pe * ea ee ee ae

ee Recctiend igo.Ss SRS seSee Beales conBe renhe S eatansnetnre Ceo 2 ‘naan ORE. Reae 8screen aNe Ran asae eee% % chao ae aa eee ote RRR SR. Sie Senne Pt ee aaMae — Eran, ORO ee icheancrensarene >apessscrahststerctacarersset aecoSS ie Soe pis Ae Seeae eeaRi ¢ casein eae RS ite ie ee:amen Oi penta aeRR seston OM

Be ei. Cees Se erg ; SFr Ss See Se ec —_ RR a ae eis, Ee s :

Batcaee etter “>aSotat SRS, detent Sm, BscoBaaBas picts ee trea : CREney Ree She. SSO RRO Saken Sa v© ssn aataset ater a. ee Aeeal eo aS:SsRB Se, Sega epee teaSS. ae eee = soRenee Saatapiecere NSSRL, SS iy >. ey es se See Rate x Se SRO se, Oe, Senn, aE “> ies eee Sera Sohaipiecn narrates Sostitetatatiectereny serene Pe reirarteie nner nna ene co ORR aaa ROS Sealer aeee inner a a a NR ce, Soa, “ais SU easement aaSanne a enesenaenie eR” 1c. ia eae _— »Seaeaaeee *«SRR * ee asesean eaeeee ieee tas Ss SeeeSe TR ae vPetatetatetate’ AMMMaSar tet“ape ste ose Sn RS an, ¢» Renan. Bike. an Si.Sea Re eon SSL eews pinttienass somone meron eee Re Seton, SeSee MmSepeRs aR ene pai, “is “eas eeive tne Sa eteatennnocenee ns aieTaBe Spoon Naessen Naen Sosa earache igaestentenn ci ee gli::May SORA. sepincattia Mi Seaia eemaaan BBS Slee eensBS. Sian Rrnasunccunncacnt eae see | ee f/f~—se Se ea

ee eK ee MR ek SA fe

Semce SS; scat a ae4RR ER Sa neces » Ag ean a Bc Eee ee peSince ES oy | 3aZi at. he oe*Pe at BES eeeaan eg cee Seas ste nemetomecraraenn ta ee

See ae ney pein 7 Sees, mi, ee? Soe Raa ST sioetearerereenseetate eceeeanteos eh te mere. Sa eect eetatetetoret ore vatacePeteetere passtePesaParatets Soret voptene sapere Renn nr See Retna, Caeerene BE es abate SS &: Se pers bi. : RE a Saaceaeas aaa cae pieisncnstennenannnun unin sto sal She Geman iy amar

SOR, SE gs ea eae Re ne Seger ete ERE SET FR ee ff 38 fA

ghee: eam Beso 22 et oc Nie iSe be EE Rae arena ene ee ae oom oS teeeoP 2 ee erese=eo . . Saeseeaeraneene SS erecta tence alrl aBe a ee re meinem Ban sae: ‘tte : 5ene SSpane sereoranatete tered Cae” aay Sitilensacses cena aR Be Bases ssSere = RR eeeee ss ee ape cocoa Rese :;RSS spine Rec ae Benes secattrotaternterern eteSS shennan>aeae Sa e orator ae See eeee oe eee Saas ei * . Loita aaaaaesta Siren ane Serene” ee Saami nes eeratah satan S: ; Se attiscseronneecre SO So eS me ante sins. CePdSh % seinen ote...”aS aa Seon ee eeeBreese oe a ee RS ; Seen ines aaacoins it os aa a peek xpiiicren othe Soi a. netomat sone” Pgh nna Se

Se Soencnnnememmnnan, > BR ER ie.eiuansennsamnesnnsomee Rrhnnnramnnrnsn nanan rhea TE weltonmonent ce am 2 Se Brkt, Moa Rae car senmmemnananen :eeSoo Sg Sk.” aoes Rn Se cara 2Sete.se ~~ reoceania . ffefesa ‘ta.‘ ‘ SSE gene Se SCR etc See Reie OR siaraiopertiretiten nate sean aBeatie a eases aa SISSON 38 , ete fe Ma Re I LOO BOT Bee : ee oso cee So ae miSecteennee RRa Ne REDO OE oenn ee :Sumas motes Mees aaenemeets rages ~ ~ oS ae coa nanan sauepnabiannaen anmeee: aa ona tae Sees ee RO eeteer kesaina

3 a, > Coen SSR pation onan : : SRS: eect renhiwtetiateates aK a Se

‘

SEE: Peeerere Se LOSI POINT aeIRR ae tiRO stinnetnior hanORR uanaane ance anon ereORC a REL OE aesaan ce SST SR TT Se teens ke aD ee oe . OOOO SSE KS A ROR PR OO OOS OOO pirate EB Basse esos cas ecneerarcecenreommommenn re gone oeoneeionennnnanesnennanapnenn nar TS SS Se cece ane aan Se cesccecememen

Sste:3 Bee OTC a masseepeocccoccecoes LeASN eRe AN NTTenacconenan EROS Ceents TEREET scccasnapoeeeeee sores ac AMSSS ers SOOO Gi enn + naan TEey Easiest ricer REL eee Wann < 7 caps pS esPiste nt See peas gs RS oeESS PPP RSee: oon races SORE A apnnnene a SOR - SE ES ‘ SS ee gO aa es So Re a apn eo PeoSeereSo 3 RS Se ee en RE Soeges SRwre tite. SE Sotto ataSiseem Soe%5>x: =e

Se didRe =. een ca .% ooo DOE ae pas SPE Sa See ars Re ee ER er Sennen araaaa tr acs > moe we ms 3 =>3 >Seeene Aa Sones aaeeaes °Sees: SOR aegeegees Eee tigen e:Oe see eeetatc eseNO ee rae etSeo SaRee Rae . cas 3 Sve RORY wee | BRAS LR: ceaoat? ae SOO ee hennSeo, siena Bese SASS 2¥tee SRSe Beee ee as ee GO anES a geae oe Bape pene se=tne a Sra5eee ae a wticetnees Saarinen ne Sars OO. eae tn Hoe = S[3ieStee : es. ee $eWi Paes gaat OeSv RO ARNO . LPR ON i thtopoeannemmnn ARs Cees Tpeter caerseas as cna 0 heen aes re be Pease ae PRR AO Srna 2 BS BPR”Re ne RS Witesetese ae Serres caeSe iesResco} Bo na Se sess.BES re Oe BeSey ee ee toe ¢ Wierrcicietencccmanonten ein Ck.SIf OS i NRoeSya aan Rs Se SEaeCas aOR RR ectsSage Bg ee bees Sees yoy aeoe eeeeS ecco CMe DEN SES,cau Semen. Saath RIONe POS SeStee. Fo . Behae g See MO DeeSeoa cease 3 3SESE ped S: Meee seco Siauiak se samen Sch ascites ace Se

5 3:3 Bee - ee Ph a rs orn Sees ms Set Bee sine Sei Se OS Re Scapa

$3) %ohTae call Raea al ae 23Re Bene seRese USS Pe Sexe eecg SA eratee acter hRRR & aeaa ckLe ea PS saegtr SeSee ho Rese ae ee CSRS eomaaaes esa #Sapp x Reise SSAROSE acerca eerie ete RRS geceSer Eee aeSits RES Sees Sues

Be ie P fae POY Ae a ae ae TRS SS ae Seseca Seepcan aa reomenen SE an el SeesROR Pe eeaene2siete ERE ROT a Sa te “gee Seth Bak > ae oa Be batt . ee ee ire tr pothesis gk gem CN aeee tease ae |ae SEBS By Shere a Sek Sa. See SRR a RY eee PORE. tae RRRsiete ENED RN 2ree es Re i Se 2335 Bee Sa aes ae ae ee SS OSes eS SORE wicca ee ee Tee * es BS 3 ee Ree see=sey Si see ee 4a eens Renee deiIme neni na See Seman ea enteeees Seetetotere egy a : ees ae. _teas Rae, aa”at $aca Se SOON aSSesseeiepeitentontepentereten es tata ei ee Ro3See oe

PSs iS. eee ee a ROSE cae. depts 25) Se eee voce < amare ae setantaus ue nue nana nenenencemnteencts ya _ ees: zcomceuamiiiesiieanens =RR %ecm POBessie ON=.ee >nsnressnter BRR Beene ocRIOR sicecanconcteae nee eee piste suis Ricca Be 3 SCA cane Ss Resse greener et SIRES IRR batensssiennaniinsnecan snes aR eC Raa CRC eT RR ROS SS. St” ibe oceania tetanene eee Bama een. eee ea CR RRRRR epeneoreS SES a ateMelina Oo RseensSee 7

SS SeRiise ae Bsc ie fa} 3 Aaa aaSOR Boreas encase on cence eaehiene SEA aete SPs2a SeoT RES eRMinced Soaaaaaetanieaes SeePeis NanaRc ee ea pice nlc ahaha ea aa naan =}a § SS Ses. RRS Rae SOO POP POO OPO OPOOPO TOP OP OP Ro em Ne SR eeeoh: ORS OSEPS ee oruarcemamem anneey: aedls e STR Ss F3 eons ae ee eee es 9 ek 2 Ses Sipe ee eer came tin oN SOI pS Papo. a Sok SR SS BevBie seblasseeretsneratecey =De ee RRO ceed SoRone:, oe eee SLs Se By. SRR ate tex eee en ER Re at anes emer SoS Ree Ratan ean NRO 3 oh Reseed

cS os gos te Ser $98 eS Se oo ae me Ro: Sistine > Sea c besesspaeaheh RMI Davehs SatanePa fate evennenste isin isan nanos es: re Be sosntcnarnnnciaanssnnotennrnaentnsnsresateaeeene ome Sena Raa Py

Se ta PERE at ono eee Sse 4 Baath nino of pagina tena ae SSR eam te Sigeananana ees SS ae eee bal 22 Setae Sees ry SSS Se eeepee ae ee Seems o>Bs nator aE SEROUS. Sat | Seana peesSSS er es ae oeBees Sisiaaessaees SaRaat Bb nunts ence ana anna $333 Sey 3Se Pete eeSERRE BS EESeah. OEEeee sia SSS hessnigeeise eeeSe ESOL oseesane patie tannin en oo Sse SOS Se SS SSts Sewanee eee nett Sn Ae iiaLS: aSee iSECS Seana ite Fnome ae bee” aE seheasag cae assem I Ss] coe 2s oe Sed oS ee eee Se or : Beans in aes Sahsencaseantencnee tae sae eae werencteters eres et: * Sees: siieinnate nee anise a a See Se se

Pes SeeeSBe > RS $Beee coon Se eSeason ee NES ea: Pes SRR CE eae . Ras 2 Rae Sees :SBeSiena Sa ee nny Sa Sees BRS 3 RE caeROS eo aeSe 2 aa oe RRRRROR aahee “SnPRERS, , SRNSoe On=.RES > SED on ne OOOO ERRATA OS Sas

aCt RES eeENoe : ; Bee SR EO Se Sa ae a ea ae a a oR a ec eam et ft: S Paar pees

Shake ea ee Bi ASSES aesee eeRees LESe SIO Se aeeeOOS Seas DRS Danco SS Bot sere segsBe aoe eS hae Ses REARS SeoRRR ees: ats aati i SS

OeaSRS se..; Se SoeMe ee REF Sn)Oe Soo oe :OS OES ee: ee RRSSe Reeee eo Sees SE oe Suh Sen ene aan Beare en OO NN ONS OT OY YIN ETO NINN IN NTE AE AARNE RATS NE RAPS NN AS ON RINNE SA NNR EN noes copceeeonanees pi ee, ie ROORE sopsisenanancusaneiaee Ne SRCRERCOD 5 LISTE TSE ees eae ee SACL RRR R GREER TERI REELS SLI LIE ALI DIRER LE BOL ELLER REA SLR Ho ES OPM en ASSERT TOLL IE LN OSG ROTOR DADA Rc Aaa SO ONCE SERRE RES See as

: RE RR Soke Feo Banat. 3 Ronnie a .ERS * ROR: SPR Se naheet cton ne aSome. me Se es aa otrasoy Soseae cs Sey eee es LeSOR ROT ae SELRo PRE

PR aie eeee een P .oe aee tae OS ¥> ere a 5S a ~by aoe Peay Sete Sal on vis oo on : SS SESS >aeteBEE DEES eeeeees RE eeOScc cae ae SS ee SER pS .»ae BeBe PER eee Phot pa Ree ONG, Mee Ngee Be Sacer REcd NNa,Pee Cet Br SOON Seaoe ere” : ao a coon ae ORES Sane ROUSE ENO O a. SERRE nen ; x See ok ies Ps Se ape GPO ea Rees oe ‘ es Mn é Rei ETO BOR es Saas 38 pismo ee SS Se sae ae

SOS Seo eee all le MEE 3 Rio ce oath reES ene Bee eeeSosa aS *SER oS cee SF. a ea ge ae Ree a Sa RR ao ass Sea 2eee Ses Sap Sea ‘Bieaoe 2 Bre a% aaa ; Grae oF:ei SS Son aesos Ke: ste ae ee Be Caos pes aees.Se BS. RS ERS aPn eet oo:EP ; ee . : Le < Bast BS BgBebe ee a

es as Pesa< Pig moet = : °} eae ee oes Rona 3 ge tee, > i gw 2 : z : = ae owes See: ee eet cte 7 Oo » Soon 5 ~ s. . ~ "e" oe . oe ‘ >RSE onoe Bega eaBY aeaeoar SeASOR a ee ee ERC eee ogRisse : i eae Beg ay Pe ee eee anes apereriat Pe ee sic tanebabon tat paneabaabenaats ere ee24 eee ae BESSa a 2:ee

ee fees eeaePfs Bites: ies ee Be te ae Se _ Ree resungarsr naonsnmnnemunance ee See Be a se foc BFCy ie dee tg ;Bs. 28: Se EEE eRe saneeganns SS weet cae o S sa:Se ee es apePs 2 Pg & hed a#3 e =eS oF s PF ate Ee iecpeemnsencomnteste: LRT PERRET: naaaa aiccccsmmmne 3 ; eeaeoe: eeaa Sa x Ses ey Se ae stead cameo: 2 ee ELE LE CEES Se Ske Sees Boreas ,SORROI eae Da OESSS” aE SFaS32BRD o SeaSe Peeeasietiete Se Bee eee. ORLY > oe eeaSS wt ay ReyaeSo eno OGond ed Mees PR es BP Soe ae xPPBe SS ee RAR EE Se Seite gS SS Oe Sa peers iP gee aeBPP Ses Rights aFa ; SOOO Ss :eeraae ee Sig Be Bi NES Sey : Sar PESO SESS PRBS Sap aaeae ee So ype mas Rec :CRC eee. eS BP SeSates Sete,ese > ee a D.; me .$e 2 peselggatetenn tots Telecaane ss a1SER ea atatete : ‘: ata Sataidier co SRR tae > =SSS: >. .oe — Bene Re aeeeee => 2re oF Pee Se oe sre ie Recaro Speeaeitems ::ENERO : Saree Soe wee ot

Scans BP Siam ae Pe SESS SO et > ae aaa oe < aa SR aS gs:

Ree aa eae 2 RS ‘ Bee Se de Rae oe i Sea one Oe Cn en Sse 2s sea ids SESE wate Se Bee Bee eS Res. Oo

ae 3 ee ee See $ PLES SOS SR Ree ts: ae Le "ost SEE ace OOOO Be Ree SE SQA ye re Bee oe Sora oe ee ae PS Sg SS Sa eae oe eee ae Sar Rea See ae X naan eeto Sioa nuance eS wei acrsonmne sae Seen RS oe BESS eS SS:

fee SOS Be PF IIMS Pg Fe eesori oS eee Fioe Ce Fee PERS PSS Se Rot yO ee iG So rrr eee 2s bs ee 2S Ce SRS LS cSee ESS ss Naeger CEE ee PE SOON eeehe SS Bearcats Sore See = ERS SS >SRS SESS eo. eeeieee ee a ees SO Rs | Pa a ee Cae SREB RE SES ¢ oes: 2S SS Sees, ey eed a eek tf ae eae em be ete. moe Se oy 5 Me RSac % sae re . ba ae ees*en Ee Sea ee ss Se Je Ses Sa SS BD ed

Sor BS 8 AS eeBee = SF & 2 cas pram ee ee aa, See igusmucanaennoane ee Se oe Bee FESeeSe. eg?£5 POBe ¢ Some 7 See SRSss “APS Beams > ak eae nan xen See Sets . Se >. arate cite tote 9 wrocesete eS eS ee ne

ae See Se ae came FFeeSeay Be $osPee s pi ea Re SEOs Bate be ae Si neSec : via Beers. SRS ES 3 aesRS: ae ate fae Fe ory tes ee eePeg eee Ntiaaa faee eating = o> gs Susman tees es Batu i. aePPP aeS BR Skog LS ee ee PiSs HES lt 8: Meets Se i ee Sees os OE BRaeSRR SESESoes cS8HBe en ae eRe ce enone ERM ag Sees iti ag > ee POE aa Reco eee SP oy iPo aeae#3beg Esse 3 ae oe eee oS aes isa spare oe 3 Soataas = SS Oe ee oe wana : iiecn tee Sm. ae & $o% Be sie ne Se aes Sass 2s sees Bes Sees Boston: : Sunes Sessa Sines seat Some a SES oma Saget BESS Se Seas cS oe

CO Bee Fk OS SS Fig ee see sitet heist Pm ner rn ce CM ee aR:

Cee Re eae ee SRS Rees Bs Re a Sa SR: ROTTS ponceecceeneneKR CERN ANI NIIIID eae Semen cee Rossman) | 3 te, Ree ht Ss os gees 3 ee Pade po RR Beaton as ae ecco. EEE RRR tree ei LOSSLESS connineadeis tana resoacoencenenanannna nna SSRI NII: gag >: = ce Ree te ee ae a Rae Ree Fe Rn oe Bs oe os i ae eA Sons Ea PR RE ORES ack Bienen ae ~ peer cinon eons PES SERRE ne Sips > = S: ee . 3 5

hee ee ces epee Sos tees POSSROR oa =RCP Roe ssED BPReh aes. «Sa Sa See oSSeo Rees os ao $Fee YS aee RRR ose ies aoe ae Samy SeersREESE: OTT Ratan poespam RRR eseS sence: Bee Mo Sate pV]

ba es ea ee es Brae Sets. Sgen ee Ie rag ge = = oseas pense. Se:amen ~ SRRcaer x Re Sa: ee aeSee See.ce SSE . oeoan ae SS SER; , 4: :SPFee e& ee333 3 oa soonest x me COS enFSaas eaeSeaige ROOPOSER as slatpeOe eeSeat os ss pete ‘Se

© F.See Pest a ee ee ee Se Oe om eo ee eeaes Ee See fo Do Fee ee ae¢Me eaeparmuincieins 2 Pe enenaiemnsetone™ BS 5 aapeei e: SesPSE Sees:ee Bee ee

=. BF See Ose Sapa cae Ge =rage VOee espose 73 Sea Recs Sis aeeee y eae he aieSS Ses ceo. Be BSR AR eaePsSion &Sess icaae: senses eta SS aeison Renn tense rae See” ae erence Some. seceenes ae ae Set > ;3,BoP P: $e. gee Soa ieMe RSSa oeSS =oes. % S58 ned oes BM coun saees eee en See ae SS bg po oy Tata anes ORR Dee SE Sen"ie See oe =2Seee SNe ASete SPS ee oeiv) 3:3ES 3 ge3% 3 3 os Fes % eS Re ae = SS es oat Be Soe “% : Bataan on a. Sos Seca ae oe ae Be cS IRPS OS eae Paes pict ny ass so a . 3 psc es & Oat Sk ee eee Ra Se eg Pesan ae. 3S: He Se. a bs

4 : RS Seo awe = & a eee * Be ay oo SRR ee Bes ROHR aera SE Re See eee barat ia ee 3 Be Rey 2 Poee Ses eae eo Be ene Bass i ea 2 Fee SSaeROR cen SBS SO a iptncanet ne aeesate a Ses ‘ine PAA Bs BSBae ntpecatssaces coe saeete oat 3, ::»ee aern= en RseSasnese aeete Bees ee5etoesSy> > Z o> Soe See Sees sans: Re a 5-3 siigeecns Se S. paSe eeaeaa fo)

a ee SD Son one aN Scat eoe es Kan ae See F: aeRe ; RES Pee eeeeeeerene eeaePR eseee Sate iea.See ae ee M ee ee RA eeegOR pe tee eotank RSae ‘eee eee SS:tee eee oe

“4 Se Seesioetapetetecenenetene * Soe eee ares Sentence 2 ASree Oe Pee a Soe ee BS Faeelae MesNN eneSShci eeeaeoa; Sagemot Se OSD. SSS tex SSKg Be SSSSo SRS eae es Pires Serres acntns SR inee a SeSi a:Sa v eS: > Fe ae Sk:reer SRR oS Baan Sa aR aSSeSage eke nema eS eee Pa sia nsCasi“Sie M a “RSaaBRAC

: = : 23 x Se See ao RSs RS Sea SRR es SR ae PONTE Ss Pennant BRS om S$ ee : ©

oes33h ee SSRN 4 ae acces ESSE ms pct ee cnn nest ee SEER BEMees NF Petes PRR RRESgt RS ea a oieR < BSS & oeBehes See : SSerna 3: eeeoSS Roca ponerse Eee>ed ac ites ae is OPI: CRBie ee cee gs ;4

Soe Serco is REE eS =so ae Pres BT< Se nseee aeaeaeesas a& SF: peg aees ae > ASS eS ee SEeee es Sooner Pe ad aoecom se oneSe aa eres SE tee RS eaag Rano came oy en SSS: mend . eS Senet Saar ase ne aa tees See SOOT in ea en PGS Se a Gig mencmmet weet Bhs ees te oe oe Se BESS RRS S eee Sister Ro ae ROB es a soe wp tee SE IRR Rees ee Ses auo es a tte Santee ote LES OS BSS Shoe } na ees Sieeeemnaes oooh eee SS Sen Sn SRS OS CN Bok Nee es Soe RRS ne > s “hy , SS 4Segig : ares .

Setee ie: fee Eon SS OS ee Mk ge Rae Sh Remar ae RRS ect ce eee x fC TRESS “3ee coe: a eeSea see An RRR RRS a. Sk eee Stara 2 aneps4 eaeSeance ae ORS. see a Pe ORE iio rs RD arene ooeee SRRSR aeS MoS aonES Se‘ See aa aea ae SCS Seaowee yoe3S, Rs ae an Beos , *RS soeen es . RR Ness BeOS Ae Se bithaeeee eS oe: = sD el

3 oeBee “4 3pane seeSPS oes Bee Sa oat F:Bec ee. eee 2 PSS Reeeet 2 Re ea =See a ea Scere BE Ses oss BS ae SSee Bae ae ‘sak Ste ie agaSes meReh to oeaeeRSon = Seer SSS Leesva Sm

oe ee — ey Be ee ice. .°, 2 tS

eeSetaes Ci sete ig oe ae Sees ae conga eS tae cobb &Boce.; : paces Sea aesc: Se = eaepee B Saee ce a3See poonsaeae SS sae: SS Segy Sk Sri ae POE coneneseestain Ne Ses eesBi. i as ae BOSfeSSSS oe Sse

|BS Bhd YkBee es |Sa: oe ae Reena SieahsOR ee Sa ©a aoeees 3: eee SoeEe ae Ss SataaaeaoS Roeser OR cc PRG BBN ce a aeSeoSieSoa eee OEE |eS Bees ee2a a Speke SS AS SSCS a ns Sake eesSee Se ae et RS ee Rt ae °° eaea id ° yes2 S Se a Oe ee 2Rae ee te ae Series Sfeesin, bpm peOeane rtsSame eke ee oSeeeS

Sst one Ses Bs“Yer Sean Sot RRR Soc Ne ORR SS opese Seasgo CitiON aaa RRR ne amaSR, S So ae ee ae ae Sa Re 3Seay ees eeeeSRR eee eeTRIE oe 5Seeds ee “Se Soe

ee:f|:Sos RSS eS eS- Sores Soca ia SE SRE seeaSe aaa cae Shoe $8REIS ot Siemens ancien pipiens Secs SS se S Sa eR 23)& ea eae Sy: SeSe ae eegone Seiteerresgacae siesesonneetageoereeny igen eReae oeb:S: S >ese eeea £%Sot eeSee eeSe2S ges osCRS Bhi Seat eam rr 3) SS ae SBE ‘Do a Sa es SS RBS SO Re ae SRST xees est =bene maa aes: SageSe 3 oaSgaaen Rss ome cn nat ean Si OR eee: BSN SESS Sa Sek Se % ae See Soe arta San OENa Den aes Be ERE RESBite pees Se aR i, eae oS,Bosca es 3 conn sereote = ae so SS eae SLason BES we eg = See = eS Vena aentete Sos RECS. oN nth Bopoeomtbne NR ae SSS Be tec ca: ESS ia SS 3 ax oem a3 hates Peres, > ay Baitacaasy See Wisconsin on mo RS cee aoe Se is Sabai s SEER < oe St > oes > ae 33 ee eeleaeteeeensttinnneecoce onsets SERA RIS 3 ee eS Seis a ie eaters Soa Ne Ses SE Sse se $s So Senses Se &

bis see = a>eeSe ee Soe BaeeS nt ae Ronee . SRS ssuighutatennenonereeees Sopeaiaese weeSS ition ea Soon ae 3 &Bae Beoceeeee Se aeBSoo ae aEeeSe: Sea ROR” a Seas ee Re siusesanamnea ees ec a8 Saas Se eee

% Ss BR + antoS. es oe Seon3s See cee a ae ay2Tenis see Deca tien“gua eae ;tagene NS meen. MeaBe eeeeR eosin mate 3 SELES Se=Beers SeSeSeek Coane eas a eeSoi HeeySES RSS Bin ie Se Sees Rosmi FE>BS ogPSeseeES: a Se bs)

. SS Bok Gh oS 2S Eee ee Se RSS ed ey Bast as a genet ns see me parce oe aes ioe sae rte is Sa ere A ee Bs Pe Pe ee caees oe = a Rh Rete $3 xe Soca aN Rata. I SEES. ee EEE RES Sie ea AL SRS eect eee Sh ae Sener Si See

Se ae BS titees: cseSores BeeSeek Ba ee Agee REE | Seems egasee thes Sews es; pores Me TN Set RSSee SS: PS SRS a oe: See = aRite Mitac se Rae Sierecmeeree RPS Sete a > x So SRR ee Se sy Re B 3 > : ee Benes en RSET ee on Pistnaa tern eee - ets beeen panes es Ss as a ogee 3 $ 4 a uBPR a Pe Se SRS ee Rea Bee a i ea gee 8 ES ee os: Sa Sass Me eee ee aS $s SS SSE: ES BS ea ee sri RR NS SRS os, Bi RS Se oe as Bebe sath ae SS Ee Ee eS ES Si ee a eS Los Se eS > aaa SOR : Ss oe Mihara See REPRE ee EO Roache as See a BS ewes seeae Ta i

Wa, a oe etRe esSSS Ramee ey,Se =eBi. ee oe eeSeat SRR SMRecs ee %SEoo Sa a = Sed & SOBae AlsAES SeBS nsSRS ta eno SRO cs Bi aSNS RO aee man ae SE teat So NESE CSR=. SOoe Seernenes 3 arene gees 3ee biSpA es aad aeShoe BsESOS RES SS pvrass SSR3t ee aes Ses Sex ae Ti ano SS RE—— PORORL SS PEE. aonoeSE DRS Bi;ee cee ae oS oeoeSPRSEESE wo>os aD RRR a , SeSaee peRperoaas SeOS oe ie3 me: ee Seaees SEs =2 Se esca 3SS Soccer sae eS Se ees es

ee a ee "S Rees aaRe ee SRR Spee=OO eas SpeeS es .:ides) 3 re) .eg 2s = aese ee GSS SyiBoe aS Sane eeco coposoae no MlDi Ne aSee os.ee ss paren , Caparo ee . Xe onSe NeNN ~ings ARS DAs Sabena eeoe >it soo See oes Se SSese RSeas BR pe ae be = Sane asSame ee hnShiets NS 5:SsBas ad Me oes esSeERE RS SeSe 2 SES See BX: ft . Se & ERY osee >ae See Me ee oy BeSie Roebsiciscsessearetaterctarsrotane’ = Race FOigBeer RaeTEE eernsincs SR ast, Rese ee RET SeeS oe a2eee “Satan 3}3de SE ee ee a es So. ee | tiooritoncenese: Sixties Roce: poncatin tna SRR RR PRR oe SESS ASS es +e Se ee Se we > Seo eee sone OI tee Oe ons ee Seas os a ae Coane — Sok ee se > CEOS Se Ss seein Se Son a> -: Semana oe Suieeealelonetatenetaleaaletetetet tartans tetera ee eet ms Cott So a across ies MR BONE See rape:

ee % oe a eS: Ra See SRE Sees. Sa Saarinen eirraaeaen conan oo SO ey Cisse oe. Se Se cee 3 To)

Scae SS a Soe : : pea Sn saat Soe oe ~ Cg heoteterenestonnetateseetess srerersteseteeceats Beira ns ain Re ea inctonaanncnesencenaremeeeeereeee pircrecnnt ease. SES SSE

, w . VS oe ie a a 4 Soc ; . * Soret : me td a ta uo SSR

SoaS Seeatic “¥ &Ce x 33 AS - =Nes eee es ee A weessntiatoeennnatrntereteeanitay seeietete terre Seaucaenetnneeeseie westetateete richest eenee - BS SMeAS S Re 2) eeSS aeSaaS PsdSaeeaia A PnSes ca S nas oops seoenate Sresatetate BunnSik ai iS ESS baBS ie Bi Se aSee aR ae SesSeuns TR See ase ee Bese Ry OOO aOe Seee TS OER ORE Siemens NSS eeeaeBS oe om SAR ES SSa Se a ne a Seas Sesae PEE Seas RRO RORmasceeeerncereies secncrneptent aint peta oe ies Seseas Sse

Se Se es Sh me.te ceaee a BS Foe FP ae SS PS pee poisSERS et Lee mena eS Se Seas SebtiRo ee hh Setee? % gs ghteeSee etPR aeRe SRO RES SRR| Bo BR pesasSt

Se bas A ce ae ars Sak, Sent eae a So aga te cee Ba Battie seerseocision See ieee BS SOs S aa

SR RS SNS BgPshie ee se Se aeasBe SS. aRr Begun keecae cnn eeSee Be 2 eR Bs &ee ReSe eS Ses Pe Se eS Sc ae SRR eo cae Ses oa 3 MeN .% Sas — Re SSeePe Beee tes >. Pore: Sait apt, eeeeisSas te a See ad VSSaSs os Se aay SRR Sc aeEe Sees $23 Si aSI aco PORE neMiiettri ct aNgeage CORRE re x4 keSw ie oe Ree ee SOROR a See. a oe ee SoSe a Se “ee oe Se SSR See >. eeSieens: samara a ais Soeeae See S Bs Sen4 LS Se “Ss Ss >[ks Reoe oSeae es ee nt Se See See SS ee Sere sRaoa ORoo eStna = S23 SRS Se Sa Ste:See 2 teeySILER ARR eRe Scar ea SS saeRe Ss porate aaaBd RStaedatatet SAaiaraaee . SORE SE as See Se, ’asRES a PS Pes% So"tteRegear. sete tenleetcteg ioe FokSue SR Scene ~ Men “oes eo ee oe Gace Se Se ae

eee %,RS SSSee. ‘Seeee BSS a ie CER, Sane RI Bia accSeS34 Berane Sone ete Snes SS SE oea>t eeoe

noeSeecea See& ROR neWSNa 4 Sa Sepatents ee. eeeerentencnanieeeasteieeranrenersts ee PERRSaec es ais scbieeeerapcetecs whic BERR asLER Roane. oon tea SS Nei : ken? Sa SOR setetenes perp mins ie nn Satntntptetitatet wee a 4 eS ae ree See Bas Res Baas 8 RS Bs BaF ky SO = *ae MBE a, ee ‘Soheesenmnne Seanssnaciiesirian eee. a oes oeBes RN ee See eeBe : Sh Ni ieFa Bettas Baran nnt ete iscneat tees sane Ratineitatenneeies a ee =Ree Bae pire Sages Sat :conrosantc SRbiaatonaanncantanah orecsrssconersnaeest ReSenSa’ 22-35 3 so eee SORE. ee nem Ro Se Se ae , se Rrramae re eh aSRees es ee ee Seen iain see Sistine seesteteteaees Stee 4 rs aiPROSE

: : Be ee SSR > ; Re Ee 3 ee te gc eae Se : eects nc a Sis ce. Exes BS Bh . Sse os 8 Ste ae Sin, ROE ee ee, Sih arenes eee gn th Be Be Shoe Se Sa Be eee ee Ni 1 S., ae ae Re a eek as ee seta i. Rae BR so rk es. REY ee oe Bate 3Pan See ee: ,wore ee :and Be ae a ms %. “5, See, EsRigs Soe Ne or NCR Sirgen Ne Oe=.yee Sse SS: : epee Soo Se; es . ya ketine Bin Aean : Se: 5‘oe 33 Sones i a Same Refeic.Ratio: ee ae,eet Soe 5 pense oNSee ee Bia ee pas

ee :RRS Feokta RRO aneERR pos g aN SR peas esSeen SS eee SSSR uhscorgee RRS eeeee SObecome er CRS Stee ee seater RR RRR RRS SNS eR Baer ORR aan sauna anes Seatac es postonSee BesSere SigeSian Sete reDescent eee: Ee Ps nae era Rae eri LS posonaa md

LEALS Fe Seamer aoaSakmann ee eis cohen RSEneseis ERS Resse ae ceases me ae Bona SaatCELI nie Rd ie ceaaNAg oe , 23eee a ae SS SS xe Rene “SeReap Resa:rea cane RNeS eeecanes oe urea nencamtenmene pioeen Barre iesvices SER os ; :toe : ieee Bee ote Sea as poo aecen Seam en pester eorce shee este oe Seinen pm on Sete : Pe eee iy SS eee eae ia Sita, ane SoS ONS Sena Sut is * SR ai hea Ne cae ao Seanad Ry exten eos eee Se Bcc Lincs nom ce Sea Pore ae ec ae SS >, PR Sy enn eee PO eae : : RC a , RRR nee eannnnnnn sas ices. ened Stes Rs SeSRE ce Se eae aS nc eSSek . Soe Sanwa eo ~Pee eee Nees : Se eneMen aren Serena Sm penn Siemens cetera > RRS ee ate EReee ae erates eee prensa ee moths Serato eens haSR Ra eae oa 3 q3|4Seats Rigaeset See =oaths. Re925 OREO | oeS.Meco ome nent Sitar $ Pao Raabe SE oe siour cue poe is Se aePi: ae Rea 2S RESaaa RS cae spect kiaees akeat SS ee Seeptt Suee eee aeBerna :nn : Sears Pe PSs ROR ERE EESStes oa SERRE biter “a eeeons Sn bi. a co Sie seanRess TS STO, came oeoS oe Riis

: Recaone LPS Be ORs [oS ae = Si nats See ha Sere ae eta bess - Sg. Pan Seria ae oe SeSs Se pa 2 fa ee A.isoatnead a— Be OS ps eae aees Be eesee. Se aretotatas Ss > eae — pomet es: Sen: Beas SS os as Rapesos ae teeeRe 2 Rs eee aes SAR Look 86} ; Be seat Me Se pares Reena a Baia e Seaees eeeaS Snare Sessa sneer a aS Spee ona ee” Ss Seana See eens = Seen =| Sit saenoce ote tine ae ee See Se Oe SRS Somme Say Sia: ee, ee Shun neratoseinte Sets Sato eee es Se eit en ae Bo SRS ea a co cos oe See eas Soe eR.

ee, ‘Sas ee Ss ee 3 ee Se ee ek Ss Semeeeeens Seana Ses aS) . SS po ee Sea Rear es pias Seas OR sas cnncosnn TREN Bes Se °, Cea Sete ss es he Pe Bas Sees «3 o

E Seernamrere ene aca Sp Ne moh: on ee Beat 2 “a pee ee Batson tnt ua ae Snes ae S Saateiae si ono Soe See Ses Se poche ee Slice Sess oN , Seaox eR eee eo CeaS ne Sates Se SageScam a Sees Sates SBOE, Siwansaaaneae oa ae Be Houiansuranone o4 ySpin LO XS bes Sas Se Shomer ee Pee is Ss ea = Saaee Re SOSnner Sega soiRSnaa oem Ng wena Sits easoaanon Soeeae oscs on

Siteuhoh ana ncn aawe ay laa geeasee pesteSP sata LESiere SRO Pee See Rvss 2% os Sa eekRe a comme & &aac seReena ieee et Bas oe re) ;; oe Sig aah naenatine mentems be SER NES Coige. FARO See Sth ace© SERS Savana sonatas Sate pate Se Se Bo Sotoneepane es Se SV RARE eenSous Se eee goSass Rees Oar Seren eh ae he etetete® settee cesShaper . Renata asOS ‘ negate Sanne ennoeta Ee RN aseee*)RRO : Be Soe’ oR Soest osSoa asSas Cease Oeee ae Bec Sane =. bow

ey ; Wie ei eee $ i Ren San eae Pre ca Ree ce eee Bs. Se oe eae See : =

Pca Ste siete eck hte, see Beate 5a, Seman me See SN eRe laa es RRR SBRSees Gouna cea: Ba SSR 2 Gene Bo saeBegeSees Se eee Fs Shaina chose ee eee SOIR oon Bae eeBecasae agann eghesten Bs oa Sens Bae se :a6) :ame oe Pe aaeen Soaan SooaRN ieee Siena SSne een NRa SM egoe Saas See Seascoe iis ad Siocon “ne See oe niet or ae ik .As oefe Se ace ee Sonoane TSea Soe Seoes spare as Sees AREER SSE SS oe aaaSes * aae Re aeTies. easiRee eee easSis panna 4 Se es aCotas ae pean, Se te aee~eee Resear BS ms

RR a Soaac eae : soca SS SS Seen ihnyeBeen iesaPe " pac se cares 4 Se Sox oS See Se nae* o a Sarena Be Bie RRSoiMN oe Bees. Seete sananan eee ee Pare Nets Se ma Se ee Sos aes ms NON Cnet ats eS easton Beara eo ore eotebancnsnanenyen sr oS: Riese saat S83

,

jSe a be gig eee na rr ei. = os RE ae RRR a a ee :—=—O—r———_ L'" ee YF cscs anne a LLLrrt~—r~—< Fpenchant 3 anes a ee eeCr YS FER Senta SS See eee3So EN S33 meneGee SSN se ee See erennnanes oreeee saudcncsamusnes niesumeey See Soe Sees ee ee $ FE" eee SS PES Sines ROR eee ee sinaceevse ee ee Rae ee

SES Sr 3s> Sea i ie@8..§§=| B ERR SeeSis Sh— ——“iwWOCOCOCOCOCCO rr—ia_O—s™S ISOS C 88é@@i=§|

ES anaees i — ae52a- aSoe esSine Roameee ae ee ee cetepeteteecceeesensaneetnentennten ane teneretereterenetennnnmattenr te Pussetren Sentient eee Secetetonrnenteen “2roperce Seotater oceans teeters peacoat aeons SeeSN $ | Pata a COR YD sescaanntttsetan tatoos eSoteratenenenncennneas nde Seana tatatconsecatete aSateteteteretnrer dined Pateten scar ereret ae Shee soonons SN Reessycnatovetenencteeancete Sraciac sens . SE ae

SS Sesencaneien —— oe ssts—s— iilSiar ES Be Seo ee Bare co Son > Reno RR a ra Sea: SS SSSR Oa mR os es Os %tte se Rn Steetomte ne. Py te ter SS ge ee ees ares ko UE gee, cee ena Bs suite. 3c CRs a URS Ss eR cata Ua eS epee tik : ie Hs ng ga a Sock Sy SRR SOc, eS Se Se EOS Cae ae Seika oe eS Do ger Biss eRe RE is eS 3 Bee : anges Sie SS 3 Bisse sso scssaeass Sg eae Seo See tepahee ae hncy, SR aes: BRS. ne OSSee a Re.” t.hoAe a RRR NE RES OR Mig: oe SR ORR RS sos: ae MEE ae eee eteataNSaas eae PASS eeSe ee,pei* SO Reis RRRARER He Sa reeOSRea ASS a as: micotinimene : Samana Bs 3 a SCS Sa ee SS SS eeOeNS Go RRERR ae Sg See SaasaS a eR a BG & See Sas ase SE SR ONAge nok Se a SeteROR NSSeca EES oe b inseam ORS 4] hg, as eens SSCRE ee eat: GeaSSegseeRR chase segs Reo ae eS Se

Bo ee eS co Se es ee Pi ee Bak

aS. ae SS. ae Seereae riot ths, teeta SoS MaesSR Re EN Seeea er ee SRNen eae ea RRR a ho Rese ne erie a: teeseS Reee. enti a ee ce ae © Rua esSaeee once ecto .OC Se einen tee Sa Sues: Se slates S.-C ety : pena OECS Daten eeENE SS Re a SCREEN Se, RR Seca aeSena piasNNSNIS aa SR & “Se Soasans SnnoRR aoe, _. oseen a ER aoe uccnumes. ts eres RRS Peo. Soe Soho aa2Se eee Sas SU Seer Bo Capea wows es \ore Sees enaBe: ti, ae pAhee ES Sar cty aSa aeee man ee See SN. Siciatngine Seen aesStes soagaa ie eee BSSSecs Sukete. ten2.5 aS San CASRS is Broa PENN Ror ee oe See | Seer sone AMR ee Sis canna anoeneo 9 Rees Se Eh Sie Soe

ss aR ASO See ee CRN eC ne SRN ames Ss Rees Bek oi anes anaentae bs A Betis ; BS cece os

NR SS See RO Re ee Ee a SR Rae eee ee a ss Nn in aN Oa - Re Se neahonatetecaretehatstererstaterateterstatetaterenetcrer her atafaetatinieeete stag SSS See Soe > en oe ss BNRR SESE eneaaRR Bese es Reeessectenetcsstatctetetatehetaterstetesonaescontetetetatoa eee Ree aa EESON SP oeeen: tenn NN ee Rae a 3 Ri $: PR BaaRN toENN an Sa Pa ON EE ae eeOg RNSSaePOI SSOR aSaeSSoeSr erteaD Setatatmishavateta's" see's: oho voreeer OUNCAOEORTNATAA SoCAD Se aD

Be Ning eae See 8 Breet Rios MN Sos ge Ning OS eae Sein ceeenee th PRS“Soe Soa Re Seeesa Ye Magstne FOS SRSes NY OeSOE aeRR ee ORs Seana seen ospamanocmtennc. NAMM PigBatt, no opis a Seoe ea : *. STIRS See Renee a Me Syeaoe0>COS tiie ne i ane RetaaeSeas So AK, Sone Se, ees smn snouts cesteneei SeseSue ee:

gRE. Be ek a See Foasae eeae SORE ees a seoS SRS ReRRR | SRR SoSdptieee aE ae oo Se Seamias ees ae ~aS 2se2S, aesSR ie ss Seen. SePOOR SN, . Siena OE, , a > SS: >: See. ES PES Se Rema 2 SS e s SSSR gee es capers 3 a See ee OER ee ee Ee pee: Mla Seeseee 3 “SSS Seca, nSeas Sk Gorn ne We es Scie nay ann nan ner eaa Nn nage nanan eset SONS Sone a RSOS as”. ee SE YS 6 PERS Sees a pte OS. WE RL RERES, Saaccoseneemnrnem ana a cents Se OS Es Pen See Bs oscas aei Pesca, Be leBene ee enSE BsSs&ie sce ninoSc Re nc RS See 2Sgto gee aes 2a RS BesSea ees He bd' eeSe Sis eee NG Se OM RO EL, men on SEE 3oyeis =aeoO Se ace Seog aeSay gee aeseeee coe Sistas some | Sates esac Bote eg ce hee AOn GePRS RE eae aRSoma, a Soneee :onSaeco en ween n>cetera Aneee 1SRe MBO Sai. eames oo

ReSy RSRS ee Sete eae Sos Sictoeapearateate BS ee => SO Se eeSFOS PRED aaa ooos8eseco corres Konan Sec sitenantsneees ee EIN Pare AINA Pnisuintitiemnatiin naan nee223 RS ee ‘ Be aean.oeee asRaSe , eRRee oa reas soc aesgees i SS Ns SRR ean aSaes RRR aeence Pe Res pts Sti,basse iS oO ei ic 2 ta SR OS Saat oe ese esenatelenioascsatatensSereretaen dessa atateanerennersentcea congener net aLe ahaa Nee Se Baustetmaanehenaeeneeee bauer tae SSS CB) oe oe aes Puta. ORs ce ae SER RR an MaRS aie aa 5 oa a Oe te Ree oats, Wo eS SEE OG a ues Seana nseeeBONN SR SOR RR KRUG co deters SesRae eeSe" oo>See St a Vv 9 Rey ae Soho cea een Se MOS Sa ER 233 RSI or naan ae ReinSOR mean Rioiesetancennennmereetereseereeneeneeaan SAS OSSoosRene ate ne oer.Sone o> 6eePS ae ne Se eet Sa iene aR a Soca noses iis Suto she a Saas oS Bais Re » as Bie i LO ae Bante SSSR Secteceeeo RS Seas Fe 2 SR RN aS a RO SERIE So ean a SN RR SITIO” Ss Fe et jo

Bate veSeite eenSpeed SS ae ii eae aaSeite Semmens apaaeeseseeaenteseseieaaciae. ie Rien oe eee an8 ees Be” oSen Seon * Seer Se ee OTR en teSosy pocaanenessnnneoeesesen anna. eens ae ramenseaaei me aoe ed te, as: Bae S: ro)

ES see SE sce Caen Sn i MR SM ee CS Nee sais Sesame as

:SSS G. eee eee ere nes Misc eR geen aRAN Sass pe atin aSSR obORE a sn RO aS Se a eS RRS Neee A> SNe aSe, a SOR CR OD eR AREER eeER Seat ameemreneeo Se Sees aesaS en en es Cine aan asmeee SFfNS a ah, SARI ars 1S SEI ENS So. SINS RR Mo Resanaginanee geass satotatetetctaretatete? Baan OO S saan Coa EE nr Saas Sere aeTS spaicaresNai naam nor iaon ah ROO BRO SS RP oak Mkt Se ee as tx PS 4 = ee ea tee Shih aR ee PERO. opt SRR eentenaantc cet a ea Fo ORR OR CR aS BS Si ee ae See ao cen see 5 Ree See ons ON eee Sa GR coc gang acs i OR SORE RRS ct SL A No Hbatnatece's onetvsetarnssSiests oneWIS owatetensSahetpterscateteeenes SeeSantina eae eS noe a RRR Ger cen SiO. RRy“ ne. et PO II SaaS» Hy hy eae Sea RR Eeaaityin Beatie stat aN on Santana eanee5 Sat ARRON ean. tee pega Ss.“on: sssiis : eae AR or RD Ia ee Pie eee anemaannntec abe eR NEO Se SS RR Ne SBN ee RE te Sees SI Poy Borsa cae es SepaSse SSeS cane 5SaeNR Sian BR ete etaeme eeeBS¬ = Ponte ieSER: BERN Sian Sma oaaeSea os oeSenden OOnnoe RN ae CO Kerra RS gk eNO oat epee % Citicpass deanere sncnemeren ie OR ree,Pee hy nineteen REARS > ENSERRE RMNBch tes ces«Cee one Sones Nein Soe 2 oes iarsais coe Semmens Somme seaesisRetcaee Ssaniger aes nae Ee Sciamteeta soS aaa SEEN IS SES Siuaeesean oe. >ON* Aaa aaa > ogGeetha a Agee Beto ARE uaa tamemeeaee pra pee Sige aseee aeJRae o> aes! a OS “Be:de og irsae 5 5Cin Secon 5 atNon teRE aee aSiete pooner renee ernSSE ee USSER Rses SHR ass Sick Peees nantes Sentai Reacts OS Be) Bea ag nen ee REESE >, aSeen ae eas ee EES Sa. RN ae =eee ae Iar Sai ng Seti one Seat oe eae |Zz:° oe ie ae ana oe n> Raite AANA NS NT. nM adEEN Coca. 2 Sten ante aeons enone SS eRe Biro esses “SS oebe poate OR ae Sy ReeSF eeSNe >aSaas Bn Pr oSPiste SS Ses: Regt uses eee cee ae ONe Se aR NORE eSOeSeSem SecrSee see Rn Biscay ae BISA, SOO Sn BEA se oc ocFee Riscnage theese nee aaaeS ioe:Sa Sane Stk Seon Saagpsoss aR BR ae ee enMORI eee Sime een ae .aeGe SO hx Baia RNR iSOo aieae eee eater ey aRe ae ; PRB, | ea SEER ae eer RR rea CRceea nnn iS RS BeeSRNR. Site Stse a aang “Sed 5 >) ~ ONS SR OS a S28 et eRe,rere. SO CD eS SS nceceenln eatach areRRR ROP De «See x ieee ‘epee PE OOO RR wasn inn PL~”

Be ee ae at, Rea See Sa EE “Sh cage Reece gc Naeee Pa ; Psnc,oeReeen Beene. 233 Se eerie eg tae Beek ee RS awe tes gS PS SR NN SR RR a FRA ROR TS See SSS eee | «

RAS Mrmr Rages. akiie ansSes eee pac Me < Ree. Si rin Sec, AeeSS RE ae eeeS.¥See SB OSaRSS es 3s RR Peds 2otSERRE: Se ema etoesey 8FR S23 h0SCAN 2 Dot oS eee Soe oeneens aeRS ee eT LO RR5Bspao SR eaIcei. oete SEgs eB ea Be REAR, CR Ses eee pomsSee sereNE BDO ORR ee BE RRO Chane eS >nna Se Ramee 5PSétee See gone Se Beoes ne aon Bes Seeeenmeeeeet ee eee CSE. sonia ena

CR Me Rave eae Se SSIS: ati sata ies sas x Sane ee RS se $ext BP Ree pesRRS, So at SE0nciOS OO RR RRR aS se lax} Sei eanePRED ene aes eee Rn PIO SSpi Scopes SN erSo RRR OS. eaRRS ae a: RSS Ra RR OOORS Speers eo OR Ree SS: as SSS

Ie SRR seteSRee ae SS ot aeoie eeeSatan SRS Bie 433 ESS XS tmeneateranet BERR ONCE ss) ema Pc an Sst 9 pence RN ae ‘ Nes RBSaa: cae) PRESS Bg So SR eo Bs Ca Pain rsBi5S ReBias a ts}

BE Seca RRS RRR savage ee ete bo tnNas Ro Sieaoicar eatsane eeestoma: SceneSR ae Seam a SEES Teeenae MRS eat ta Osc ORE GR aa Be Serer Seren aesRasa aS ee pcos GSasSRD 2:3 iSess CS Be Searia& Son ei ae So Ses ee Bree SSG SOX Soo SS BS 3opSeen get. oe oo mente Si ee SRM eR AA ee PE eC CEDSa SSN SeSS) ee aRRR ae Seen *SEBO eeneon : Ka2Sax :Seen eee oe occih Reaaneengege Syne rsp SESSA aeoSS See BS SORE acy eins te Sing RRR oy ae ha CERES SS eS SS. .eaten sSotnte as Se eminent en ees eo ae od aaaes aps. S 3“3S RS: Reena eeOs SaaaePate ate ee ° SOS Amoe ee NSS “Sage N Loo oe aes PeSees See Se OS Sect A>?. Sees meee a oe RCN Rigen PS SSS SS ae ogee Se oe 2a BS Sige tan SoShiraipaeace Ne SD RRR RR eReextomO cin eemame ORO~een ORONO $e FS SRRSeee Pango ateANAND a eaeaoed ANNE) aeSoke $33)

ean nn nti APC 4 Pr SI ie ah SOOO OOOO OO ee ee Sn a peony a Sos aa. i 335 Sars qo eeannnrencnnnsnce SRO EMS TS ee eR ; BRN eS Pies 3 Biro ee SOO Le ST SLI OR ROT oo inanraaant acme nena mena na aso NEN NPE SPOS AN a" ch a nS ar a INNS Pe OE ee tN ae Poe » Se > HA RO Pe BRROIeences i UDR ON PTT BeSORETR NS a>egers Sae SOR: S a: > RRS PR eae eee Spee ESI ROO EAR AAAI NO NY IRR erOSI pattieSNES ae. semeRS > Sees j Yu

es< RR age, SS eiae i AS cea adSag PEO ELS Cee aee Samagan eas ee BS. 3POR seca SRS ky Me ee EE CeSERS PMs f S& , si Soo Se alane ieORR eS i ee POS REE Rae se Bx Be SS 2

SS ’. .ai Saeco racer Snapc SS RAS Ss>.oe mae” BS: 4CO es.vn eee )5SORES aeay3‘ fo) 4 Soe *Ss Ne Sex. ness cSahctennta Satesp teeta od Sa a en es aSvea Be) % ae $3; SS aS oy ““ne Saa8 folate SO Mae: BRO ee ee IOS ws SSSR Se ne 3 xy eeseon :ase es. ‘ St ae aaSsSs

RS ees 5 ¥ et Gea dae athe On iea aSoa ee a a $$ aedaeBeot) S60. oS Fg a.aest, 2meee © Soe = Rotates ee Soe ee Res Rees

: ROL Pee \: So AE SR SSASes aePOR SS :Ee Pee SnSse aOR teSoketesOR es iaPOE ot atSwees o SS 5. eR SegS ge ee RR ee aTe eeeee oeee es Sess ee x4 peg #5oe ioes :cute. SP eee SaRe ee= =“ae .Be OP ae eae tees ee cael Mes . SSeS OSES os aea Ss oe See =e Soo RE eet See Ses es, Ree SR Pe See eee eee 2 Ss: Rees = ene, See a Sees ee ee in soe ean a ee ee aoe Sen on BR Ree eS ee EE age oe a Sen oS;; ee . ae pe ON RES Daren yn onernten Se RES ne $3 es =Oe ae co

Pee ageSe eee a OS “Sse i Lee 5aSe SE SenSS SeSee, Atee RE OE IeSee, cae aoe ieRss 3. 3Sess: c Pe ees Re2Oe xa Ae aaa eepane eaRe .ee2Pine BSS PsSera. ne aeC._ Se i EEN oS AOR fs SSoe he.SG Sea se SAR 2 2 Beas St~Q~ : ies eenaaeS Papeete Sg? oo Pees See EAE aS ae we $ 2ee32 ESS > See ne Seances Pa =ae‘*Beate TERR RS Seno :eCA ee . 33S Ls)$ Se aeeeencs, ooNR penn o noone .2oaOT . orn tene OS an 2rn RSS: Ree Bias EIeas eae eeeae Bate anteSP eg Re oe ee eae pe: :Be eeaeees S35 2a gs RR co EPA re See SACRE Ra ae Se SRY Saas =. ae Ee ee c

20 RRO Re as ; Se aeSERRE NSenna ekeeNMR me eo So Re PnoR eaeeOR aaSae ea Sore eae BS Se ee 23 oo eee : RE Sas SO a:5m OEE os SSR eS RRA NaN a ee eeeRE Rechy seEeSee Nee oR See SSSees ee >=a Pou enigatgaceie Be ae Bebe a“Ses SEED,eR SI Renee Rene BEE ae ce 4 SO Sas >Pa Soentetetcaas . ae > aIN ma | Nene aaee aeote Re iia Stee ons £ Ane aaeRC i enNEM SsRT AS oeenSS«Pw Ste Ceeee ce Sa aeeese :ote=Crecementremmatenentenen aa>~ “>:Oe .tece 2s Se aae Se Seat: ;oy Re Ree as REE ROE SR oR bel wsSa .i. io 8setersess Ee ae3See Ne AN taRIS ae a sate an Stten . RRA SSS eSPOS SP.2aoe & > RS Ro RRR Senone ee SRS So oeSEN os Romans Mee SRE ROSUPA, EE SR ERAS NO RS >eos SS. es Se: 7iss}

ae Rie Se aa ROS BONS Se Re meeee Se BG

So...Sites emis ; SRS soe eaeeR EisSOR a Rae ROR aaa ae ate BER koSaaesho ee >tee Sanaa ¥ ss SNe aan SO oeSegoe Soeea aea,oe eS eaRese PES SRNR ane ai ce a =MB See| Mame nakEE ee Ce ae Sat ae , ASS: Reacct es SS ste‘ ei Mons OEE Ee RETR ARee RRB. Sa SN SORT veeeBee Ne :kt BS3eee. one Mian et Sa SOR reer RR gs aa Sa So BRE Oe AON SBS Se ; Sa ae Bes SERS eS. iS Ss, sets See Sees Bs SESS a aR Boge. ae. CR ee eee: © eS BY SES. Y

% WEtaneee cat ee nin eeesoa. cea RRR ec ame me ABO NRE OS SS: eeSree. ane oh Sig: eee3fe be 7 SaS SSRs rapes anne ea : Re On See sc RaeDe, eas RS en BRR ee ne Repmenieneen eetcents sine Sesoe aes oS See SER

Se eetnraa ce eee Wnes Se ae «Ses Bo a Bs Brae S RE Sea eee Sx. Go oe eS. ie on INO” oa aa taco Renee Bs te ERR oe Ne a 2.:ee = 3a >,Di he 22 : SS Oe cea Ss tt ORS TSS SRR SS RO a SRS So RR ASR BAS >. aa; :ee” . Bee MRRo-oo Aimee oh os =natn Become SSOSS ss aaa eraSS Dae. RRSeSe Do eaeOSE OSOSS ee eh SR ae a hot ee oa gttesssteert i RRS POSS NR SCR oS pana LAR SR ORME %= (e) —Ba . >SRMREMEED. . eisik. >Se Meee attra ae : enSS. osree eesenenanay es es Se re Re.SERS ae a“lstae nes2aes S. uae: PANS, Pe : = eee « 3. ie en > Bes Ses ie ois ee See $3 95.0 ae ° b. 4mates < Yn - . *=ae >ae ee" rate Fagan tata nea On |coe Pte. 4 tats Sn SR Sate Sennen eae 2 EeSee BS : ay %~~“Ne. REa ates 6. Soe SB” SOO ana EERE Bo ok eae 2a DS SeRatSee a~TR HOP aSNR SSIS OSE BS OS ene aa SeSs co) i aRE SES a eeig tae 2Siycee, BRE oes t Seana RRR PSY PeaSeaPoems Ss:Pe: Bees : >:eeNe Abia SORE Bas eae Se ae ae RE ie Rae aie eae nS ae Be v SRC 3, RaSERRE See ES > paso ean iseapits SSS aaa SS a aessae 34 PBS SSS 4 = ees ie :2)2 aete Secrets st Bp Sei Ge sees See ee ES sgaeweeomean Seea “SR ee ROR oS Bo SESS

Be ae neEN Ct Boe PRIOR LON SSSR POO Re RRO OIpeeks OT SessREDO Re on ee DS ERO OO ee me ae ee ee oe a | ee ct aeOeNEN venncnne ROLE Se Peete SebOU nin ae atSongs RS ee OTe SN EAN NSLS RRS ALR LIOQoe RO ROLLE COONPTE eee aiaeSION ‘3 Fat: Bees es Raise SSSR, es PIO Te $ SENS NS ebbbaebaaebooone /RRRRBRAAE RSS RNA NORMAN AACN ROO RO OCR = Sie. SP '33:

“Seeasemecwopboneaonesettees edRR ren ene Bao aeOR Neh : ASS Be nae SeeoO rH - IE SPE IR: Re eeeogae on me Stra A RC, ghee eesena eePAK SO CeOR CORINA OS nhteeston Ree a se2 ere Recsae eecaches Se LOE SE 2©Sees

SSN Seen SESE as eitanncee ge peers cet Spat eee Sy ie ncn aoa Bae f 2 ae aa tee" Se ee : SP ree eaten ee eee a

+S So Oats aca ana Se £3 aSees ae; ie Sit hePaes bcaPSTS VEaISo A iN »ee eeeSeSN aeae aeeae} eoaa: Ree Bi og ee BES ee ee “4 < SS MaRS a ore : : Pn See 2 pec POS ESN ai tes en RR SSO ee a eS Se Ron s en : x = Soke oie Bg 2 eR era a SE Sa ¥ 33 ae SSS ener oP ::Ree oS eopi ee eS tenceaiBoy Bs:a:eS 2: Se Ee "4 JF esSE eR & atas Soeee Resse enone 3P22 aseee stern Siaer” ScoSeS ne Be See BR oes Nastensnnet Sg Moen . oeNe : SRG, BS ae cee “eeSenna -S2S3:3 Sa3 BR Soe :eeRS $rs eee 3age : . 5eae eons amma, Soeton Na Manone ahaa 34 aRSSy =3 aRs Sento” Sereterace aieSs = -.ee oe PD ob SR Soret ShSoe inte eteate PR Nn Ne Se 2 Re LoS LS * oe . SS Seance oh me Sateen Wine ~~ SRS SRS eee eo ae ae EES Spot OO RN ae eat PO a Sonate Sarena i: Se 3SSS2Soocwicatitetetaleh eee eonstornnstceteteterecenee SS a a RRR arDece RS. 1 Ree Sei. SS ee Sr ee ee a Pea ee eC me Re ek 2° ee o% Sarees sate x Soh aa ke ES al Res oad momen POIROT I OO Bae ee AN ae ARRAN AAAS Ow OS bce % Be “3

< #3Fine See eran a fk nes ean—. Sen SoREO Se ee8Se . a+s AS Sarees ~ eS Rae anRsaSS or FS ena aeeeSa : ba ae inne ae aeBen: ES. BSS Bert: 22 Bees ooooosspnan eaRa< BF See Sere: Repron ee eng RR eae BoE ee=acca: }eee: Geet Bees PES Sy tng i sR sae oS Se Serr m3 i eee eS | eatinES. emerece cote scene ee See ocd Me BRR ed, SO ee ES sd SS 3 ee ;Ree SIME so OS sacs See . 22a Fa.aCe oS: Sor AyedSS Se ee eS se Sa I nSteeWOR ea oe Sika ee EeBe a eee: aSS eos aeBe SEER oe iaaennn ee SeosRO a Snare ear , Rais tesa Aei eeLO, Se 5LSM eoee BSReena a natetera ORC a Sa! Re SSR atelRR SRE anne ee5BS: se PNA .eS e, tata tetaSatee ste tate! PR an3Mere Os hater otnnsTenete eg seSOME. waa -aayeea ee

Pesbotnet re ESoo SES Mer Sen emanate tae gees:aR«Seeks: eas BS eg sta ea SaSatatatnnetPahe Ace Seaeanene. ©Sohal:Sees RRR ay RSE Pia : , $o>3 =~aetna SC eb “ vine atenetatel eins natesenn aerate? aie. eae ee Sue x Se > eae eerntaesSotetat Ne ese cnanss Bint, 2ane0 Satara tat a ts namaste aintnae yO”ote ~~.aalates ss See aa 4SS a 20 niente 3

be Se SOO Rae Oa eR er teES RE RR FS ceRS eR Re Ses Sa on SS a Se ae Sara 2 BREE neo RN a .ei 28. Seinen seen eneeenremennen aeSee | ee

ee : : ene ciate .*.’ » ne . 2 ae

Bee BOO OOS SALLI EI Se ween NCI ONG NODINE 3 bs Bes $ SBR SAR oN RO Ree panne , ete sae Ae. Dane Eo ee Ray > aa WS S swith os no K diahias eacauae ane SER SRN a NTRRRN EN a BS. SaBe, sa 3 ©2. Giiiacanse aoeRe thecnpenatns aanoeots oh te os on RE BROAN SEA PRE eo Soe Ee eee ae es rain mete a ee Soi atae a,eeALOT EDpSPe eeINR ieee Re 3Ree oeSome: sy SOM Ste aetee ocak PSS ete aes Se settee bates Seen eS Bo f Res eee ERR Pe SSS eae ae een a a RS Re eee LGR ene a 3s Sekt :>Screenname ain nae Np na Soa 2; mene anes Peake RNR MN oY abn eect 4 ae ON SHON ek ee a ne Se Se Se tisenntenn Seta Soo AN ata IR en PRES See Le “4 aeN

mee SEAR NE See LOR ee eS

ee co See aE a 5

: é se Be Bets a RN RO a eee = patBe po SS Bose Ss Seaeeeen Bee’ : Re oa _ ok Sate SaSRS on Br OR. LR ee: Spee aS Bases epeea3 ee Batt Seereat oesigs Sst. i fees SBS Se Ste satan :_Se-es =,LS, Eee Res BOK airs SR eaee Rage Sa Sos .ae bo ea See aera Rec aPEcin aSEER acs.SS , ¥Sea I Beeson gag ei; oiiureges os oe ee RSS Sse eet Bo Sa, ge “yy Sram DeaAS aa: aoe eeeae oeSey ee OeSexe SlaneES Se SS se ne SR SRN ite Bee Ra RS No 2 ee Se eeeeRBS er Re Pe oat eesore he.ete BES : SRE Bes Bes SRY res geri SRR ea e: te Be ee spSrSee PERM ory ES See 3oeSs ERS eSces et ee Sats Seam RePoe sees >SeSSS eae Seren sayie=

eee 3 st ee ae & bee bag gS Se

tee SteRee eee nee 3 Ri ae Se RE BeeBe sae, > on oa ae oo Pe sonesoncoate Sean Soa aes x ranean Ses ae esae ee, RE Risers eh Beepore ae re wae Se, 3eS ERO os eas Cake Sea oN Sree Stones ne Ranaeenes Bee Sen aera} Eos See =Son beac Se“SeMESS es nae Boa csae 5OFosae cae areaeee estonaReon ot Bees oSseeer 2eeeFes

eS Soe esSee Senta ae > PERE, So es ERY 4SSR See Pret ae Rae BES ERoe=e - ESgonee EE eiSee Sa of . ; i te BSS Sea SeBeat eae aepoe Scoeanaee. x ese y SSS Pree Rese esxESS ptt Sees a fa Pree me soe eee Soe Se Re, Se Bos Br oo ss RR poeeens pat SaaS SRR PESetater ERORS eaeoe " Se CR Se meta SSeeSees Se oe OseS SosSane Se KSgies: aa oe:8 an aSeemann! RRR OS iS ay cue See ane seman eeres Le.Se> aie. ae pearPee > »ee angee SS Se SRicy Sienntecatteatiene a cheee eretehatshee! Pe Ae ee Sd > +

oo SSS ans Pts atsSSR Pa8 we BES Se ae Sap Biase pe: a StSiseae Ghana eresSSS SN sey oe a MeSee erator as!Po ahora Oe . Patni Si paaeaas means sce ee —_. : [ey EB y ‘ / /z f : osainBe os Sa ¥aeOe asee SO §wires Rt atg 6%ee Bes en= See Segaits—_— Us

g | | ee rr & : es

OES s inEss By Mig Posie a, CRE SS eRBer ese PR SS es Co ReRO odSeas _ 7Scones Z hyae4: , : ; Ss Rae eg Sag eae See ae 8 ee ‘ : ae . _ - . , . i a 00 Piet See aeRoe eesae reBiase agate eeSee! aay enaeBRET :— Baran ; SS SN So aa Soe 08 Pe RES one-Rae heedEF gosot ano Rie|hasan os éCAM q eS 7de€fie , tae . oSs& os oe ees isBS— ee aKstan BY Lae Sk ae f ees Rete Seospa

ai ee:oeest ReSSN 3 Sc Sian OeBetta te ces ee: eg eeSerer ReSane ERae—beeul) Bi ea. gotoia, Sees ae Sees ee aeato Be pean pn as — oe ie Le- E4nay ence. ssomctnes Bog iin eae Reser Sis See cto Sena eee SS ae at ae eee Rees ES ae Pee Sie SS eee ye: DY

i AaaeR‘ be eraSee SSeShaBeet, Ae Sa eeeeSBae se 5| Re chamaes Sean »oeBEE A ee — oe S|a“< oe = Sey, SR ae eS eeNS Roast. SxSe 3 bt me os Ne oe SA has My oS Rand agen Soe Se -— * 4 Se Soames See eae . o Bes _ * a ¥ i: Se wo ;xRipe .ae SOES8Sette es OTN RN a sae So aon Bee ee a8 AN =ee - ..ee SS eS ook. Seer i na aioe, Sara eSSee Re SOPOT eS PS: Bg ARS 3satin RO ieaes hee LET SOE Sexty

: Noe nt Se see at mats aed srtnae ae eg een Den ge ae: NANO, ee 3 RRS ms ie aarm eeenee na aagesenna BRhe as.: SS *= meetin Sees PaSoretaceratnr Pata oan ronomens re hap Dorn: scans ROS ee oe - : ie: :aS: “

pe oi Bic. Sa OR goo Ns eae iaScBR See SN 2 9seas SSYaa 3 iean SRE RePNAS : 3Oe Siecsnene oe So eS Seo, pS SRR 2 SS aN een OS ae % KoEe % |[See i oe 4 ; OR oe Sy ot Seek] :Bes oenoe Reet BEAR EES eoleteeateahatt SERS Ss Me nee Ry Fe ase a Sidenote eeend% Bae ae ae. Sco aees 3 re oe : t 7 Pra te tg Oe Bie, anes Sh ree ee eas mes scent cane Sac 5s eras ‘ =

ae haar Bice cee es % — .eee Se ZS es ones Be baer eae Sans eeSaas REY fF CE — Pe ; |oe scree st Sata ee Renn ra sees Sots See ae a aeoe ksshea Beane es ae Pee 2Pee eee, Gis. a!PRS as Res >_ a.Reenter aaa eee ee eeaoe Re ee Be Be 3 £33 ee ae as Saas Pe . & nae ,oe, :iP oy. o. — a, este Beco Beets Ue a Be A ee Re fe ipa .a 7. 7ae ¢ c 8 i ees So Bene 2 ao a ee ae SESS scope. Rg te? pe RE 4 4 o : ee Se oe Reng Bee “2 Soe a Rie SR aOR BRE SRSA SOR Ne Ot eS SERS sn SR aeRS a _ : ce SSeS Seo Ree oR ees Se eae ae Se hie ee ae ae Bee para eee vee SRS Ss Be es » SN poe SeeSeg Se Soa Deas . oe : ree -Sag = eSince | cae: u4 | fa Sa Stae aeeesti perenne RR SNAPE SRS xEgee eeBeak ae ae oe— . en SX AS wf Lo | :a3ee Pe So ee > ne ¥ aerose So SES on ke #8 es oesesae SexEN Boe aaa

a i _ oe ee oo Sige a 3 area Ss ee % 3, es Sess CRs as. A

C4 2afss ge3eas “PERS DaeSS eS SASpo dec Rae Se Sy es: sees SgSis bas SEee a ie on Seok: Ss eeees Berea naeCRESS e ee ets oeesSees ees oeain=Seeng Resins Bseach ae x ce Dees BSS my pacanecates RR om So coer Se Poe sat Sas eae as ies ce Ss :| a. »2oe \a: a 2: i ‘$23 SRS be sa ae Son Ssestan Beit BoieaaSee Sees cea SeaES Ee5osHh {| i _ | See: es S Pea egiesoR onSy Seeeos eeeSat BiemS St, sy a SORES eeeoseee a BSas, Se as gee sQO .ens 4 SeSa : eeae Sr. SSeS Saees See Paes SR fee ee Se Scents 33 oo ew So. a Sok Bea Saas = wn seebaton ¢: pinta openSS RoSore osgeenget S Snes 5 oaeeSo ReRsa SS yy,ae

. CS \\| os\iSSSake -See . | Se _ReSF . ene feo: eee i Slee eka Sees SEK 33eSES $3 3 aea..Say. Soca S: by : ae Spcre Sree eeeGas Soa pice ote sats SSN eg es Ss ae SBS: eases oe)aN aesNS nsye Abocsans rns. Bee - a -Sees : i I 4io eae Reacime : eee See ee 9RS eRe — Re SY secs ES :SRS ie Bes .Sa- ee. ieSBe: i.: 4 rv) Serena a' Ree ahol ee Sees SiSe Seana Poems POSS SNE Pape aps ieFoon eeBee Baten Sc aoe Re ee aa oe= PaeS ee8 Sh A \SENS _ : RS =“She Se : ee ene SSinset. SRR the ae SSIS RS CCR Soe as se Se oe Bes Sesh oe ee Seens eis: oe ae ee Se S4~4RRS: : : 114 te Se FSS a Se > Sea ~ apa aS Set ee ts ae eee ee Pa. iy) oS Ps ste Bcc as seer Sees = Son ee pesto scan ee oie Se ee : gee ee Bs BS Si es is Boa S - os aes aa ene ees Seren Rien ee > oe Sareea, ay SESS Sa eee Ran «oe SRS oP Oke BP SE SS a “ =

>SO “ Sues : ae Pee: pos nace Sena SRR Rapes eteeene Ss Sk bigasSoe ae SR . . Vs if Be :| 4=

: es Be “3 Ses Soe Tee Sn Ronen Se .aSe SRR sn tence Se SESS Snes 4 Sao Fo en Sean eeeSete ~4 ctotate cnet Pras ie RE tisek SS Sas x ekaa: :> . ee _ 7Us Pe cue ren Sonne edeee Sera ~ ee ae ae Ress Mess Rema s eR20 ae ee :, BeLe j#‘ee ee SESS RCaes RES pare OEaes SSS Sg SeseSoe PERS aoe | : 'he3 neig Bee PeeSees BS ee aes oScosas: , pate OORT: scentsonatas te ne. bensgee SoiSees eta oS Rone RRR SRS od Cae eee: ie ree. mec SOON Bea ERR: RRS > Sea 3 Se ee 3 ae Se ae Bas: Roe prea Scene BOTS SEES SS eee Pr So poe cons: eee Saree ee ny Pe aes eee os a = nH ‘ . ‘ 6 < : & ae Bion Bes : Rg pee: Ske RRR ee Se SS RES se ees SEES ORS Sees $3 me SS Riscin S5 Sao eos ee Se ee : a rv) oN oa ox Ps oe otae Sepaar er>. pees eases Se ae Beitra ness een2ekpee ee Do eo Sefia ee — Ff = Seer —| c akSSSa 2 Ba ste oegee: Se sees caneoaes BeSRoes apne peaeeds Shae * . ee. Bees TE Raa BS ORS Poon cine ARES Pitan Ree Sense So oa SRE Raat Ek ARS SS Beat Sh a x

Sees~ee ee crs ee eae ae as aana Races. tentsonia ee oe Ne See3:3: BataSe ek i#Se bo.Ne 5 PS esEE Pe Rice Bs aEe he Re See ee ee Sans 3oO Pa See Me Secee eras SN 2SSeeeS RRR, aS .— .\ __. _oea_a _a:ame seos— eee Sete, Ses Soe Ba aeane LORS ees eehati wot ri~ oe a b2] ‘— See i Shee RRR Sees BS Saee:Rowe eeePMS asieee PRPS OE ERTS SNR Seee y . RoR. Sacra ie Oe SS sancttee > es ~ SSS Re ae Someta: oy ° Bes See pa RSS 3 53eens eeeeSaeed SeSeas a = es 6 So See Ee eePoe ee Se ak seSs ptePee BeeneeeSa Sec Re Se: PSLe oe y, es ya a : Ben Sas Been ae sree °$5 RS See serena neers es se: aa Si Le o . . : s y i $ J 7

: : Lj hoPs : PBee : Ce F so BS esSees pam So Seapets Shea Boeeanecc Fo oak SS eae S35 =: as os ae Se 3 ae: SERS eeeee$333 hs eR Reset Bee eae Rea>Ses Soe as Beet ‘ co . : i .f ve aes Se aois Seeman Bens ee sae Spee Scan Ree SOS ag ee Seen ee Rake SOS oe.ce aS ae eeeer :ron etepee 2 aaah Siena Sa: asSee, See Soe. See Seas SSSNe Speman oo eeae"Ses . ne ae efoe ¥oe Sears eeSs: ERE me OIE ae as Roe aeaapeomain Seba Pee wae 2eeos 8 : Seaes ae Be Sa pei Soe ve pene meee SS IRea Seeios. ea eae Siphereecs ES BE es S43 aaaPRS See CS *3ras)

ee Se aes Sots ee esRES Bae coe SS ie SARS et = eee sateen ee eg 5 .See |rs->eee —. ee Ba es BeeeS arcane oO aeesae:Bak xSeago Rn. Some at :eeGiee Cmx: :~ oSeiae ae ene Seca ee < Roses & goaSe seoeess 2 ees say Sins =

S |aea]-esSee e ee RS 3iea ee Montene Se eae ee erate S Bees BeoeSeek Scena Pg a >eee = res Re=.oe SS a; [=¥ re) aes teteceneseee eteon onan : Soa Seinen SS Sans pee ne ReLae SS See eae ieSat .a; 'See | - aSe sa: = 2 See SeasSee Sires eee See SS sgi Non eeee : RR Bs See ae z“ a>eS oe oe efa) SesPot 3 Se eeae RS ae.Poss posSe eee es Seer ees oe ne Be ae SS Ne ohne See > See Se Se eS ee .era eS eeeae As: poe aEee Be Oe rsceSas ete S&S * 7:a: i.-\\ \: __. :oo ee: Sete mae aS S08 ae ee ws rae See : Bae eighees See Se Sey: 3% Se ial se es Sutras seas acne Rates Sates ae Baten 3 = LIS! Ser Paes SSeS sree Be $ = RES + 3 -& Cee

—\ SCS oe : Se .eeee Baier een es . Soe PAA ate Senaacca aio tanetatetates cetaleneteten Ree Sete Ne ea! >$ me ae > yeab. ae SitaSe Soas*= Ms poe se % ae a , aSenta \.Sue — Sa‘pesca cnes eae ets Seca. esSs.eR ReCaen ee Ses Ree SR See SS BES otatencneals ee Rs: meee Seaes eons Seae eaeRR soeneae eteteten SSSeat x aees Se ae e4ck : MS I . :$ iss] oe Se e8Soe. Mean Bae re cas ag SRSaRoane Soa SS SEs THe Setects ete ees aeae E , : \. SS Se es ke : PO a ae Sark te ee. a ee O53 Since: Sons Sse Re es Pee [7. -\ :. x—_— - = > | ee ae ee Se Se oS NSS Sas ne ee OR 38 Rot ay SS Ses es NAR see. Swe ; ° es>see ae m2 moe SeSERS Eh pee taRee a4 Ps Be Ses RCS. ssSoe ee gs Ne ae eets eeaSes Soh ges fioucees nesaguas OOS < Ree Oo. ecte ee te SenSe as Bee aOSS % ieies es ysx8 Rae a=FRR . ee4mes :3| = ::

Pee ee So Se Seo je es PR ok 5 eo Seg s. Cae gee o :

ES s. SES Bs Se he ee “as Re Re Soe SRS ses SPSS Se ‘) Soe Ns See =oon Soon So ”seSS Sep = .— —— »~ ee eee StSee SeSe eae Shee eS f eee 3CRSaes Beata eoNn SSSweea ate SER ae See eee : eeeee ae eeasBrae Bae chs eis SS .sis Rene Sciuaces osSSeS sacasane toot. ee=RRS Sy ES3Sears 2seine anit ES eeeeee eee .See Bie Si Rees esSS ; So ae 3oe Puts Satire — ee : at aa es :: : Bi Lo Ges eee Reon See aioe ctot osSee _BE OR ah de ee a Lee “Nees os eeoeSaas: ae iaSeratstatat et ate ssfete SR Be IS v3

Sk ae RE ? =SS Soe Sg OE 2 poh ie ‘

— Peasies StaCS essee Son Sc eae Sapo See i ees . EROS ape2

ee i rr

$4ee 4 meaeer ieet ee eae otaoe a ghSoe hee keNe oe en asaOS. cease sean “cnc nea ai rat Fee O8gieeees USERS wee SOE RE peewee ae ak Phake oneeee ohPM ge 8MM ae ties os ee OeOR ea ean : Danes Chewae renee get y eS FR aeEa Bee RRA eet ae ia cas pep nia pe ee ee Re eae Ba Se Oe SO gb me 4 Ser a ge eS had ek oe Beste nak ricnk as Sieaccuuenuasennaammni psec ta

ecaos Rec paRees gggSee tt Se " are oeesosa ee eekuaros are. eaerePr oeOeee Se ae ha Coe:See £ AE FEEke TFSecs hs eA iCth ees Pate en nanan haan hk is} roan eae ecu RE ROR ae ae ae > Oe ge tee “Sncens ants Re Sa eR Ee pote os SSSR Seay Cosa OME RR SEK OE eR MMR 3 antes

Preah sas be RoaEe cy hepaaoneeanena Se eseesese es Pon itSF he GB eee Sane ibn.SEER CS A ORR Sel ORconcent SE Rae een eee mo MER Coto TE basco PR Pee ates Seance Ba. Boe i SESS saeOOD 5, soca ae aBS, She RISAReeReoeSyBihar Suuesasuaaamansa nentsceaBn

ee pete Sr eg (ge Bee eeeee sean etasPian SEs os be onaneremncne Sepeee RN Pat, aioeoe oeBE a ee FOO eames ie Ph aeik sar RR eee SoS Sieaaeemetnaea Sinise no eS Sin) mae. asySOF EE Ree. sae aae ;a SOR ;eee aeROR ae ee dn recraemianennnenmaert Sere cote siete eee Someones VvS

Rae tema i Te ee Gees ee ers Say, Pot aneGe SeesRR eae Se, cao SS soc Sassen onanO a| abe £ SRNR PoaoCane Gere RRO Bacncheomnia geetn eR Bec aah ko wane: Mena tae se Beare sae CRASS SS Ss PARR eR Se Sreleicitiva anthro nnniene: ea ooo ante|ate re SSS ah Be eee eae cee Be Sea SR Seeman Sadar ac aera cal sete SX SERED ORR ase Re Sea hart SPs Sear tho aes RR PE con ee : Ae see Se ey Ss Pee eas NRE OS SRR a RR witsapesscroiohnromaseccranerpeeorenerace te borsnctapacounnanrnmancamonertn dears fake

oe eeNard LSSes SgSeerat FE eaiecasa rea POSER gS esCS Slee ae eer ae =| op pec” ; >. Me Ree SR ie Re seNe OS ae Shee aeSince eee: Baohne a tn”Sd oe4Se Fr’xERR > PRR RR : RRR Seneca Be aSe. eee ag = 2 aelit is es aes eee SESE ea 3 ; SS eas ¥S Sea SRE ee Sarge |

SEES RE SeeaeaR conte ae Gases Ra Bite Ses— CY Be sa ain oeER See Soe SS ascae SSeS geePR oa De eamEISSN Ss gas eee eReses SS EO SearsEee ae Ree 3

sy fo ia . eae pee ee .eeee sienna eashs.2) SSS Seg ca SS cane te meee ERS oeSeiesURieRe hee: espions Pee Bee sees. *Smee Bi na Shae Suaneoa i2

a Wetec ee ae : “Ee aS See Rack ee? NO. Seta Se. eae Ny SOR eae cee Se a S widianrnotnnnanentenanntn in nnn om EE

eS ee je:oe re|Sof= BE : eee ee Seca < PNa eae ; . Starches Seisa SSu See SeeREL 3 G oe Re Gouna ee ameres z * Roman iar»pion Reones REN Seed Sos mare on een arene

SR RE See Sarna Sooeoomeercnnae SSE OR< See > ae “es ee .ee 8 3-aSe so me aan a Brow nae Be oe as obar. eaeeee maaan ee| ecsee oe a =Se Bie aS :Se PeBeeston ee. giantess SBS. * Reese eae eee SRS se” gave_»“TARR Siam narese a0) Tc He Pg: oes Riese ae oes 3 satan SO Pe ae SRR Se a = ee SS ese SS ov fe ROI rersssscpetcncecctesety tats a totenez tate Mediat tate?

iBBes Pretsioe. See Ses aes Se eats ee 38CER ee Bay a Seeae 0 RRs cerca oe haeeee ea oe SSPes SIASpee ee ae Cotes tinsPackie ee Since a a eta NR:pneeBee SR xaehac tase cone 2neeeMela Speen aaa on

BR ee Re aDeSasa sree on ereeRaS Soe Se ee Me oe oo 7 oF SsEsteon eo ‘ iee eANRa eapetie pean Sec eeeaaa ee Sees Beaters 5 %me aoe RSe SesSe ae eeeS Eee ee 8 aa aia:ca

RAO eeNR Gents ceMMR, at AR re ee;So eeex.3 REE SoLRT, aa a POR gg oeeee GENES ENN RST ee REPam Te CEL, gees

-Pewee. Sto teaseeBhRieee teagoes ata,cet Cee 3 mates LeeiceSoe tence ahapnoea aa SRSees Rena eeass>,Sorte OOF SBOE ES xo Sg ROSBEI RaeSe ReTs Sn ee BRO aig ae of es ahrey ot ee ee fo Sa e 3 3 a

et ae > Cea Oo Nes a TE SE A SL ee ae bay 5

F * Ret. . :. Sesate : eePEE % eeSS2:eCORES ee ateSee xSX eR} SRE OIRO Ge‘ PEs py eeRes 3 :petcrets : AIEEE $2 es tates “6Saaae Baate oeaa 4 pe iS . aBS” Gia OR oe saR eet >oyREPS os Sa Q, 2 ge 4 ae oe Sau Pe yRS -—vo ae ‘Eee Bd cam ae Me : ak eg Be Sete: Rec Ba Pie Eee oe Papo oresBeata : : mseae; py . ——e OE oh Ree eS igee 5aHES 3s = Posto: ae, ER SE

uae fcc aga SFEIRES eeOFF Retide gee.cnee Bk ose1s)S v »ad SS eSPr ee pes raaPeek RRO De rs : sss. : : an parties tease es 5Ss SSS pe ad eee 28 ae EO eed . we 2oe ~s RgheG oO oo Sag See pate ere : Rae ; ties :peas Se Saa Sg ae RS eee ae Beer tee g s ae BRS. % ao yg: noe ‘on Re as Ngee eeOe an

‘“ ee3apel eS ea Be oe oS zs i SRR ae Stone Bie seen Se ta $ > RTS Soe a eset a ee Meena, teen ey oe = eee a aes : Sone EASES RS tapas eee Se Sects ia Ronn samme

44 Site tae oies3a BS Teee eee Saree. asji & eh. aeeee Oe tee Resineunpanteee taaree RSS Soe2:ae Se ee Cooe A BS teSee BSoS ah ee oe ee:oeSSa 508xsSee 3Pen aeaS eaFEROS aeS Siteaaeto spe tee eee ee=:eee. Shae Sa eycae Seen se Mee Bee oat See See Sea Seas : SESSA aesDae ee eo E>. emSee eatie 2» Re be on eeecue geacs oe le ooSeige PeeMen ane a 4Se> eat aamememencenmme ee Zane Sea ad, PasSS x S

ae x> eeSe eee5Seoeoe OS aeNePS eeSee DN oeLate oe Le eo: :RS aeeee es3 Be rs pete Be as fee ee postSe Poems ae Sik Beem pee=SERS ea es : See atkSeve Soo SSO ie ae a Senet eS co Ritts staan ronmeesnane seems SEAS se ae See acre PRR se gt | 5 = Pe3 ie aeSYSis a Sg a Se Boe eR eencnncia ae esoo aah SERS Sue ee Nee SPREE ae SesaSees Seamsreais Saas ic, ne “eamaaa Sos SeaErcan ee » SR eee a RR ee snesEa ive nwa maaan eee Pde Se IT ce © St

Redes a RO FS oR aeIR3Reece BRR Seg, Sa see RR aSiRRS SR Sepaperncns earSR St aaSaTe es Stree eeeens SOR A=a aReeee SRE ee. reeg ee,Sona a ee mmaR nonaE ee aeaa SA ecoaSeer. Peer OT

SRN TTT TRL ORTOP OPCS OOOO OREO Oy) yD 3 y:an:gun$Nnvkntgststpjpi
Nl ; weee naeee Roe Se Sees A eny gore aes OR £7 ee AS INO RS - Dy Loa ea OOO ESSR, meena ier 2. entece 4 ant a Sey: Petar Bos SSR ane x

ye 7 . Sa eReheen Ne. Rar a eS 5: SEL SosROR eeeBey oe RM :%+; :ee«SEER ee ne. RRR tg tans Ree aaoe Soa hen Re = Bee *LO8S ee Ae ce aeeae ea eee Bea Ses . . * op ee SRO RR OPE PIO SP Po AS he SE ee Sates SOE Maer

ee ee

Rs : Seeeonpian aren RP ROS ae BNSoeBES ERS bee cease are Se S Bee = atten Uy ~ Sore oweSee re Saatae. ne eee ioe Re Ri phinski: coees Nena one Ss He SN Pee ane = eeSR SR we *oe -sras koe SEA peated aes «Ss Be pacha aoraen ANN Ao Deena Ba Go: a a ete ae eeBi nee oR Pa NarSRS gi nea wiris y Rees SRE yeaa . 1 eS SEER EE¥at Ae SSPitan BSS Rae RE ORR RR CR ee BasSceaa>wd ee tae ae aS yeah * 2S.33 eS ct saeoe S22 ee ee eS Reh Rae Sas Lee—o Seber: oC ee ee Bees he ee tol B26 RE vi. 3% fx OREO Seah eS Sar Be po oy fe ee Sieseana Pa Rees Mag ee Re Ses oePOS % LPees Sd Cee Peed 2S, pingoS BaF Sa ak SP ects SS 2=Ronee ee Sao ey aeaae oe) . SPN Sone Se maoy Pe eee SES OSs Stee aSeeeea ee7oe 2

Sees = Bee geBRE BRP none Bos aePe3 eo PS wesLePes Raes” age aeSo ee See > ‘, ae CRE Cae SeeeSA aeren ef ¥s| ;sewe ; ih‘ ‘ : —< Bs Sa md CoS.ce Pace te ee Pate SaROS Se.aes Sn ta .ER OF% ae pitas Set y. es ets Ree ;esPO fees RE 4eg,eo SeRR He: bs Sereno, 3ces seSeC3 Sa a 8Tee Bee ss ze RakBaits. ee > Bi=eeBes SeerPO 2S Be Pres exe Das SS ae aReeas - | SeeReehiga See od PRE Caex wae oe Pes ets Sr Seeae Soe eaeSee SeBes Seees Sesoyaifai yA tf aNa Se. eee SS Nee PE Se PRES eet ee See gS oa Bae ahaa eS See: eee eo ee SSE Sees ao ee Ne ee pe ws Be Sa See ee > LES 3 ee LP ee Ske LS ee Roe os : ee ee pe “tle :

ie SabiSee ate RE3 Sheer orsfF Re2aene Be Revs dere mepifoe eePOR ES: Masco Sere sweee oepe < xpee mo ay Ee ekeRea ees ze Soe ces PsBRS esBsBe SeSoSoSe aeq_evf: | Pe naeinetites e «Siaee SOS Srescnanns ease SObe Pen Sr >> SSX aire , anne Rone Sen PSs yo Sys ee hei pas acct Sa Se‘ Nee Seeman Sono zene EI iS eo RRRee RaSree ee PKs weaaePaa4Se Ses REPRE ORK XoIOS OXtena ANgenase Perce: eae BFS te See. a oe Se Bee

>. “4 Ba iis Se ERS ee gees = Sater Tf eee She ef$F ee We &— Shee & ae oth tesae ARS oeRe Ree Ree Sonne Soret Sesete Nog Seas oe SE bsgCx eyaFes es Seeie29 Seay S36 ee a Cie Bae Peete #3 OF oeTIO RE eae ResSte Ss aakosee Pieae eter oSRR Saas %Seo Sa BEY. # se Frees

tag oe retin nae FR SS Bee re Ae ake oP Sse SB Ss, Rg gees es rage es Sees ieee SRLS Sees aS eae Ae eS SoS Benes ey Sees ge Be pa 7 : Scie oma ay Semone sees Seea ey Be % Se en See aa eaeCae st Se Seg \ Pe Se : NS nerBae ‘ >. ">sas See PN, eeeSg ns 2ete ee 8 BS ee See. Pe 3 eat set Bee ekmarae a AeEeABs ae a yA

Pee ee Se @ ae Mie, ESS g ae a oes eae Sanaa ae3 iin as Pheu Le oy Ale 4 y P | hySas setsSite Se % Be cae NoSE ees we“ace we SEO. er ote ptagrensamn Bi Bareres PISS SESS corse NG ieee 2 eeBe Rae ge aa NES 1 ip se Se “aaStina aeSexoStak eke aes os tae S ‘ es ae ea e *aeie3°ig “< :

:rk ne SN a Re*RES ee Rolie SNPS SOisaes at Seee Ss Re BEE RSS Bs mS ~mS ee oeBefe tS. aeBeegRaSe ReTae, OE=>a2xaOS Bee aoeSha esetSucre eee

3:

seasRa ts rae Ss os, Me:% =aee eSEe , Shc%Se % aS Ste RSSEE Sees aPaes SpgsSetiies gs RR URE apo sons Biss, Ne ces oe .ae 3 5< he ee Sent §ESR toen Ro=ae ee os eS Sy sake eat uNBA. Os ies baseS Se 5 ea a eeey Sree Se cages Bes ait eRgoer oe ESee: Bee Seke usPe AN :.UE — ek. eX Pet. gS pe peiinaic tae = Soe a ; i ape Beane eens pee Sap eeaor;mo +. . oS eeSesnot Bee Nae Seer Oe ee aSeeee ‘Ge \ es -Rehe ,-z,e - ee:es, Se , Le sank! SS Sa Sacks secae Ste COGS CREE ne eaeTS eo aonceane SEB SRE So aa set. see ey ge NS RSS mt eT. iee tS «ONS Be heSo RS, ReBE se % Seeeeat aeae Ros eae ae wSea E: erie es" ee i3veAe SS eonsmee . Se oo PEres a Bi RS Re eee ef op Sober eNakaee 3 CORSE Sis SP kortog ep BBA ok Reox 4 we

eo Le ites Ce Ht ON : Se i ee * Cat ES.

ete aoa S tease Mh he a Bee bes % Ri Neen ss = — \ ma x S\ .

Saks Sees omenemane Bat 3 SS Se. ahh Sn BRK aE BRS, PR eae 2 pcos ee af ea ay: ss) : % See te es * Syne SSS Cat ta Serta Sy Gee oe Se, Se my Rae Sores oy gS ess,Bastiat Bret, enue Ge ok ¥. 3“e~ . : hace see ERE at%ne SR \oR Siae Fo ee AN, , av | : . a speats BoaSe x ee z St Kes are Ce MaSS eTEras x neeeDS peSS: irs SPP oe aaa ~ RS Seescy ees es Sos -z . "SE SSeS pate es ae SAS oeaoe Sa lp)om

a ++:.aed NY eelLo aidoaia

SRA RENN ST eT eT

5 Siieeeerceees eet res ORAL RADNER NG

z ag eS laa ek a a SIDA O OTD stecensaangnen tees = #3 eee She Sih ag REO en SN Ne en eee LOSS PEE IEE IT aeccaee aes Ee,

oS BEa ee S038 Pes SeeSeSSes ge Sass hiceoctane Rete cca eee eSsete aaa ICIo> E28 an eoceieee ReSee Seg GcShoots a so nis mare Seences tein SS¥Ss Bee Se eept.“Seah Seba = ee>Se> oO: Soe RoSSS ee asSRR Beate eee& C855 omc aeseicngtg os “: Be = at Beatie tgNk 1a.Seams RR Hea: SeeSeooSoy RotSRR $3 Sas ee gesBUS S Sayeitaaa an ae "aan OR Se Sie Re

LE. Reaera Bae eaoa8Rotem SS SeReopa es ea Seat Fees BS BSE aie.Pie eas eee Saaseae Raeerone SauaeosSees See ee

3 eSSeas SO en2 oe eeaaa eee eae ti Bass ee Seapets ates a os: SRESas oe See eee Re Secor ee Se ste See Soa USSo ekeS eae ae 8 Rese Rae oot Bae ae Sees Rae gSe pees aeeSa Wee St Pee ees. Seas soHee meeee o oes Roseman aneSecies ReReno SSS . (SS So eeSa SesSee rigs ee reeree. ame SE a oe.Paar Se apes S: . eos x SES Soe SAN: = eae

ate eta ottaeee RESee: SS Sn a Be > RS SR See Ss RSE eeSein Se See ERee RRS SNsy Se Bisco: ae Stee ate a eaSES BR eS

eef.S45 Ren rte Ses ase eterneSERRE eaee OeSe Saad edison Sheen gces SSSR Ee: Sa BE esOeDa eecme ee stan Re et: 5Tae ee RR eens te Seca 3- Soe aeSes SakASee ar ee pala spre SR acee ¥See . ee Baseasattetwsacatecota wece aa SS SEES Cee a eens eo See Sees eeeon SR ne Se 52s eae'Se Sassy Sats aSa er:Sk. Se. Sed See ar oe SSR aes, Rn rene ape Sei es se ia eS Seis Soe Se . PssseeSOS a eae a3 SS Bs Be aees > Hege Mota Se Soo areSee iheSsegen Ronn a ane PeSees ea os SS a OkSe oe,Soe : RES a 2a eS RRs woe oe ORNS Tee het =ais Ses 3S Se oe ae Se Saaeeras ke ; bes = Khon eee Sains Secon ase i ee x3 SS ae tae

4 Shee 8 orSeana RRSneaee Se ieoeaSe.8 Sees a Sete |ee eea ES Saa ES heSBE oo COS RRS ee a ae See Bee. Css Rate eee Sree oe SS ie SRS oe bee hes ais eta oe Pe See Be sae pas Pee SK SS : RE, SS xs RR Nee =~ = 2 SSS RS SS See 4 SS ees. cee ° SSS So Bos SSR eememes. Re, “SeBeRae See aeeRake Rea eae Ses Biss. See ae Sra Sitiay > Bi SeesSee ES aSE Pacaee BS Soe coun 3 aoeSantee eS Ba aa =_ RES Sateen eaSes es =Bes BY ee ae as

Sem ee 7, eae at ee Sse Pe ee 4 Bese SF

eesaeGer aie aa eg Sk ae2aaa Rica aSoe as ae Se BS 3See Sen eS isS BSSee SSSs ScSea Se: Se aes Pere ; aCe a oe eeSe RS ees Rae aoe ae Hie sek RS ee Se eSaSh 2 Sen aeSo Ee ReaSO Oe eee aSN Se:eae = Seat oe Bsc SRR Bee Pe Berns oanae Rep ae Sone Seae erURE, aaaeoSN Sree Se aaa ae 22 SS SERRE. SS Sees na 2 OS 2 ee Bae es RRTes es Be: Sook a 3 sorset ocaten tect See SSS SBS Se taraBees Oc Sesnausuntenas i = Res Stas aesESS eS ee « oe B33 a TR sea: Neepoe RpSoBe ¥ eyoyesate eae Re c.- Se Rs eS a pratt Me>osSo SeeesPeers Saenca saeeee es 2Soe Seem Vv Soe ee -Fea9See fo es Sorowee oeaeSacco eSSe ae ef rk Spates ene ae LESS ORSSs SRE os pa = eek ieee Bae Sta toe as Se Re Soae Bios 2 reat ie 3 Se MOR aes borates Sines ? ae ene pene SR ata a > eames oon , Seabees re Es - iss) Some Re Socom: Saar s SS pinnae SE eo So a > RR eK Seca ES ene Ss SS aes = Ses. SE See Sees : Sees mafersuntareienecomereet Ss Se Sheets Rees: ge See ee ae Soe SSeS: SRK: Se hes ees a Sen PRN a Se matress Sees ae 2 $e fo ER Se See Scan Ree ioe Bay ail

te ee Soe Soe Rpteraee Senet 2 oS Ses ae SRae $ SSE Saas eegee BREA ES Rs ee aaoS“aa comers i. eae eeSeen Sens $ oa coe gtRR eee ae See= Sa Ree aecaBRB ieee Paes. Ree :,Beees SER RES a SS eaieent 6 ae ae Rees rats gee i ae ESSER Sosa Ser ec eh T3 os 3: ° Ss Siete Baka soak #33aieSRO Oy 3Sa ae oereessnPa Sa Bs seSSRN re &3 .eee eeFES atraaaaate 0 2% eee bee OOS aes a BRRoe SI ead RSS ceeie S eee yas Ree Os ro NE pga es a Se = Sosa Bait Re ee ‘tsSea #3aa ae Ea oe:—os bet “32S SS Sc ee Ne = . SOOT Se SS OSE peony ecole See ae 3e ¥ bees OSS Seer og Se eee Beth ee Reina ee Se on eae ;S ones Se Reed ae = Bah SS SEs aoe Pea “Sree, Ree Ren me OR em ccuneis. BS SSR Seeee 2, SESS ta 3 Reo aE SO . SOE eg SS Be Big tone oeSOS Saag

Neat oe ss OCR ties eestater shee a 3aS aan3Andee Seas=SRG ne eo Bsone = 3= 5esrBe eeons SEN eae Ri SEES Gio Eee a Beene SN g otsREA HS 5Shon” Sons- >Ree ee ca S

weed Bs: a ES SESS eaBi Sage Ae. ote iam oe See aoe OR . eee os Seo ess eS a Siemens nanan :osLekota Bag SsSeas Sar Rees SSSee SS =PRa aBRR icsee ae taser tenes Nea Seana ase Os aer :nein > : o>3oo Seen wietarenstoy oe See Rising Ss .No, RRs. 3 “ae eeSe SP Seti aS Sey ae Se Sea See ose ee Soe Res pices Seesaseoaien St Se: : ESSER aes SERENE LR ee PES eo Se

So =3. ie epee tac “SERS aeBo BSE SERS a cs. Seo. Semen SoaRe SeesSSS Be. oe eee RS SaBees oe =aites eee +SenSRR Seas sagteno ome tsSR Sees es[ad aaae3bak tesSent Stas seerseee: eg See bayanene. ke

Ses aes a, Sa SOMES Sites Se 2aeNensantetanatars Ses oo 3 ae Raewane = Sa. pe Samana as RsSRR Roe satescaste SOE, nD < Seeie iis pe oeSR al oe .3 pens Besti Sase: Bee Ms Poke Se RES SSeS SeaRoe pnSees oh ee ==rte S3 cotoerantsrs a aaSs pee 3aeSes ty eee ws Bae Se ae See, . pee Sou EES OS See. ees eas S te Sa ce See SS as REE RoR Ro Ss oe mond . - Seite oe Re ok ae Soe P's Se

ae § PES Tee FP Sarna on Ses =: $3 See ih Seo See TE et

eeB3 BasSee ER we Sees seySees Rs SeeBaie Ree seer TERRE 33 4RS . pasate SS sssaeSSNS SN ow petits hatsSee Ba a Se ca FRE eae eons Sos ot ey SSF eteetae Pate RSSe Be Sear Soe Baa, SOS e) Set eg Sea: se co aeame Seeage oe SRS oe Sosa SeeSines gy Resta ERSeae SERERRS

SS Sas assis. SeeSSEES She SRN SRS aetea SR Se =nea SAR Ree eas asoct ° =F >> Seah RR SSBRS Shee OX SE ee.se SS one esc canSee SS 2.$° - 3Sa°-eees Sepang Oo. mane aeSERS Seek Lo SioSo 2s? aRS tapes Ss. eee enecoe so aroieen eae SSR SOexpect eae Saas xrae See ee SR SS Seren ; xSaORS SORES 4 aires Saag co ee aaaes ARSE Stine Sit ae Re moa *eee BO RS copay aaa >m2 se S33 S33 PRES ots Seas Rtn sake SeeeeSood 33 ; OER oS se SS Sec:Resi SRO =. sens a cette Ree SEE renee eyenslave SE badq is RE Biecesssseensnctes Siaroro pe SoeBe “gqSR . raeSs SoeBiase arte st Nae = Si eceecotees Parrett Sry See 24 “4 es Ninn Se Sth, Nees nme ase Set ehehapa oS Soon.

3 af Ee ie pr 2S ee sees es RS 3 S Rae svar eae Sa Be is Se ©

oes Sas +Ps Se oe ine we etn” oe Sonn Oo etm ee aes so ae 4 erseseeSe Se Oe sions Se ae ae oD $0 aaeReseae eeSeater ceeSES Seor-BN ee SE aSIees Sea Be So SeeSoon eesos23 BS RR SE bee teste BES cs oe :SESE ieee osSe PES RRS pes#3 aa Sc seas ae

Sieeecemeee St, Sy Ean peng athe oe Se: wa 3 RR RE 05 ee Sa RE TSS Sess Seem. EOa eae EE aon) pie See aeSe: So aS soe Sea Se aeSe RS SEO Se eR >eS SooR SaisOe eR RRS: RRSSRS bTSS ROS SR fen SS Se Bosse ®

eee Ss eee ee SS eee* 2Sees OO get RS RR Rtgs ste oe 2Ses aS eS Ree Be Re aeasae Bg See bs a St aeSS ae an Seon perencin 3eos ee SS aeeEn oeS| Si. ors aac Sa See SORES Se : tens ee Seee oO:poo sceincaro Sees Sena Sa Seton SSRsSaee ae :oe “ aoaoeSR eee cs SRS ParaSSSage tiassSe . of eee SEbahanSRR Seees8Soe Se:ae OS Seasais LOS: ape>peas es sees RRR BaeeS Aen ones

i See a ae 0 ee = oS

+ Sb sone See eee ean Seenonteees iene anSane oe ee Pen ane “aiRN, anggog ana Sr eR corerSES. aa SSeS. eae SLES a Sete a aa fe aeSa iseResets att to Setacet eS SO are nies >. Seats arenas: ote. So RES Se Pram onase aeeeee Lo ee Sa SSS Beara aaa SS eae BenoR ae SSR Se“4 ee» aSS Scene Seas eas SO eS See RES Best sg. Nee eee peoSSN. ae home Sashes: as Reetoeanate Site) 2ee RR Soe ee ea Bs Nees >, oe ras Somes Pa NaN Se Bok ae aa fe Rea aN fet :ie.Se pataeeeSeoeeR Boned tae."SRS: : EES

Se Se See Se oeeek Seon tee Se SESS Reece = ee Sao See tse ; Sens Sees BR. site ora a Serene Sen : Rt * EER bay en cones Sa oc er a ea Pg oe Be eee st Fcc es gee ee fee Get$a BS Sie eet se a eee aie Se Se Bree oa Ee Senet cose en a es he Se aN Sion eae ee bab aes oer Se DoS Nae, aa Re eat. ra eee Ff cRegees ae Sek ee oo eS eee BEES , CeRon ee ae Sos. ESECIS oe Stee 5 Soy aaeBe as Oe ag een Sea RR eRER, eeTe one aad Oa POs SASE RD. see Ni sais ae ain aeSoe SR ae NN SSeee eS LEER OR Re SeSESS RS Sy SS: Seam. sane Sood Ee=aSe ee ESSER ae aes SR ee Ree ene. Re 5 Once a as eo Soe} tee SEES SRS mr Bs = SE SEESS BRR sees eg Pet ne a Br ees Met > Tae ees cae

Bs ee re aN BS So BO BO eSes Sees es: ee Saoessaech, ccm. See Gee tS eat ae Se Seems wenn aeSune romana anes aenue aN BE ee ae eee Sb Be Senses eR ae SRS eaPSS aee Siar aers dates. a> sah EMO es ae SaSeas es seen gna ireat eee 7 RRS a> oemmm Sese eee SO. oe RE MPa ina se" =ay ate ee See . aRS Sse cS >. Semin Tat RRR pr ne NS Rie cs Ne: Seat ee Re ney Co ee. See Bs Ses eS * Samii, camer i Ses SON cho RR I Ne. Se, Ne Rees a es Ee Soocenees. Soon Renee. Steam rene o> os Pasay Sr oeee 3gaeSEES ES Sen ae SO aeSoo pineosoa”. mmm Sheae ae Sp Speomenner s. Seams) ee OANA ne ieee «aRee oy ee RSE ea RN SEcea RS Se

Sage eagpe RSS SS Sie A =Me ENReaee ii Saat cater esSets Ga3 See aeoeSe ee,BrP SE SD a:Ps RE eeA OCR. Bee. aes PE. aSree Se. ae eee RES aeee eM ee oe paces OS t Gt EER ee aaa.RE aeeeeemeonmas seee Beis ee ONESS Soe so.Be: Sa Seeeae oa Pe ee eS. ge ee ae See ae Gees ae SS B teces See aeSSnants aeea. eSaaeae ee ae aaS aeRR ON ook: Beees et Sf i See RRR aE ae RS SR Ra, gS SORE eee SS Sea ce BoE Mn oeRa Fei a Sacer.Poe sae San oa on. Caen >ee ae oeMOE Sees oe Saag SN, oR COEES oO RC Snare Sota3 a Pigg te ; aeSs ae Sasheee aoe

% aaa, S ae seRR Oe Ny ae. Se, an vacconasl 33 Became Seen ns ee ce PeeSeSete Bee Seoo ateaoe eeeAS Pt tee De a OaREE a E.SUN SEN. a, Nata, a osRaSeoeOI. eee eesere. SOS eee ES I SRE Se Lt RRR SS 2 RE Xe > SRO, SBSs aSes NOLS REeeRSoeSE eS OS. Se me ER ee SEoor tosePeta o sachcd. Bs Se oS ON. EEO. ee. Sie sumnes SRheaeDR ROBE Be os. RE ey Bork Ya eee es eae rg Po Se es airs ed

Be feeaERE EOECOE. ESO SEES os sai aS ee th oSSERRE SERS 3ES BRE Si A fe Y SeRECON , AS BeesRas eeeSURERECRP aS 2 Seren Sa Uiterapeareer aestheron Retestty RRR aa Be eke Sno DORK I eR Re SES AS >t RC» LOO. CN etRE SRaOR INS eR Saas Lok RIT RRND EE SN RES SES OS. RD Beeen RR. OeCease nO MRI Bee. Son 58OR ~ PRRs eeSie SOOO Dea. SNSRE Ok?SR” MeBRS Sn >SC ae ~e ee, ate nRe Sete 3anSe a SS oe me" SO A a. #SeRee See eeRENE 5 3 so=agePEER oSOR,SR ore Seee Se aSUNa NN ae OE 6h SRS OSS Reh eeSnee oeSeeoe cos a- 4ne Sie

Se eS a Ce > ie oe eS PgR. Se EDSR Sei Ro S Si>aa7.mene oY Bar SRS.SRS ERRayn ONC 1 BN ACSRe TEOe ee ae Se ee Oa PaSSSete crea ae Ber eeeaS eee> eee 2% Sek me SaeMES ae SeSEB PR SBN pan ae ek AEE

fat Seoenene RSC aso3 tn nae 2 eee Ge ae ae Se Re Bae Reh eaOk a ok te oeBe aeSe SeHEE a Seeger Se Be FS Benes easeae 2 SRN sssSeSimca S Br £8 eae PE o> Sona ere ea eeosSARS Race See.ee... SERS Pee SR a aN b Se 2 PS % Pie ie RP a SRR Seen Soe. Sie eee eae ae see f i= See ER Pt aS, Sick o> Seen Gee ae ee ee SE OR ee ee ee | SSE SRS woe nae as . Sy Ga ins osccnnnn: ee Set See e Seas o> Fos Cec Ee ie ae saes hE BeSES ce Mess. eek ove SPS a.PsS Sot Romdeaae ig oiBhs We Sees tik aeSkee es See Se Sa mer REESE ke Se eS ae tile Seen seSSone, SSR. fo 2eee Faecere PER RRS SS aaod pe SSR SS eeSoe ee .csSeSen Ss VSS eer SS Se Oe Be eee, Stee patie ean » 2 BEES re ea Re SES ES aia3 acnamit SaasOR ice.ee Wms. an o> eSSy Sas SRST SEs RR RS See ee Ss eea> eae Sefterstenete” ? Se z 2° sCaan SeSsSeoS SSana ee OO bo Aoe.©.ae soe SS. eed cee Becanteen Pasa nein ag , ee oeSER pase Kg? te SEES Se ES ee” Cena ye NS Se Se. Se Se. ea ~ Nanny s SOS Ske See os ae nen. ON =SS ateSRN R28es > Lee2.aS,See Aatd aa Bs Si ae eS Ss Re Pie nae KE Se RS CS ee ORES Se eR oS. Sema Seen Eee = i: So See Be ems “hon Sem Fs Set Bo . % : Beer ge SS NS AS Se ines 5 Sore Se a ae xe 33 SS" See SS Se See SO SRE A Site oe eae . = . oe AD. = s te oe Se Site ea es Dao SER Ae Saat oe aaa se S SFO ROR, Ste, Se. Se oe 3 Bens ee a Sg os Se” s cS See ee Pee = S&S 2 SPSS SRRB65 See IR ee aSeeeae SS. mmaaa Bk ees Maease Seton Sn Se SENS. So: RR SS an aaeee a Siero ans sc ssee Ba Se aros PsSk ’ Rw Bese % i ae Sees See a aCeo RRS OS OOS Aea Ge SRE RS To SSSoe Eee 3 Se Sltshea TEeee ae ee Sn 2% eine NS eer neee a See ee SO Saee Seah eeeae 3“fFe SeTe eeNe ein Re aesae 3 $s pee Ras Se: Se A 3 Sehe Say SaiSE Saatinas ee ESS Sitoaeenseernate a 4tS eee we ee oe fk aa e. SRE See oe ee, ess Sree See” Be ereSe eeeae Sernn &oS}b.et FgSe 2 See See = Ses :SL Se = See ses:So Baaes oeans RS See Sog een MeSes ook. teSE ae Set eS See aeBoreas: is Sk ee aee ee tee SS ee SaSe tae Secs eS RB Meamrate. 3 ee3Se xSnaht. SR TR ORME Seot Se a2deee ae eeeee& ttBean eet ees SAR os

ie te? cee ae Fe PES eA te ee erty ee Re i ee: ae SPORES ees SP ee Bete ck PR ee RR Re ee : | RS Fs

tS eee Me PR Be ek RN OR ee Bee gf 8 SALE oe. fie se S 3, ete ae Pee RL Fe RARE ea SS MA eee aes Gees

‘nee gax>EO eae ee SE ee ieSees cee ek= Se ieSee eens Se 4a Se RRS 3aae SS Being g SEE SeSRS eeES eea oy RR Leneeases SesSea eK Seae Se Seas OOS IS So SaReese ss Ser. “ oS haree SR > SaaS aeae >eas eeeae oes Reoe ee oe eSoeSoe ne 23”ae RMSE, aom Ree

6 Seer oss %IRS os s 3 SS SS CeO ee. < SoaPe s Seco seman ee Pace aes Be Seem cree ne aaeee a RRR EOS aeaetei 2SOS See Benen enio angenoneitens ES oea“aee ee ee ReaSN a RSQ ‘ = ES a3 Re he aaSax ae #% Pt raeeae se ; Sea Sone Se ee Snes Mei eae acne nee ctee eaeseis mg gor eee oe i pike Semmens SNR Ric Oe a eed Spee na Neosat i SG eS Poo ee Sa” aie a Soap come ata Ses ee Sh Se ees Ore Be, CE SOS RS ee

EES RRR ee eeaSue See aie BSS ER 9esaeSS OS SS NE ES a Ba SRS aa BS BanBee AS Fed Se ae" Seasae +S Ree 4 i".eas Sh Sa nnn ; Sete an See ao . ae reCo Be a oes. oneaSs SSE Saar aayaeaac cae teeeSee oN eae Sen PR. gn; ee, Senne a eeeae ee.Seney Ot SNms SRR ee,Ree, SIRO Svan 30en RRS

B Sees SeeRae a Se So see Bea MERBCOS Rae TmNR en eeRSI. ee ae pages seeKes ee a SpSN, te 3 Fei soem ee eg Re SE eSeaeed SeRes aeEsSos eneeeeREeee eaecaSRS ae aSame GOT Setehes ee eee >a iigs: SS eo .*é=Ke ¥bBee Pees Siar ee ere OB aRRR setee eesee ee ‘ Meaes? eeBerne > PRS ae re 9 RR es SNe Se oe SasSsSee, xSay anes Se Be Sse Bae a SS = 3SS5seoSar. cod 33% SoeaR he... Se BRE, a NR: SOS SRS SeeSee Bro RE ya Re ae |aieea. ee ; ZO SS aes eae Bas: Goer enn SS WR SO ae SRE OR RM ne age er en SRN oe en captooneeenacene Ne Seg ae a eS ae ee NS Sect: SS, ee ca PR Serco de a Oa is poeBos eee aSS BR BaeBSS eae Roe?BRS See aiaaes iSn gnanict mcanetemea nem Soe poten 3 eed meee,” ©See were iis, see aaae iDRE aac. Seeman SeSa=SSS asBese Smee aos ae RS eresos%%oe ee es RS 3 See 32h : $ eatsosSRR eeCoes: erence ticesne’ eneSCs aes| SiS SS BR sSgaeeee RS I ORR Bee cee a &. ; o 4 SBR Beet Sa: ate) SRO SS Bake ROR ea % Sos os | See ee Se Sa Si ila ee SS 33 eae eae oe 3OSS Se Se ye Ses ¥%see aSe eeé> os oSSe See. Sema 5ee eS SRec eSaae Pxee eR eR eae :s SiSSec Sore eaesane ems Se Re CR NC RN St Se ae FS ce SsSee SRE SS Sesiemuse com » REE SES: = S08 See $sSims: ~ EO eS ek Sees S ae eae i SORE Gene ; “3Stee es Se & Sere Oe ‘% SS a no nee Sr ae. See Sees B >» 5 ee S 9 Sea cerere Ss Ra oe A a a SS, Sees ee OS SS ie ee, Slate ee. Sa

,,’

ib Seo RRS LPSeat eee=,ae:SeierneS eee Re eee se: one (See SeeeRe cs ae ae© eeed cetRe =| (iArece OSE MRS a S Ce, ee. Se oe ae Pe PS \ Se" os 2 Se pets ae oe ae A OS SRR a

PRSOieRR esa Be eawine x See Betis oh gee dene Roe SOOS SeemaRES 5 ee SM SE >Sa I ciaaes > $ :SRS fhe Mao Riot nn eee ae SRLae. RE Sa BRSeS SE,Soa Rae as eae ee eee ane eC c a aaege aeSeg

Seether sapnatascieraidioreisCereratareselgiatetcranetcodraratc%e dh Parenti a ) canis. SRS" oye - pescanes SESS e AALS ee Ris eae “AGS Seer aa Se aaa Re RRR area. oe MOR SR ORS Sk

2 Sst eres ee e Sea Seg Oe Rerrona enne hs. ea Oe eg Seeee oefege:Bae ee Sx Cen es Dy KK a Pee Seana as xSeoe9 Bt a Son en = Sa nein Palen Sai an esTeo ee Soc enea pa RS ee aa Ee Ree a. eeBas a 5 ey eeSea Sate Sees a eer a Seas eS Bs Nhe aoe Kamen Sone es NE ity NAO NS Sea SS, RRS Spe Ses Bspete oeoe ae 22S Re OREN SRR ee My Sees CS SRR aRe3 Se Se aah etait Bi, tee ee es Oa ES ae Bata goes Ee ate eee Passe: RES ERO Se See “Be SS St

SS BESS cnr “re Nos a ORR he arn aee ROS Re Se stSgn ae tne MPaSoria atone ORWis SS ee nora 8 are SS Oe Snese ON a Ca OOO aeSLES | SSS aneten SLs SseSO IN: OeSo easS a PASSES Ps : egaee SoneLOR See aes PSS Se SotSey oS Sa ee. > Sees Ses ShainSS ee RT eS ecm. ome ios, Rin he22h. ae, se$F re Re

aeSema Bas Rabson SER raER oe.isPre dateas taePOMS RN GR SeeSta pscNR aSaSRR ie aeLe} ° vo BasBeat secoSis WS ae ae Seeas ERR aS, as, “gt ogg OREccRS eeeAten ee Rat Sone Sa Saesata BS cans

SeeSeg 6t Seenae Senco eanmas aenaSES ag ona . PERE ROR nee ierc ee eRreED P| oeXt ae Ban aed rs) ae SR Seman. Seesheets eo A See ns Rene SESS erik. eee SilaN eo ee Se .ee SS«Cn a ae ASa. . SS ae.Genre ee Se RAS SEceaSeeee eK onto PES RRS eee ban ota oa Be mee eee aemts > 3>fas] ae S

Ba aia Mac SASSO RR OS Spree. |...SLOPES Coop RRR ea oo ERS Re BR a So REons apeSee tea SN ° 5Seee aeoR uv BSems 4 bean. SSS ek | eee SLR a Lee LE ot PARLE Se SOE MIO Ne ie reSaat ee Sk RMN

=3 Kea be SR CSeoPRN sat Seta aad aeSSRIS: schon SO SS Stic ic naeeNe Seene.hsSoe BORIS RES es Si Writ gcsea RRO Ne aan “ aT Roe aprons RRS SRSSag Sees.tsSeana WE RES eee RSSe hone nn Seen oacaee Oe eS, ee SOMBER hae eaeae ae Bee beat

re, BrgRae, oeTRE ta ees CeRe. a aeRO Oedan ac ay cicnien eeweOem NEeoenes SS ase. Sed — yRERo OS RRtek A ee SABO tate eeeRECS Ene ohSoe aayreote taKi:: es aesee Se See hopes et Peoaon ate teBAK eg BROS seen Orpat Re ee bateRenae HS7: fey

a, ose Soe 8 me APRS Baratan. Sah #3 spear earn ER SAR Ree Sam Ta Renae aes Seo RE eee Saas Pas a . Mins eS ee meee Se ea ne ps Bee. Se Mone een a 9. =teaeeins Seve Pe er BS SP. Pe ©o

a gonna ene Se eee Ronn ater rota Yorseronne . Kore en scacamennntapcote toe spooceeie te reactants eee Nee ee “aes oa Vv

ei eee wate teste paen nae acuity seemcnoe ete ae : ree en Shiteancnces hee Pe Be Rane oor ake : ee Lys | Ra esoeine FS peiceiitiecrensnionseiateiniaiites Sunstestsnsinanannau nants ee ° st este vente ee rn siegateenge ae uesseaecanees ooh SeeS RON es ESS Re oeSe Sa:3 ;Pray es Ree intiniaiine See Ee ae Sabie RE Siatienoanoncsnnoncaenn pogmpnetoctass

ise alae oly RR SKS Re ao si “aaa aaa ORT RRR EREHHROTTPIID : sis —e pagiagas oeSS RO me: 0 eaeSe AteaR etalassoc ete eeNr ale ena aRIOOOOD, aaaRe a SR “ve

~~ bate pip. o’n's's.« 0's ones © 1 go tapestn oe os De bene Reba ec a RAIN OIE IES 8 SSSR RRS SON SO

PNP an KK Sinan nan Se eee SEL Oxieieiecetehte Sas Sete snarein < sane : pis Ra = AORN IT me Seed ~~ 4aeSOOO SES sancti z socscbeeee ss 0 ROIS senorpene nate ae ES SS NN SKA neNsSt Pech nnaeet teSes te ON aa = sosran tenant eats avira eenssciiononeree anihopnamnnnaneanonaae SopALND ocieasee

Be eos Sa eae oS Se SSSR ERS PTR re Se RE Dra ge S nacana asta ate amon sen tact aaa seeentaenene ee neeres meee ih senate RNS SRS Se2eae ° PeIRE OO ccc ReSOR” aa SRR Sao oes NOC ne ky ee OO NaNNT SI eeSOR Sh sSetae EES os"aROOS PR oe SNC a a aSON : RRR RC RS SE RSet SPS Err ee oe e: Bo Sie OP ee ae Bee coaectennoaty Seat ise 5 Re SR te Se ne ak Pater are ee Oe Oa Re tie Ss Rpooesoooo ee 8

tae Rae: are SES SP eget BELO oS RE: nttanaga ee Si Cee eae oe =ee “RR a EID. RO SON RsTR aRcick: Co. bsSREB ee Oe Re ROOD ie oro ae 8s caRise Procite. SRS RR OSBER 50erpO eo Reg RRanne aScpiaae OS Sn,wttiowsge ay kasa 5oe aaisas RR eeeSBR eeene 3 eae

2Bese Sea re FErN ALS SR a srE SSR SR Saeeceae oeBBS Seeoo a ese Ra aeoSRS LE ae SSassaes: gO RAN Be aa Geis oe SN tt ESS eens See See a RO aes a2h aceAF Sor aeSC eesocteie soca pon me sn on es aoe SEO LL RE SRR RES Ber oe RFRS Re RB Ro ae a aati aemncetanam peSe ohSSE BR one Se osSan RSS S

Be RIOTS. : BReR EB me3 Saws ; en Mie Sunine , >RS RNNy anc mcm wae sna eee: NO. a BeesSO Beat eee eeO20 Lee LS ests aes = Siocon an, aaa aep” Le RO” Seem I ae ee Pe eo Se Bags eae Oeae sy eg a eeBe St seee SC RN SOge eR 2 SeeSe Oates Speae terete terccateates seen Co,ea Se SShornncanes Sn. NOR Se ie Seene eet eral Nese Ct SIS pees . Gee, SSS x 5S . Se Se :rs | $3 e SE i oeeapanes eae Pils tie PSMeee NESCent

ee ReOe RRaeBS Sieg eee oeinNS ets ek grt REon TESS, oY i eee aaera |SRReRe ER og ee Pd a2ketene SO SAS ae PS sswae SO ROR ein. TOOTS Soe” XSLg eRete oe7.oepe 2eRe eis2Ren Pars, aeRSS eeeeRe oe ey ES Poe Pe GN Ceoe aeSEE sw beg ieOR BOPh a ities are RO See ‘$t8

ao oeaes missed geeee ESRenae ee upren SR ONE OO Se Peta Semana Se: SEAM ae Ser eee RP a aenae ae Sy SrNANCY ae 9 BIGeSB BOG OT SM be: 4osJPR ee Penance opiRececcopte SS PF SF SsPs ecer FO SOO NR PIF oaSNS o RS ne See Ease ene er igi apcPA aA ONO ANANSI PLE Rerannteoosege Re ARNE Aas Se;:ERAN MOOD ‘SREB ene $500 soy re

a peasy error ene settee pcm na Re mae SEARO Peete at OS as ee ee + sero

gO QO ES RO ee Serum aee3 reaLae 4k SEES Se oases Bee tee 8S43 © Serge eee mee RIOTS pacers See Rata ReKee ee setSP : $324 Ms bet ¢ Soy ae eeSas ‘eR 3ee] Sr SF FeGPSEL SOE cee: Sree aS orn ie SRD Segheae SS Sip:

2 iirc ates aeigen eo ParmmennAR 5 SSO SE ate goth satetnanceeantete danainestee SAS SeSette ee ? saps Se esd ges ShSSoh Bs: Ee ae isOt Bees 5 orate Retisey ‘- Ses SaeSeeBESS ey ROLL Wosewimee RN? eeeacta a anSat SOR en ANe Mes SStaoen tint Same cae Mde soua coer ee So Nita ova Sues = eeoe ae Bee Se Bee Bennet Raaoenas SEoaee eto a Menno SoeaeeSoe ae dany > ct ;cons SOROSanna ce easae eihateratrretent Reena Seen, Rane “ RIPON. SoS ee MetBe e eer en, ee RrP23 PesanSe Soeae . : 252>%eeSZsre See 7)

Pe Rcide a aa Sem eaeans epee 5 wig Renee. SeRe > ae re ee eae oe oey&Be$3 = Rete eswets nS ent eee eat RRRMiSs Oe Seay Se REP - SEK MSS NSO Oe) SES eSte eeeSee Seeme ORSTee ie. Re ae 2aes OAS aneFESS 2 E aE rs 3PssteeRecs ooSeance 8 eS intee Sora knee weeR ean PRs ee aaeSR apate aReo ect FP RENNES go BS 2. Seomcmemeny waa Seanton ae ESSERE SS ae taeean SeRA eeone ag Sigittien aeaeat Rep ER WOE aeSo eecee Seo’ ee ae a eg: Bs mae oerge

pepe ae Resume, ecco NS We ROP ee ee ea Re ea, Fe » Se Se ae se < Zz SSsneer RRRSS SSeR esas Ser eae SPR BSE Bi SRA oe oyeea ee aapane ORSatRO RO 5Pee ne Saag eea ee PFSea Ss oe ee SRS “St FRITS ft See SS Bae nos na eee Se AS Sienna ape anaes SS RES SSS c es ae sere SORES Sa sia. Sea Sa BRS BR ORS aaa Sea, eR ORS a Reiss LR eS SS Be we ess Be * (eo) Loo Se SORE Si: Seen SER gee ae aa iiss Seeenanates See a Seen eee a ea Sips cee a ee ee FOES SN OOO Ces Be SENSE Ses v>

ee ee wae VPes tioi Sie ox». NE Se64 SeSes . rareeteireeres sehen oS ie é agen: i APS eneee ee Se os oe _Ses> ‘© “ SS tsSe 2.4eee . s a3eee ee esCO aisha Seay oS ay ORSena RS©” Ya lariat ateKen U2Seae Se eee SSMe oeOA ae a SRS Soe See Besie)cea Sere ets ay a see Soe eee oe itdPees Sao o2oe SepSoe eS.x.7*s~_— sa rome site,» Rasisee ae>aSas samme Boro xSo SSS ResRr be eae =Nee Ria nsRS te ates ode SstIE Sone Saino senee Yeas $3SS SE RES 3 Pe > ree ee Sn eCSees aK.aeSes SNS RS CMS Pe eeSonnet ORR NE So ee PERE SFax TRSe Rio BaCees eee LSP arena. on Soe Resi Ben reaeeBi RR eee eR» ES. eee Se oe Bee tere Sey Siee beSi ARae bores eadenr yee oot dessins a Re ond Se aeSN ath ee dae Oa : Pi enh eee eeeRe See Pc aessee c Se se ae Soe Sse aes 2 ieates aaNote ReaeSRR i Be rgcnae oosienna Resta eeORFas ackChon er een phea CN a ORR heSins £-"wunee, Se Se aeeoPERT

Seeee MER ee aeore ee NR SS BL > Rs stenobape te naeeSte Sem Rntasoman etre tia eeePe aaneeCRE RRA SNe I a SR Bas OSSs eaeSe a Bae Sg eae 3 o “a as ds Sonne Ss hs >LES Rorgn eeRn See MORN ne Ne Ree SsSS ae onSe aSanne .RS PRO Segseiineannn Chace a Sane Soe SoM ean MaRS ae So hc RNTR siren. Ungeter ten siete See Gees SB Bess Banaue aneR, BER ciSMES GOPON PER es,reac Se ea aneate SRR ee Ne Re Sekt, AaahOR cnnes rea+ROP SeSOS B oe SeeBae Reo Ree =3 So Res oa Pane OS Se Se tee SR eS BEER atone Sr eae. Seno en MRS Be ee ae SB, Pee scr Rintene awe te Rae oR BOS ana ae a RS SPER Re RRS Set Rithicas See Sse SeSS aoe© Ps MSGS Sas Se SO ee a eee a Sint ncaa an Sera he ge Monten oaeetane Mae he eee et SS ee ae “

Ry Nos ae ei Pa cite oe ee RS NS? AS Bae Sy eg ake S

a RE es nt PERRI Raeisar eeSER ee RO bereane eae BSB Rome €SS Eee6m © NSeee eothatasane cae Cire te: Prise meee ne pie. Anes ate Ta Sic Gainominne tt ee aION = Soo cen eee ac acta Beas,thes ean Satefe 2 ear OS Mausta 2 aeSBS ae ed eS SS es omen eeBc Seoees oe Pastatctare ivan aaa sme Paseeteneteteettenes Susanne te SORE ne thn Boss Ss SSeS ». eee bs aVY tae pahgeeccnaeap ae enone mnoumtae Seance papa BO eeEN7% ye: .ea. “5 P SSSR: Se se = $S58 Sass

Sie a Se Rsstate eam eso a Somme Seope a PN2 RSD ee Se esSee he See 8) Nin RN eons ee eae oe bis A ae eae ieMaw) Aen OR i ¥SS scnem si eeSn Reto hee sec eepics eee cateSkee “REgoer iain Saami Sates: sis aa cae RRS ERE TSE Sets Se OS atee Pe ee : et SeSy RE SSS : ta2 @ =0Oo anata eam me rps shasgeannnaante sos te Sosa CRS eto £ te Bete “Ahh POE RERicans ENS: NARA Sn MnP ARSBESS perce SnSITE SS SS pane ar Bs F Bier3$3Zz ¢ OME EEE SR ReeANON eee Oeee RRS i Eas

= Be ee ;ere ar eee ttsBa toes aS PS uee wee eSas a eS Be ;OR AE SSR RR .~ tagsRee 2 7gkBe 2— rime aa Pe Setact oeeeats eSPe eSen? . soSe FES = kT OPO ae ;oeeeaaSeoeSe pa es sal * : es ae ys aei tae ak‘1 3ss#oncnsnasammnanaggn Beg Be peices te.6RO

é 2 oe > ee Bey

| aot es, a se ¥ Say Be aK Rey Sse SSSeat on x3ORS SaRS Pa2 en ae : gs Ss ; endl Ss a5aeR Ry BS Be: mk SO >=Ses Sten. = asae ARES EER aSS& a. = ene ic BP. SS Ss ons opine es ee ee ¢ Ye € a ‘ s eee. ee Be 2 i% YR By, aeS BS eh aeeSe ag ee Set RaSS hePOS BipBe os ~. as Ae ise & Peme Saw < aeaes “as wen ae BOS Sar iereema3aa igs »—Py :a nge : xhe;wae %, Pak ns6BeRes Bo ae assee Peo Res eases micra eSeRs ate Pe—- -:€e5 Ba ae a ee Sete, Cond ReSere Ria aoe. sae Knee SS Be Set Be esof Sy Se3rescto peseternsses wa ae one a.” Noa ~ ve aesites 70 Sek

gs 4Se ee niesoe eySoe Re eesaee eed Bs Ba ateeee —ge=> ote | ie . *,as Lee aEs Samedie 2 KARE Se SokoR Secs ~~ See ei & cosaWie Se . me Roe fene Soe Sete te tea PR gebea. ne oe "ed ROS aa cna aSSSaar es Se, s et eseS % >panes

re > :etaoeoea eo Fs: Prk y ; eon se SR SeeBE : Si8 Sse Saas Se ste ee:me: SSS Poe . ig % ss ee boRe ad oe SS5eehs Bane fo ORR Se Sots ets Son 3 Ss SON Bis.Soe e553Gap Soh geo oo See

e 7) :a..xy.oe A 4 oe ss oe3: RR eryot. xRec bee $3. Bee iy bt oes Ke aeo ORE oe= es; :“‘goed BE Soot See - Bi SRS ORS yon See as caer .ead . oe anbY IeRS ae Poe Pe. © :ee eR wit & ie :xSy oRRee SSBO 2taetSee Sis eyEee Se sega tose Roe xo wes Pyae 33 & .ae 3eae SES Ce” reese nut ;aSN aeear OR SN .teCo ase see Nb tySas

“aeom Bal tean toe ee oS aR a3 3Beae Sone sa Nikon whee ise BEEP :Y :oe ¢ 3 See : iTRESS eeaSeSS RYSf mS 3eS PR or Bree WAS es -SES ReeRSS % aeoe oeko Sa eS ae . aeeme gWar ge>Son ey aS SS Sa es SeeS ae ee eee a Se, eestaSES ateeee oat e Boeey Nike oa 22 eee: we. 2 ee 3 ae ea pe cs >© ae . : Se . ‘: “ay ;sos 3 ctmy, BS ies : geper RS oS ee SPER Sees: :He Sapee s beak es, ame oe CSeS eeeReeste oes, ee 2S REO Re SeRte ox Shane pte ree

fiSSj Sess % Toa wsPROSE oeLe*oe: ee = Se S Sy aeegees om a 2=Feoe 23 3% Bs 2 Seyéso/ send Rex ge:¢aysae So: ues : a ec a >% wore ae os Sonam %es es. a3 Sates *eeRe ; »aeSESS RS Se nt Reestae. oe saath 3 eNe: asSaar ; Sees ‘Ss : SS : ‘eS ‘ Ses :ore :% :| : ‘ G éSS ; : es ieeens oe Re ne se 5jtee Syowe res :he Nay Os Sh S 2ay SRS + eae

pe ene. a Beet St i : : x : : :

ye mere Se oe. ae ee ea RS oo a TRS sot rm ene spears AE eI ae Skee RX a es ee eee eres RR Ss @ ee he

; eS g asae eS ane porn Baetien > SRI SoeSeRe%Co b>aeeeBO “> Re ae .OS OO NOS > ce &Se : sae See “ogSetsesRR NE - Sy Mop gee "RES tats Spears = Shicgce a8 i ets Ie Cen o> 3ae es .ae SER ‘peSee >: Ss eSBes: Rae se ae>sine aaaWore RSS ovens aePSR Cite Se ooseSgPoo ~ vane. ihe Seen ?Rac2, ae Se aRe +See a eeak2>a 4 See Ree Joana ware xaeR ARR S sss RS seacta Soketek ne Sy :Beton, RES eee bakes Zc Se Aegeee >Soe gee%Somes pote oe 2 :eros: a* oe : gee aes Be \ i.ReVe #4 - ys SRS caancanes de eee $:30% PRR Resse iLei ee > BO, SxSme SS| +eo¥ \Sees a Bek

Sa *oe Beene oeSoe = Sastance ~ Srna = Se oF Br: Nea obs ENS nisOe 5G, beee - as:ee. % :Seexesa: ‘\eeSk: SIS Sn Se Py ay esSe Ra Reese eae Pos as SA Rita ben OS = SRS RO See SN See se aneSoi San : Sree RE— . eeSees ae Ls Bet2cnc 8 :ee Soo RR so ecco RRR aN ks Bess Rete Se ‘d >> ~te mR SENS eS sae co ects a aaree 28h aoe Jy oe ae Se xenBa OsSO Bee sacs asSmt RegcS rn=eS Ss eania me no . a.bo aaaPia Bie BreeES % Sa eee >>ae bes ascne SON ae BS Boeke as ee Sheen eo Rx wes ee we RE os eg ER 2; Sas ee SS See + Bee act SS Se we See So Sets Seo oe oe Ss Sar 23 eaS Ses ws=te .oerate Pe Dae ered Peo> NS PRG 9 Po 2SS>acne FRR soe ESethes ees Co “nae Sees AeSee oySee tesSe &~fae . i.=e ; :eee ‘A ee 4 -‘ . f 5 => 2.BS ce Bo Soe eS Stacks ee. Sn aaaoint we ee as ae. ge3ae Se >ixte: Se ers Y en yee ees oek45%shee Ss Eee SS pee

: a : ' i: ve 8 ame 2 oo 3 rae cor SORT SR ec ies ees = SS aes =syeaee RS See SR at xs ee ‘4 Le 3“ .4Ro ae. Sete Saher ea anes —. 24 ~eS ec es Se eeecoe SSS Sue Sw :Bs:eco Pages “BES eS Rte ;oe ee me ee Sore apo saat ops S35 aD | i !: :¢:4ks. . Se é gs 4 sak 2 }: ae "2 ee* Sees nessPapen Berk “ oe aia Se Sei oS 8 Set fe eo SRS seu Se “3Bae eat Be Ret 4 +4

Ps ee ineae rs aoa ree oO OS oy x Sager Soa ees PatySos. Stine Sek ee Soe aSo ieCeeee Racel asSs Baiyeed RaeesRS oeaetases Set = Setepecan tee aa: cn ReGere Ne 3Fee: eeseee Se eS : Seas ea eo in ne SS SERRE ue 2ie“fee eeCpe 3 a BaasseSemS oe pS R Ee mo tes SIS ae Shee ae see ‘oe) ogRamses Sek ses.Dentin ae eee SSoeees O80 orn S Sood Sh cota esae SfaSe Rae % ‘gate 3ooBeas te RAS F 2eS BS OS a Uae ay| ey Soe “Sea ns SSS SEN eee eee 3 pees See: conexant rae a~Me eeSeat z see Se 3 & aoe Boe eee : Bete ;:PRE j‘ Ae yos‘. Js. éSone :aeQog é : oS ene =. on ae wore arsecoeek otis oe Ns Oe Sy B RN S | See uv ) % See Rate pe eS saat Rare hae: BS Bony Seoccontanie ste Sap x Bae ae eee Ra: Sree 3 pies BS Co aes 3 fo) & Seo BOSS ateStef SaeS pen~~ S Pee Sehee Sak SA nses SORg a cae} *SN PROPER Sen Se5s Ss See Be eeBe & —eS : ae: tage -: q: :| H , ‘ BS Be FN SSRRORE ae Be °ma RES Sy cad“ieee SSO oeROS = See ee =heReERRE x: ZLay Bou. ye. SRS KB Po mes feet & ~S asasaat See cs = Shee Sa cae 5 9s a Sree me “~ sth me = Ds Seek OB - Soe St eaess te “ RRS. on . x te Se oy. eaern De 8 non’ $F, ee = On SSS: SSB Shee a ee ee 3 cs a Pa Se snISaks ae: = ; “ae i -JSRe oSete Se =om Saeeesieae: Rie Pat tsnae eSPseee SRS Baas oe See PRR oR 3a 34 xe% iyRe Ree nes = pe - ase:-d:“tFx: |xq/ :44:‘:::i Ka eae a =eeaN Be * Shonieespens SteeSe Sa He :oS 243 2S ee es pS: aaa so co Se Sy ae :isss ask “4 RS See: oN, te eo : a4 RB e¢ 6" See > atagSe SsohSa aa 333 cS Ree ae eo we =eG ag Pe ieattic a. ee ps BR oe eee S ec : ea tae ES Re Agr eee, Sages = RE. om SR a oo Rare 3 Cad 2 SS seenekee See : SScporesontee oak ssa e see» See Soap Saeese Sst bof 3s Loto ‘ Res $3 ee : * S33 tant Me >cane ban ‘ne” 5ae Ler eaten oS Se sats SS:TS meeS ;sE -™ »eS sees PS . Re “oe QS: Ete aE nN -Po S=ae »NCes Sea soo oe: oS oSoes SER Beat SO Nee eae eS P natn See SSL ee =2S:xofs cs Soe Pee sitio Sofia Cag es Reto Sees eae ae PS ee See

ee Se Re eesoS >SOS aFo gona 3 oes mS Eee: dite Bee Pi SRO RAR ree FS age coe egal Paes ae:BTS: oP oeoe oy Pea. i Sa ,: ie eegee eeEeRB : Raper a Se Gere BS ees osek *Pra:— =: Po _Lesoh Bae Gm seo Sonny aot eeRte idaSas eS ee .D :E: 3

| ; Hes > | oe x RN = x Pa teen. te Mareen SSS ReerapeRRR SSes&- ete Satesvd aeSs eeoe be“ft eyae ::

: = Bes seins Soe ee , Sees See oe Reo ie g Sever . oe< oe ae ececncnanocons em fe : tiSe: :

ae mai ed 3S Pcs eee Ae Be intk cts e: 3or “GF ee.ite geNeat ; as as—— pte ~ > OBIS 5 See BE Sa aesiti sominne hoe 3? : : ; | e ; ee re SY ne A Eeciae ee a SER oe eats wee cag al ge ais Gr ger rr Sipe oo, spe ete wes “st se ieee 3 RT ‘S

ets ote ee aa OE Fae of ee PPT i ee

rd err be gg ai GOP is Geie eIPES SES ee BE et se:eatee eeoeeesas = SS ee

“e Ms ee ay ,Ffees ee 3 nat ate RenReus Soares Sons apoe Spates as:Ben stanom SagetEy RNoaakPRS eaepe = ae LOR ict oe os eespea: Sesges RSasks . sagt eee beie es Ke (i:ém1 Seesee ee >xe See Pie ( : oi:3=2oes _ Zte, Sasa as teaeRee 3ras! :nseee eee seSat Batis bse=ea 3eeSEES moon settee i ‘ 7 if a BS ee ee 5 oe oh “a ee : rot : : oe Sota =. pea, ~S sei Se os See os See | pieeae _ ce os oS aoe 5 See * ae Ts aa ad ES Cee > F “2 “4 Bee ae oe ; Peace: Ke Rh > geek & oes cee SR te eS nities ce bss :2 s x3 ee RES: Rs * oR saeSes Ee“a eee ea ee ee Se SSS. aks 3>=Sad $3.:Paseo Sse sycea see See s* Bes Sy ees ae 2 $3 e ce DRS ‘:Sse n>care Rays ee ate : 38xe Bee se.-Sa Bcc2? Bees SSS Se RR SeSe saeer eae = se < OF eeRee SaRasta. Fareoeeos5STN SPR es SRE Bit oo Hees aesstens By SeRs

Be = a” a ge aea PO e GORE ethretieoeen ped a Se bx.2 EES pS oe akepcnn 7 eR‘cna ee,et es a CO a, o~~ ao ee? Os asees 3 Sts ae ce Stes > aed "Se*. eee $5 Sie sae ee BS waa ts)

= Sosate ae > ee a SeSao an steletstatel niatecel ertcer#ssce os < we SRD. ek eR aes nD oe| ~ Seen Suse ee ERY Son Rec eR roteteasaanecctenens : TOP oS BR RRR SS SRN Se Bee SON” ORDO ae SO MRR "Sy wt) eminence, RR PS SS ORR FSO ae aE Re TS, PES eee eee eae ae Se ate se oe Bigs i SS Sua See Se ae eee Paes SS = ROR ce on Ke. > OT ne an ae ee Og Shite PRS SRP a PeRI Scateiaeec easeee aK.oo ORiage ~ Ee iaeran Ssebeck ote a >. ae Br oceans aaSe. ee SSR Riana SReR RE nace Se ne sa i Se ie Ge Sanath sete iair ODAeNR i Rn SR ee ag eeaeae Ecce onaRE aaa GPR IN Sek ne Ecnae sks asano toes eaaaars cet atoORS te Set Do tte est bis tls Hi A he IS Sie SNORE tatootns ce gO

enBO tae aneasSees Secnh airs ae vishal tSrsEis piers daheR, aa Cn Ee. Poe os ER le ReeAaaN Bes OSs aeeeBee eReSe SEResign Seesme se

se oe Hope aoe ee he: 8 ae Coe ge ae a i Ree a 2 oS ee

Fee SERRE Se. Soserasr a aR ER, BatySeeeteiae gee Se by GhBeers SaasKS 2 OO agSaute Sister Benen sence SSS g See Ses raat ee Rgicckcn hyoat $ itis SraCREA setsceanatsteeccatetetatencteeys : REoS he eae a PPso RD, pene Sa aeSera SO a,Sects S csenagees Sak See” Sea

z Bee See 5 cnnmmunnanns Basten EE. melee! "S BRR SS Se=SOSene —~f° Sr.”hes ERE ORS Sea ee as FP BE a aee¥eeeS ee oe, Sees egMeans P a8 Sea beSaas oySN, seGO Big pees see ae eo ssSOP Kaa, Seas See Bieta, See aSees Scams S.2‘Sienna Ee SOS PSSee. 4 Se Fs SPe eS peed SasLanige rae esa ee Se Soseee es Sere: OP Ss ro Pe , ee Bo cscs, gee &,i ee. , esrSe eaeeeSe, Sree se.So. 3 Siaa

oo ations EeTae Broo SR, Rested ihe re Se. Bg aR Rare ote Seceeeaes ae -. es gerne gee eeER co >age aoe Semen siete Sage os 2 Beee RSage Se oteieanaes ce ame aeae.Steae See PiSeRO a aaScan Sy-taatetacecstocsentes eae ie sa ABs 0% oe gag eo gerrecterr® S aeaeR aes

es Scone x > Sees OER RRae NeEe: SS >apie 9 r. ee = neice cometeen BaeaDEe Be Boge aoa °%se. es. 3Camas pS go esSa Fay’ f : eOR: , eal get *% ot. "Sierra Gaps Ss:ees«|;SitSapa ses eS BeieRe

Bey ed EF uaa Ra a a 2 ee a Pe ger h BR aa PRE ge 3 pgs cena aoe . F oN é Bes oeae hkPeBe&-seCP eo StSOR. Nae ee eeSe A ati Bee ge 3s Siafooe gine Ss ee ce oSAs . SsChe es : ERA & =Me Seer > eS Seemeee of se Bato % : Fae netOO, NE SS ae a-Ree ee aie Ph es Sage Oe ae BS SS: Sees soscs ae ee Bee Bee Bx nema a enpeer cg Rt,%Sate Sass, See a “ds 4 c/a ag’Seana SP ee: aegebeEOesSoTate PeRSMee Rees S Reg 54 ee. a>etySeay. 5 Bars ve aoe Ptesae Soa a Se

SES Re eSRe aS SSS, Ss Se ae 8 . see es ES Se 5 es Rees % Be SPs & » Pras f- Spe e 3 Gems im > ane: Sk ees ek ae eee Be fe a ae ae aa A “Se Reass 8 Re Ee Bae NeeskPSEA S Gee Sagiesthets as ae ht oe See ; i fsOSA oa oD eeeGo ae 3eaerRA ee ast Rae She ee BS Se aes PS RO Se See Biss oS SS See he ee ae ee ad . arn RK ao S.

. Sn «2 Day Sees ee Aan ese i Se Sa ae ine $ » REE. ze 7 >. ae ge SS cS Baie a

Bee PR eRe as See o tg Se SB ica 23 $3 Sh goer ee = poet es SS + Sees SS 33k 0s, Sea. cette Be 2 Seen > as 33 ES By BieN eee ae © 3 ae ad :

-y: See a of ‘ j eS see 3 ae: ee? os SfReese 3 ES esee "aces to. Sa s$ Se gl GRsee II 3SN BS ee eee rset. ae See. Be > DSRS >iaeienpBRS OO"eee See~ ieOi eS >teee Se&once PS. oe SS oe Sys >Sn Sar” Se SST SBons, St Sk & feet s Ss Fs: Se ome eS ctoseienen Bite ee See: OE &§ EN Ree 2| Bares. eee FS arsae8See Re Sa Pos. ~ Se PS eS1 cane Se Red eek Se & ReoScisSe*. eee. Same Seesaes Seas See. So > Sale Seesfe SRM ae SeSORES ak “Sk: zeeees + Say a ea pies annnananaindm

Poe = Sa oe oe SrShes ee So eeBa eeScar. as SeSoFS oeSaeed FP VEN e OR * ION A Raa ¥ osHNO SRM RORE DRanaCODES renee ace Ss ras e 36) taeeS SeSes RER Sener $Soe aee: pass gH Westend seo0 + eS ¢aoe PSO nT PARR APRE poseeeposipen tamara suhshounesnnuns ear. see ‘SE SS oe, OOO wr, seated eePOO Muaugnueseesasauseea ene eeearsnsrart Bs Le $24 Gk ae>: Sees REE BROLER Pama manatee een SSS SO SSSSRO SSOOD

sage antuaaiatnin sheaegten arene aerate a , en sag ira | i nation of the Virgin, S. Croce, f the Stefaneschi Altarpiece, Coro 58. Master of

OF gee SR POE, 5

: SOO OO EE RD Be ROR a eT chanteur > SapSd Ct ne nS BR: oh SO Ra aes pa enn CREGINOS SORES Repp esOP Sienc ERO A ON Sentose Bee $s ee ae CS SSO Nn Da MESnce SOR ORne SSSpore TO ME xOS m4AR Son OCR SS ios BOE SS etnbty. aesAas SS SS

: Rhee Ben Pe Be SR Sie Re aR + ESR ico RS ee Ree Be ea See Ses > Spar me Weare te So SR Se Qe DW S33

@ ke> SSS See Se Ee see eorety See Sem tS ae Be St¢Gee a. 2 ee es aoe Se tk RS ‘Ere ; ceCREO SS eee Se SseaSOROS SSow aeSee ae eK Sa ay- Ae: eo Sey - oeoeNone RSs ee3ex Oo iesgeei =ae Be ass 8 saeeee . as-Meee FOS eRe Pee =: ah 5 ae Sate eae hg = ae & Sees soe sax pee tsee : oe2 ae 2S aS

,at2SRS Se sos SSAC ee ee Se Soe a ‘ ikEN eeDs > hw SES i! Bak SPS$2 Sais dh taeme eres RigtS MeFe EePePIN go 3

: BSS Us 3Ea“4SRN apt aSEY meee hs Rea go:ese Bioe Niteceange oe ina ade cena, wilt es yo SoeeaSa eh ERE ES FS Sores. Sad Me Syssa 9 Aan estas.ata emma ee ce ny oe Sees RF Ss SOIRRM sy ae Oe ee oR

a. oe a yo ‘ fs 2s Hie peg Ss = ie ee & Pe aes Oe RS Fe:

ESee RSaeSaPees ae Cae ae woe ome eae PRR aoe. me RR | oneRN g RON NK,5SEL pee&: eC NON RS eetae eS ; :3SESS Pats. ca Ls SO BS ReSe ame »SOS RR Seas onASON feEaCEs SEEpaSRR Ropes PeNO be Staxre Sok, oea Seen pyee Res SR ee ee Sain Seesa », RSE ae3Sane ReseeSOS RReee ca repeAY Bas Sy xOe Pree nS eeeSR a Se SOR Sees . es Woo PaesNS Oe Beet HO eee Seow Rss Sage SO eePO a Or gona 2 tf a atFR 7.FOS &Fas 3 es page: e 2. & AEBea oe 2s peg. Bus BONS AtSeaS ae be easaSe ES cS Bhar teOPseSNOe Mane” Ree feeke oy Boe BaoSSeS, eS ees< © Bias Beg an, See rt SS Ai ae PSR aeBee Pigs eS aN, R SN O Pe

og Ryng PR esSERRE... | SeSRee ces $3SPSS. % esta i aire gh Pee oe See SsBs SSeS she sions a3 SEAR eGes beaoe Sees RR Or La tee Se Pete a Se eR, Sea Sineee: oe. SeRS aeHo eR S49ee 5S28ae eae ame aeeRe, $ ARS peas: Ros oe" a.Depew OR a Game mae ema SS eee eens © herr oe ee cas a pM RS a a &i fe Be? br SeanSect: ane SSAGS SESSA a Ce Hae pateoie Rm,ee REF z iere ig aRee A Ree 8 ie iecseeSS oe ee eae Geeta geSSRs See, Grete ee . Been:Seema oS De cans ae Ronan osname Ss FS Sie, cee SSS aaa Bie eaeGe ae Raat bans Sp rae eae sit srseR eee aes Ee eS Sain Seater. S. eens RS > Sais see a oe eet ethan cece ot peace pCR Se ER OS Se ae oe es Siicgaeemncnsnnusen erence heme antl Saar 2

Bs F OMe Saget nn mmm meas Ronen rani BER SR RR 06. SS: Sa a a Fae: tee tee 2 6S EEE RES pice uae ation manent a A

Rees Sih Raat Roemer aaseee ceayag sor % os erSsa Cate 8 I eta ee & }& aeBae Sthee oe Rienen piscina eeBoet ee ekBicae Sacsaa Peees por aSS oePicea SRRpadi A aue aei pore : 5se e: Bee pcre aa s cri Siti Sie Be, BIS anae eee came er ee ar Rieu uses ie uuenen siamuensnennene ne Bene. ee SS ater aaa TEPER Sa 35 Ce ce a a 0 Pe: Pe gay ee oa ~ i: et Gast F3 Ea SR IN orastatactotctutsrecate etcnata td Seite Eee TO, SS VBE ee 5 Naratatatst ate eated et OOS besser ores ee 2 See tet Seog me e o#€ eta a =:poRe {oe BRape eRapna Soe Peet Se gk eSDe saeRess POItS Resa cia$-a)ssaeae tetera cssy % tes: aghast ae SR Se.ae een Beige Se ee eee: Se re aie Se$23 eke=a2Sefs oieRecap: ee ea Bae *aae : RiesSe brea Ry Rei Reotec s ms3=Spe S ie cee, ea etaoe Seas Soecate tetasSeen Rese Spates. Soar ERROR SOR ener, RR reeSasser 5 aeDees RI OR oe n A ; Stace a ES : $ . 4 Be sone So ea oe pte aneteester gues cease ge es es Se ee Se ae SO ei: ie 2 3 Eee R =: x : gr Semone SR Sere Str oe oe ae ak: a SEER een M rR went aah saat a Teme seeminae ae S ceva * Secwewiees © 2 Sas SPTPOOTE SRR oe eat: &

Be spameeopeas «5 eames se ae Dee Sens 2 OTe. on. cae «. RR races Reece on os! Se ae Sees ae Sprtre emmmet e Sn tn oe Pais fees ee 3 e

Sor ‘tae aa Sees aSX ae S a comet Shee ys Be ee” Fe yezoDelermrsanemnts BoE ee 4One pi BS es Re on aSeSaas SS ieee aoeaes eae : > ame &eeSees . ome SRee > SS eeeSeca 52oe > oe eee SAP See: ee pede tae. 3RS ot CS eeeS SeeMee eg ae SOP >. a Bch tosSn P ig Brae OE oe 4Sa Sa oe f peste a Pe ? Bite Sos spenoneaes oP ee: Ba .3 ; eet Se : 2 3 gee Se te Sek aha ake 3 os eae Re : od ees Ga own $3 5 oe Yr? ren: > Sanaa. ee : Fes Danaea tn tao Sita a. Bao m es %

Be SS Siok ~ sei 2 pai SR eS Be Sconaeomioay ae SghesyeRRS 3 Seas kop ee nga oe SSae .Speen RR Sacre na Ss Sore me «-< SS ae aedome ee ae aeBe ae cscs Saciitesmene aegen ce RBa Se PeePe Peesemn ee Pe SS aa Ses Stowe soo SoSeemann See Beans 2aeons eee sti SeSeacae eee Wa asptiaceset2 es eee &epoe .%aR&peoith, ae ee ae Oe Bd 5S sees 33 Baer eeReeer erase ¢ Bote tee te LO EeYaeseees ae Oo BegBeier Siac © ee See. 8 aySuan aaa Reet Soriee erate WY3 IPR eee2seas Se. Le. OR ae S:BR < ee carne thatnterncae rteORS a &Re Sosa é ¥Ste ee aie 2tee Sa Semon es eeteSegre eee Sen eaeaeRee 3 eS SESE P33 Boss "ee ta a BR RR EEE ae * Seti Rr Sane RS eee SEESES caees orea

gs ee ee ee ke Oe BE BE ee ee

» GRR Reais Shien RAR Pomerania Cae Joanne o8 0s Nae eaeMe sere “SR eReSees, 5A Ran so ioe: oc,ea, epee ReaD ai Rn aa SR & ceecoon Rieter on ae iaeee e Roemer. Sere See nice OR Se i < e RaaD SEEN Seo RR RR RI Satine ces Se 25 iswuuancneantaae gianna gee: Sour Ben Sen Sees oe Sob GAR cha ain Ream oaeeeMRSS RNaSeen RieStns cernecisnsrstts pons SS sees Sama ot PRES RnR OE Re eran See Sacuanto SE: > ee RE ae aR Seea aS RR NE. ES MERE eee es nies EP 3aeRtoheretRR RE SR a eneoes Soar eingtirstrto SRR aco ais aaa RS «BieSe ocean eeae 2 see LR SReae SEER ee pa bie ao eosSan feiss Sear So: ea RaeSES ee ee NS aae airence ia,SS Lh SeSea SNepa eee ae pee Sebhonente nren hs:RS Pee RRC SO BREE eee. se : Po ee oS we Sc SOS S St eeserte -s ae a eo ee ve Seat eee SR RES ee mS See ees SIV cease Re senaacs Ra og ae SkaeeeRENN 4 SRS aotiitSem Bas ake zB Ren ASN ene earRR naeSS > eeesienses ~ hy ngRRS = ReeSea ee are. Bs SS Reocee SayRe Sees haa ee Baebbe ga Peete = SNe a 3 Se Season Bape i See Kou Be . Soe Seton Shia eee es Ss Bee SN 3 : ea ae BS eee oe yeetsa:Ses RES hia aerate hen 3a Betis ae Rag ene simmers eeeares as ees mma saa ce eee Pier SSDeaRS ae PI 2aie SS esSS, RR De nade eecans ss Seemann Prveosn teeeRSS $ses Ruane oe : anata Saletes ESR eSGo ERO SE eeSie ae ee 233 Seeperpen xuh OE pe aRSo acaincn atRee : Benno bras sa sea aS S'Ssce SMR ee Sia git semen nat aa eae ee eae Recency EE tate SERRE sec BORE sere See Seer RR RN SEN eReoSaas Ch ea RSae RScas eR BORE ROSs oS Bat: SAR So RRRNE “on tne Mae eae ee “3 ee Becerra wont eran See eRe Siena RTeeeePee Sense

ee nee cee NeESS ae eee S'S Se eas Re neater stata” chart scene aCLS EN SOS ee.gemme Oe RR aRuna Tina aan aae ees Seas Sane oeSoon ieee teens SES eae aeee 2S 33"SR SSeS oases me 5 Soe eae oeSees Bienes. ae tsne SAS aS Reais aaeBenne a So Re >.oe eget es Sas,

eS Roe aes SN ena Seek paneer : se a a pig serene cS See es cae es Se Be BGS SS Se ae SR ck RRR SUR papa a gs oe ene pn enna epee ne nN ane aaigs en R oe pe eee SOE oe ntee3 Se Brees rete bisaeee sisi peSeas SseSaear SR nbnLSS d ae >RR RS aSS SOSPo SRSPS Se Sean oe sets NE ET ternSeas tanitnseey eaeae ema a eeae Seoae

$ SS a BS a SR eee saan ost Sane Stes so ae eee cen ne

ere Mie atatsSefotetesaretatene satan sg 0 a SIS OK Sate RN ee shia Po ai tateet na. eae NR PSR s ste Sane OES a Ren nn Le Sa Sie Se Se RRO RN N RNR ney ANS A RR ARI a OS SS SR ee ae NRE Mee ma So cones Seen n sebey Seana. Ra ae ea SALI oe Uae a a

Hanan . eeea RR Seis Se : oe SoS eeeite pain ett sac aee eS sees Shean sceatesa SEIS ESR SCO hoes cnr SESS nae Shei tere ag Bes itnettetnn Ns oes SL Ee ESE SESE Se a ae ea eS aes SoeSS ee se Sennen fh LR SOS RRS Ss esse SRR AeS rs) stones Si buuuamussosens SES omen aa Be ee eae bas See Ree: 8 a ees : _ LEE SERRE cae S NE cca ESSER SIS SRE ASRS aah en eR Sateen a gt RR enna." eh Sanne aan snse ENE Cn eee OS MOORE motscaseatsbotsss matSESE SSR See ee Serr ae Satenance RS SS mas eemeee ets Sena Beye ninco: sates teeapeeeaene eeaN SSanweIne See Sas ee Meet 2eR $o se ececetetecet este Re SS oe SoBe scare tenner a Seattoe ae Sa renee nae tae SN a aS eran Recehanstnns osname 33 een es cirmrcy 2a tee ene oe fo RRR eee Seaton Se ee Soe: eecari 3 -esas Sabsens SerStshe aSPiSES Se OSCR et ren oe eine eeewae moacSSE i Mi icciaio, head of drea headi, of St. Peter, 61. Giacomo di Mino del Pellicciaio, head Vanni, o 62. Andrea .

i Museum of Fine1362 Arts,use Boston St. Anthony, Pinacoteca, Siena. ,

Esa eon vn ee ee me

Ng Ee igeite PR ete 2 Be REPS Sie amma EI Lee ee eetae Pee eegs aie oeIs tses 48 oePRIZE iSRA ee aa wee oe osae es ag Beate aeSeen AYcastes Moe” oe eA Pate yeSa peatettanen Naren asese ay ‘ ge: eS (at eee iMeeASRE SRR ee aes BR St «ea aaaUe, :aa RR Sees sncRea DSS Se SSA ee hares. ae oraaae ReterRies A Ete RE eas eeeseee ‘D ae RE ess eee a oe (Semen ORR ee ae Sook TSAR aks R RSSS v SS Beets eee oe Seer ae"SN Bes RRR : SESS ERBRR onion aRRS eo OO apnOY ee PERE

[2S SE tens aeSS Soe oesgam See Soe Sarana Sere ae POS aneacces ree cece een eM ee Sea: tiapete Sereeres ho Qa | Pe) eed Saag secs RSSa ionMae eRnee fsRa OE i RSSee Baaes geet Se SSS ee$os BaoesSik sean Sees i cn a,Soe SONG a RS ORS Ses og aes SS See Bs: SSSR ORE Sees shih, oa oe Spence aan mem a Be &3 Ber ern emma Sf aa eweBhSER ac 7coca a >De Psst: St ein. pati OS is SL EO SNS RS eeSAGE:

ae ss es ae Ree aoe ess Soy : asecie aaa oe a i Se see aioe we Be gta ps BaEE. Sr oe ea Ne SOR BRS $ aetna ena ae ee Shshennnescenrsees ee sisonseemaninacancsict Ss EROS a Do OTRAS ae Sie ee SCR eS Rae aE be a aes, PIPER ENDS Ot a ptathice poohne ato URE. S eee SF Be

RRR oo Cee te fg : een See eS [See Dy RE. La Be cain ecu a Ee ne

BAR oa Bee ee oe Raha ss ee :

ae bs id SeoeSORENSEN Rtaeee t eae aes SSE SERPS OSSater? "spt SOR. ~ es Fe: RageSen gece eee: Sonat Sa SA eS .SE a

ER ag Ma Oh Pace Eek RET

= — ic Raman Same ES Seek iame SEER eS easSane . ae% :2 ee a ONS ooo SanLf : aei ae aeRS ak éGRR Bee es ee aes Sees eaeBose ete ON ROCA Se S ° Sic SMOeste PI ae IPce: en ec rae ee a Se = i$2 RRS es Sates : SSee RS Samd° 3 SERS RARced ee Beet ON i: Soo esceemae eeMA teseeBe 3 ‘ee So OR aes Stee cnans Rn RS me SeeReece 3 apes aese: eeees Se:ae ay . 2SPS Sees eS eae es Ree RSe ie: RS RE v Sakae See Rater amet SS hae

eer meng wee oy ig gery SS a oe Rote ee ep sag $38. Sea

SRE el pa Estee 2 eRe Tees Ee tes Sea RRPRESS re EEE neSeas re SRS ee Set Ge on : eSeeRee ee eee 3rate Sone aie:Soe eROI aI aSSR SESOE SS aa Sa a Ca S . Sos ee Se at Om ae ee a PUES Re ORR YF ee roe ee SR Sens CS, Ee EE a

= Sea RO: RSne> RRRO SSen ASOT CORIO Bae OR, Lhe Sings ts, s ee oo22 Seine cera i ify Se SsDE Rae SET Oe ee3ots SO Ne NON ROA fe>ee igSPR Wig Nag ge ee fo SS Re EPO A Oe See hae ee oe et oto eeES 3eeeeee Ss D2 ES aee pecasarens 2.aleRAP SR See Se: ar” a ie ee VSMe Reet a SE ee Shi Be Lae Ses Soe ae a MO cscs Sanden “bith Sprencdnsies Be he aEemen _ aRete eee eae Sede SEO SSmea ae2 SOON SR.g cao OE ER sinae :tnee Ine aan MERE Me ee eS ae BO eR Ce Sete eae SR ES geeseS eae ee DOS ROAR OeRs SRoon ec Ses LFBa SS Soe Sas hts Sie RR SS ae Beat oe ag iano... SE aoiaaenaaa hiaee aacSea oon atsSR >: aSees BB Se oe cp Sona ee 3 Bene SF: % RETR es See cee mee ee pea. SS. oS Siero Se Sto ae ee Ses ae SER ER eg 5 a. See: a = SERS Per) FG: SS SS eySee s a Se a heRae ase2Reet xes See ee .Siamese ; : . cao i=soa a oR SeSie 2%& aSe wee = : oe Se Fes ape” SRS 52: : a See ees 4 = STAD SS See ae eee Be, ON BN Re oc= Beate css eR SS Ss. ae ed te ee an Sam Beet gece : Bee ; Rees: | aBa Fi eg vaca 3 Se asSS: SS... ee Sepot SCR reas AA ODte ~ ob oom 3 Se a oo Rts. 3 + ox bo tagenccacenenenee ay Peat : > fo canoestnecccur ote tae Ste Be Sone 2ERR se Sooo > a: Repetto RS Bes a LD Sg aSenos es. eR b haa an ace a: em. rereSESE a aoS REEy. See 2So OS3tisSEF Brats oe Se I SP EN ERNee Be Sse am Se 2sese >SMa aisana one mae Pee BS Race Cas aeee aeeeca See 2a Seok Seee Saree eens aees Ss,Notte BS Re ee‘RN eR aeS SS ER Ra :3. pe So ee & oS See SS a Saeee eee aa ease eae Seite Be BES 222 Se Se SE a a ene se Ro i a CE a Seay eR a ee ee te Loe Rs. Bae a ae ee aes a! SS OE Roan” ama er on eae SOS Swe ae So. Se > Re Bee ae ee ; 0 PS SS Sane es Birra Ok Oe ee oe Se 'eae eee oe Ee 2 Se Sea Sere = a ies Se Ree Sa ee SOPs YES SENTEESE Se cee Ree ea beFoEe: SeSpire a ap aeyeeSON oO =aia mel SSeS Fo ag, POI See NRG EEEES a POR x “Soe BE ReSEE Nae betes eeeRae enero ee eet eee” Seapets 4 i‘noes anes * Sees ee nO ea ne TR Bot ee Sie EEE ccatontan of & Ph ade Ne Sct Ses Pee : 23 ig ¥ SG x nae ipeitesite eke Oe hie oe e gia nal ne aaa =RP3 sed RS nO Seite cata©.ititaa i RPI IRR aRa pinion.

a — i. nes ae pis

ie ee ee ear RES ne Bas @i88.......--C-=—rer—OON RS ere «= h—r——m——msM—s—=—T—“—n—YT_ esie Seem ee ee ae a bites cote stn neta ieeenateatee Sa NNReha ate eeee Sa ane ea Eitan tee hanie aeakc Gitantanote nomena enc nace tsRE ae aSea ee ee . ee : Sig oa aces tas asense gSaes eeaehaha ta aca seas SE eS pina se Mhaentaenans nis sr seane ec ca hae na Beet Sea, aeee Nesiedeentateeeheaeietatenetetetereteeetetetenetetet eee ogee ee es Secret nn Ssanae sao rotates tata nate cataratatecatetenretatesamaneahety Srelatatetatatetetateteneteterststetetehterrr states Ri Seiaheaennmem eee oases‘SaSe Re Nee Pons ss nae bate esa os Se ee Naeatelae San.

@23=—estia__OSCséSea om :ogee =otay i Ses Sea hak Paes Br SRS Raeescent a iso €h ee: 3 es EasS$( )

SRRnasce~~OS. fares SSASRRS Re as teSO a ag nesecececerenensensataaae SRR Seana osc isMintatandietet Solace anes: Shoseeieansnansees Soom eeRES oe Raeeaezi e SEER ‘ St, Res: 53 SO faseNannesenae ee age ets tetecesctsrases SN citehunnnerrtentcneteeets spas RRS om vo Seescane SoeOT nasoactot acateharatecetesns tesennenese apy emcee tesa Rian”eter Seaton pena picriaacsessmunnctoniainnttounne netsa ieae SRS . - keeCare on ea. ee: eens Bester ate tacetans ata ateeata ora Rotate ates se seataheteP atptePate® setaretenanatenataneta tantra Semen See BeesOo SS Sees ee=Sx Sere wanna eas aoe a=+ 3eeee Rosa oe BananaSRN gesgsSee. os EES 2 Syn oessRS SaiShue abacus ee aera Sa ote arats a .o oS eeSere, asBS Be eae :Peo. nassnintns GO So.besa cc Se.eae Semone es ieee man estseangs + LVRS Soe oo S BS eae ea3 Sisters Boren ene ss Remora eee Se ikaee SOE Taaeae: ae Se SE ee es Soe Se oa FSS, pest cet BR bintanunonauen en pe ee ee ae se bss eeere See ee: EScee SeSe eet ar SeeSES. Spionincinean eS Bee StSSe Saad SeeeS So See ae SeiCSS Sia seeSe: 3eR oS-Se Soa SsAe CSREES oS tak eee eee Ri saan Ancona aeRonen Se SSRSS apeSs: Seeoo eeepane REE ver See ae Ss Re. seme RS NS ey ee aa Saharan So tasers Se % ae 2:33 he... Ss. eee SOS SESS Se oe Beinn sorantinn one nocnanno neon ane eee SEES So SRNR Re cy > S Sesh gge RRmeeee SAR, Saas SS BeeSeeSo aSS Seema Sem seSeasSS aeeeeeae *be Se aeRe bs a Some oer: | Sa Bae 3.0 PsoS ee 3 ee See soosahaa Samana ORI ponononemmenarnan oo8 ok See ae Ce gee > ey ece reeSees oc eeecee $s esGiri Meesahs Se te sa aes «Smee SRE cities seen | aa Boe: CIOs Se Se Ble en PRS ee aC DRS eo once neloanre Sea By Beno ni ee See ee Se ae Rasen Senn SN: See Scan Sek Ee. SR am osSERS aa eee OSES eee =Aeeoooree F cormsSS ke Bae SSS Sohne aaseater eesSerene 2 es. =aeaSane SSSeana Re >oS

enna oN ON SS Sa TS: eeSeae I.Re=oes eS foSee aman. ae SEE RRS ae oS oar aR ara Se Soe Bek Re ee Rae 3°SSRs Seema a ROSES svact. osSRS one Ses. aSS. A ot5.” ORC =>Se eae Saige $eSSSR 2°. Soieaeae SOURS SSSR ateicerca Saeco anes otconan SO RS Ses. BR ae cca tae Seas Bes Sean SS SSS Sea ee 3 Bh S SoS SERS ge RRR a wie Rites Sacer Se 2 SS Secs seas SaeeSe>. ehSee . So. aSS Sena SeBERS 5SeSete ae ea eee>SS SESS oo.eS Soares pee... Semen onoe as

pees oeShe eae Sees Secures = oo oes Se. eeeER ae ee RRS a Sas Seesae Se3ee cae Sees gene SS SR ROR SS RR a a a aa oe mans o> se es ae S ae Ses > ae eM el Se Soe: 2 a Se — ae Bae, Ske = Sete aa 2 ae Sees. See Pacman: Sn Sook Se Sone Sea ame ee sts ee “3 & Rees eee ae oe > oe SS pace a aia en Sn SS a oe ee et SRS: Se oS See se oe Sete 2 ee See a oe oe OS OS ee = >a SaaS aetna ne Sy ONwes oe OS IS ae eae cae See. ae Se SSso ANDo Se SS. OS. eei RUNS” Sea Sei Rsctatenanetataassent neciae Se Oe ne Be. ee>OS Rae Se > aeSe Oe ee Sooo. 5 ~Boxe" . Nahe es aan ae-x.St ae .bee ie". “w>ame» SS Io> ~ae .>ie se aeeed - RS See ee eS Oe. aCNR Satta. Seemann ea ng Soto ee Sac ae aeSeo Soe SORES eS Sek Seon RE eRsee Se aSe ae ae Brace - Sa

ean yo COTS sheGere SM aCS SS ae SN ease ae Omen Ss SR Sa SRE SSEaOS eS ee SRo> Se > S 3a bao aoi.Ko ie. aePOORBEES en ceSacMe oe BE acca ee Denne Tak:sneer Ba Spee gps. 2 se BeseSRR “) CORREO LORI RE RRR eS: a SR as Bee neers eo CRO CN Ce Part Se. a eanOaS aaa pS SS Sere SRO RSNea AS CRIS, Cae ae Ba Me cia a ones steretetotneteres ee er Sa OOOO ee Aes Ln ax Oe See z pone SRN ne. eo NRO OO SOT ec SSE RRR Sat oe ae ee Roe eae pict ae Sas Br ARR cn ring Mr cn aa a cre Rese on Rare oes CR SACO LEO OOLE LED A a

‘ ‘Padua i Faith,Padua A Chapel

SIRSRARS RR ON rm ee Bo aaa SSR RII SO wtatetets® Soe on eet rete anata tat tas Ses Ss SSE SS RRR SOS statedatitatetptotaretettecenenetestorenetenate eas SAE SSE PE I RR

“2. Giotto, Caritas, Arena Chapel, 73. Giotto, Faith, Arena Chapel,

OgLOLOL : SARRREERAIR «Ga ceceROS S_BRRRIREREEIS 5 Pee eee acnany aot scencorcoecconnnaiiletin aii% apes: Say aSages EPOeee TSQP ne OR sama ER ODO I Canoe teenpc PRESB POR, % ogee ss en Rshe p “x pore ote BS ROR BE ae Se eae ogee Snretes SR es,COOOL, 2 OO inneSeSame aber , Soa ee gece Rin>tee hare ERR

Reeopodonce secon scsi DSO ee ccs 3 RES Ea sr cna Bee saat. Se ertange a0 Beier oaherntrenocatttone sti ae RAE est ee RN a oe ASE NE i RN ae . : SS PERLE ee ee RE CE, OO ee aR PEGE ES. SOR tei te a eR one, eee Been oe v OS CS eo Rae a ~ 252 Re RN * ae ayCe na ey PER ; statasotetamunteenganteeetas

Re paraSe, SRE ROea SnaR pesES ae SR tenaSeeger ee i Seca a oe 3as af Re ° ie See ee “re nLSwe B ¥ Se cae Re ee . *eee oseSeiad aset eae he Sa ACES, eons Ee etBtOne Sens So eRORS Oe aR, DE is ¢SSBRT RIOR >»- 2Sea y ae5eet See ce Perea SAMENESS OSS eae s xo acta Se eee 4 Seek SOE EP.aeKE ?, F BSOra Soenn i RRBee as SA ae c> aeSMe Rennie. nc nae SOQ I Ps IS ee NL ae eee : hose Ronson esRae *Oeath5ones SRa PhareSO eck ke es dee Re st ORNS Ce ae ESCTA RE ote nee,re ee ae - ome esSee _ es BO. Sigh, Beh.

Sea ae 0G, iesOneee IRR oa cc aaSSoh PR YS ee OSC.F Sec ccmaee mre SSa Bo Saks Saeann S05 SOS aah gh oeaame Peers FLIES BEES RO wo Re eS a: Mere SSR ite Sect “S07. ta ee oe Scien RR Decne ee be a %so"VR 2 NS SES, SoI SS annea

RE a ae a cn oo Bis eects oS pos tea 2 ‘33 par ornate See SSSR ea

See iy aa PE SES SSR RRap Sepia ag QRS SETS SaSA Poa F.noes rheRON nae Foy oS ae ERE23 Se:Be SSSO Re cE,

Set, SoSee Lae Reae. SSSom a ae Be NB ORSenay eS Re ae Se ee eeoo egphir, Wt cxeRe Re Sa eee Rake. SSS a See Ser iad cape een RATS, ee Se ote See concen SSS ane ae enna ttsSn na2ee abasco aR aSais, oe=.RM Pg as ec: SS eee : eo $e Oe eS pO BS SRE cain Seema aro ScanRE eSSOO eee oeae ROP OE Li, eR oe oe ES BR necae SS Re ae RR asta Sena Seta aR car a Spear ae eas ¥ SS Oe a ee Sees oe eo ee ee $: Somes wc Deron . SoUA ns. SS: SRS eR i ae Senet Be Seer 3Beoe cee PER aRN Rae %5-4 I ie ies ARS, aS es SeRR aad Diane oe rena ietsSA one Pe So Sk SEsoe ee.Soe Pk ne SS ne Se FSS rss Se SSA&OS te OER es SERENE Sen eeernfsSe > Sy =PR S80”« Goatees ekI SA, DR BEY. necee eee4 RS ROO |Stee Ne ee2ose ee BSSRD SSRI RE xg RO. Cae RR NaI aeRe aecESed ROoe i. aeee. ae aS

Fat BRR RS OR Seana CP Fk Oe Cee BS a ee AE SR eo ee Cia SE ee So SS SEES et o5. BS ee SSR ot A Rn Se, RORY sca SSS RRsistemas $ SESS. RS ee SONS Be ee BEES stunk aS Ses So ee ee cae ge ee es SLPS SOS ae ca cn Sx Son San co ORC Re 2 RS SR SR ee NE Same Se. 0 Natcemmntnenannme nme SE ea a a pa ee Bos Re eS SP See $s vessstetereneeeaane eae Se semen >. Ree RRR = senna, SSS oi. Bart me ee aeceee SP MMMIC ANT coho sos osc hatatat! Satatatstetotytetstarstatstatstetetatetatetatitrtytatetaty' ty nteletetatstetate.otetotelstetererslers.@ dq qt @alnca al ataSelalel Adie stale ale. ele. sla alaln. ou Cone A ENN SBN ICN SIE Say SCS cD SDs sin A RENN KBD RIC Po”. SERS ay SRP RAR ANN TRI? «5° PER OS Race LLL EEL LLL SALLE LLL LE LES LEELA LL SLRS R IT BID Cae SO Se a SER Fe ee >, Ses at cM vases scotecocesonssl ossene ctercsynctahs#st ltgt *Gh hahha saletutanstetecelelecererageetcrony SOR x43 . Sy 4 CR REN,” AP oaPRS ah eh ae ee

A

SSIs te tartan ee stele eben a epi BS SERRE SEE oo AOE. SRR aa Ss Raa . cea Since oS Sa

= ee Psat. etvtereterereysrerecageceneanysneyartie aa a oS oy BES S Semen soe S RMMEDerscssenetsterierenchestesetsctetetencetetnreeetognsy Sagem ee, 3 ieee ots aaa aR RD onc rss ~ PRN ERS OS RO Soe eaten asic SO anne Be ly SS Le. LL. Sa Siarannsngeaneenn tetas Reset Sieaseaee ee PR a. Sean SN Re BREESE cg Soe eens

BO as NOR Se NE RR Re ERs Sa RE oS ne SSS SSS AR ae a rec Se Bae Hs sue ae RR eee eames amie ad RGIMMRSIN 5c. eae endans os Soa as ee Seen ane o-ooTe ok aAeeSe a NR ROR CEERI na eee aaaROS ae BS a SEU ci RR Uae: esRee eeaa asntebaaiaainiig. EE EE BESETNR OOOirre RCO roc OIE TCL LE ROO ot Se NE Magee seee ee pantie ee RR ey : seseutseetatennceteneoenrorezeeem oem eS SSeS Reeoncnasesatcatetetesiereneraenoer oe eee esos sures nen anna wepeateace ote I Pereiatih roe n e”

I, ae SSE ect geen eee ence nace SSca een Schoe eae—SEES anna a RRR rence nae sretptatatete” dietete ees oom Perna tata stat etdheteraratetanetntets orelelelstotehe ote bs nieloieirlaesnaninatatenscateneteteastunennperetapnasereraronmnrent serene eee eee ERE pte heen neem eee ernment ener en ieee SONOMA Reon aio teeeisarisrnne mine retirement Monee eae ee Sneha tere settotepe taba ee ROR Pataca Sevaeracetel MRR RAR RN Iran NNN Ta oN RN MS iota anameanennanen nnn guano ae 3 So eae . oiamenean nate

pe nantes eed a a ODO SOROS SOIREE CREE RECEDED DIRE SRP SSIS Soha as aS eR Ba Sh a : so 74. Ambrogio Lorenzetti, Bad Government, Palazzo Pubblico, Siena

ereaaegOS ae ee eeat Sore oe a ee a= Peete oe eees= ts Shoes aeons aoe=a. eeae Eemmannnen OnE EeaOe PRI Sc See Gt Rae MYahyego ee oS Sot naan eon adtr tae ae eae ERS Se See RRR iSoe RR Se es Se tebo DZ en ne Pe ate SRE hetaSSR MO en aEneOn =pen xaapee ) eae RRS : tae Pe opeas teeea okas Detecesnene ae oO sienna, Sites hes eae PSR eSBia “ee “ake See aROLE I ig oo apie Rn ‘eco SSR See POSS heaSO Staeennes PERSE RRs Sc BOO RS Ot in NL See RO RR SRS SE es SS SR OF Ns RS CEE ee ON Cohen cee : Sy De Rem. ee Se Oy: OOOO "ree Rane Saas EELS SEEN I ee aT Se SN Le ess ae I a I Ie So oe NE as ES Se RSE ORR ee ee Sacetatetaresaterelctetetetey str ee - on RRS & S 2. none Ss RY, oe * SSRS SESS, aS PSN ete m3SSOREN nae! bisSE a en ON RN s BeSyRR NN SRETS)a a a aR er ielele SN>eesemis RAS =an ns SS SOR eeStare ee Sn saeaetae a ea BIS OO LY > cae oS NOR oe Ncence St Se i ar ts

BSSBR DeaR» % a Sa eeeQo Rehas ERNON gs = Ro IOSO ae RR ats RR oe ae tnrn MP SRC a aN A" RE Te"Aotaate Oe TNS eonRe A Dean en hve ea aR i a Baten an. aaaraninnanasnentinenenenee LER RS Reames aeescseins

BS AER SR Siete POeoNs OREN SB OE SN OeRnR ea Yo SSS ceaero aa SRE «3ea 6 NES yes RES sta Nee tn SS Bore a eaaBy Ce Se oaSS. ann man Skt isSO | ROY ORR ;PS Baie ReeSno SkBi ae, SS SeeesSn. kcES Seas Soe LON. ee een mame: eee, RRB sna ae Seatac: Pe CUES eas Se ee ee a cee ee SO SRR Ss SS Nae a a ae Bier ce ee, BR EE OR ae: Se Ste Si Se ai Re Se ES. a NE RES ONC es Paes eee a a a SS ES Se Sahat eta ee “' ae Sr at” Citi ea a we ne EN "SIRS a dnte'e'e nn en oe ee . Ry ee a . ‘ ee NAA ee Ins "e's "atetecerhrerschrechresFrbeelve# CALM ble AUN U#UMLSL#IRL ALS OF

SE. oN ee es 2 Oe | RIOR A> aR SP EEC ness os coons os soate creer acs anor soucesnceaausesagelees esheaneseisies sr ass 8 Be Sata ea SRC SON. econo sete eho nehs ststesots ney ceteranepenapenenenepenenanesen IS

Meee,aan aa 8eeRE eae 0Seee Rey MRR Ss cee Re Seay ite cae cea va pana aes: Scas 5 See Sa a> aoe a Sai beers #3 SN Be Stats a RR oeSo oe nes SeSRS Se. Be aa ° SRE Re Se SaSb iTO >Cie ko”. ce ce: n> II nh aSN RRR on De Sa: Race semanen semecan, “tt.Samm aia ane cen nea. Ya RS, CEnoe 2S.coments a a SS Sa aS SS ck NS ee SER Reo. ooISeen Se a eeaaa Sani NR, CORE. ARS Oy, e ona POLO CI SE =Seni Siiuieatings tee satene anne aga coe eee Sige RRR a ea re Sees chy SS a a a aI aa iS a Coe ee a. > NS x. Sen. Smee RAS Sa soca mS PRE Sg reemerged Se OS SLO Seles? I Rees Be NRO” RR as i a eco ne . Ke! eS. cand re neta Beno neceters rotate ee a ORS cae Sper csonosntonetarenehctetnnntenatenenessnstennepeeneeonenaees

ee ce MSee een “Sawer SEoesee ew Renanenennene Cee >> a SeAE nS So SSR no aaee a OC,

SS PURO RASS: eS>eS iTSrSait ee a cence RR RNR RR enbie 5 pects Rast een errr eee S&Seo Saree ee oS ak Se eee a seisseria seen Basehor Ses Shaan Shee

Bgiicin citi nies ei Sie,san See ONEBene Spe aaaoy eceaiaes Raoe So aSee SkeeA* REESE > See SR me he > >.- eeeSmee i es Sen BSR NON SeRa acas Scanner SR an op Se ee Ro ae Stn » Se TSO, Se cae a eee

ERE ee ee eee 606 eC ee ee

cose sna snatatiasnin see ae nn es ’ RN NAR Se Aas ciate se eS So Ne cre PIN cs nha: CoG Oe Petateie ab A DN NNN SOY SR a ae

PAS rath Bae a rennet: eS SeiSSS eck ee 5eeasee BeSoe stata2 SNES ON NRE ON SO, SE eee a aa ye OS OS. >OO a,ae eei+Se2)* eee atateetetate iter PR ererats nnnoh - Setar NESBRR ae Sire See Ce oeSeas ee ee ee a’ ae SS Oe: ea: REET es EPO Se SSNR a eee ok.aotdnateratuee Le 2% oC pate Pp EO RR eePOSRR OS TS, tne,eeSe NR ono PSE Sera See ORR Sr SOONER (ice SS

See seen COO SSRI AS Bias Reo SRM PO Se cee isons See 32ae ect Sa a SRN: Pear” TRSSOREENIISSSSS aeree Soe Se ae St aencSere Reao eam SS eo a ooRR a SRR >a a.aJ—sng SS geagg ees eea SS a eeTe > eiserm Sa aeER SREaSESS Se aa 2. 2SSee Se eee

Soo ASS ae Bitte. 8 Sea a OE oo oSeeoo Be ee cas Sea Oeactsaee han BRS Sane oeSe 2 Seas sa Sie CR RNRs 3 Ray aa ee RO8 COR grt: RMR 2saSE o— ee ea Se Satins caamnage Be MEeit SME |||ae SScececetetatatatorerets ne SES SR SS” eS eeeSetasaco BS Bence tioncnnennmitement neme Seo tenets Reetet Setscrea. ata Soro ORE “ re Se = > een. . ois PO One TS CCN apie eg AD So 2S A Se. Se 3S ne Ot Leelee ele cat nas . ee ee ~ seeteteele aay RS «nae alae _ ee eran teat ans tat ah, eens eee acetal etalon 0 . . | EAR alee intnratcrotatatetescAiesaatetntaiensta Sty atehs einaree Bre

SE Lenn ed Sat $ + SSS BE, SRNesaPRS AFeESR RS Be Soe ~aNSeis sane Siarerstatntetetavars savers aaMlaeeretstatatatesntesestetvtnvaterstat eea Se a eeenn. ee Se Se ee SS ER anemia tes esa cee Settee nwo ee eTctr SitateSetetateretatatee eee nen eee Oa Ma. Neen Be SCS RMsce Seeman. a Saene een S state ee rasta cntattece’ areee seheieee eee eS e

a Pe ee RRC HR a Rs ee CRC ee, PN Metetata tea ecatete - sereronaratotaterqtana’stututerccerete Bs So > Se 1 ore Sea See ee Cain. See eon nin een Ss RT on RE iN he RR Ocoee Se cao y oe ines Se RN

ae Se ee se ee ee ec eo CO SS oo Pe bar. Mone RRS ESnono” eee te Se io coca i. tetasee aaeaoS. en Ra RSS SE i Rg SES RO a PPM 3pees: SS3Bee hos aRR 8) SRR ccpe ae a Vote OR ne RR as, aS Ss) OSgO SRY SE SiN.aos Oana Po Se Lame A aRT. 5ae SS eeSeee

IK See aRN eeesopt RSE RSna a es nna SSSR onsen ROR. Sree OR SSO NegiSOT Me agen NOR SRE Gk eee eRe NAN ORRieaR RRR ae RRS See aie chonON temas SREORaaSsone Scene siPER aSORa eeRR os EE NR phe DRS teestar a ainBo SRN Soo co-

i SyCn. SeSep See: o.cnee. SSeeeBe ER3oes SR SE IRE SOR oeeSaeS,eee Bi tt ne: ey Seaaa rs Seg RRS Sa &. Pe Se Same aaaSeSige eos eee aRR ae Panne . Sanam oe SNE SIRS As ce ees ei ee oaoeSate ARSRRR ae aeOSnrSRR RRS SER ° RRR CM SMR CR MRMIIES \, CERES. Seti ns >: a. Seer Saas She: ite TE ER - Lei ot dts wise Pe A cae esa Sates st aN pea Natatatet-tatarararers Lo SERS Oe Sean

PRO.” RRR. 30. RR aN Sk oo NO Sena Se ae ert a ee oon = Saheeonsnsee SSS SS

Sree, Sama Se,SS"a,Rac OSo8aba Oe SRDS AES. Re EECA trae aw > SsCe, Si, eiekcoin SoS. yPe as: BA . Bee. Bi sacs. aiaERR ose eo RSTO OR,SS Smaay SREOe AS SLO Se >RO Seem Sopra oh eR SCSR. Secs SME aRR Sn es aaa RR RE Oe, aRE aaI me ineatatatenetece TE. S ES Menem SE Re NES Ree 2 ON, a°SS 2:Re sa SS eee: ORD ORR tae 2 GosSR Bebidas esSE Rennes a IRs ene RS es RN TREORe EREaOR aN SRE acre nn, S pie ennai Secs 8 a LSS Re ee eee Ry BRS CF ihe eR em eR Se Soa kg Se, Sa os tam,Bs * >See SPsor Bie coSo SFNig Pee Sores Sm ae eee BER a Sa, ns Bie -4 eeeotececvirennrsteinnenpenersneneneneonnn SS eNggae ee ee 2 oe a | SORnee Reg ig nee RR ce eine oa eS ne taeatance aad ; ae Ssee _ ae Serene ae aSR Sine”. Ota EE REE ST REC, VR RE Scant Oe an &ag ee Sian gene eam ee et ee BRO RS LSS Deanna OS OP NG OB BE a tas BS cai ee Se en: > OS. es } & Oa Si.RSms Sas Still. Bae

Nn”. tee. 3 RR at pon ee Sa es . Secs iBeerattnretones i, arasSonam Se SS SS NS a MMO ha hia se a moe 5 OR Sees ote 2 Ba om fs . a A o3 MON tee SO, — : eerie Ae 8 Se 3 CP i nn aa 5 Sienna Somme Ps > See RR PE. ee = SS BO ee RR i ee ge SS Re ge Same SERS Serta ate Se Re EW enn _ SS a ae aR NS 2S ee OR aa oe ae aes SRS Sees ee ae ae Sonate tie Sa SEA hy RS SRE REI nn RSS Ba Oe a vp OR So ban anime Sak OO Son inn See a piconet Ree ai a ee OR OR OL aeae

Pee OO Cee Ps Be . 4 rrr eee tsi—“—R PR Soogceeo ikeoT Sia. SO ee *Iee:EO” Sear Te RN Sean Bite etBS oe = " “cose semana Riera. RR “OR So Ses TSE, SracS sa xO, ERS aSaeoN. ae >4 See SOR, IS. ES SSS SS OO Sa.

SeeeNOS. oy RARER ARE ae See tee eeaee Be aseSS RLSe BPE ns i SRR. a 3 Spams Be rs Besse eS ee eatsa fa Sie 5i anae Ne RRS

2 a ree ae Seen Sane ae oe S SS SS eer ES naga oss pieces situa i can *

RRR SS,es SpatSSeS: 2° eee SOE RRS asiene ens Re Roomuanaoes Soon Ss ik SR Se Nae eeIBees oS Ses tenis 3 Sees Becca Sci a, ae Semmes See ee eet Se CORRS PRR. A sees i esMAS] eR Se i) % ERS fo De Smee “es SE es CRAP RRR 5: “SEN | NES See ae oeSRR a SeeSs aeaN. RSStee Pcn., eee NRD renee, os Soesae eeePe gainer OF,SS SOR pears —, 3ESSRR ae a:..SR SRR RRReeSS. Se aN pate ce Son “. Selle 5 5 Oe ee. Cera. ae & Sees SURE NOE cecaceecrecece sete tataterete*s ots 'es"ste'sts wesetarateretelote MPrre e alesta sare atetet ate PERRI LOO Se ane R RE prea

ER te>Seseeosaeciaatnninaine oS XS ex Srtnoeeaaete Racist ecco Sao teh RIRERAMRRE SoeSoc e: :Bex SRR Sorc nae sens cnagnennnenen ReiLR Oot aSepeaeaeeas ES :oSpretences Sisk a aca Bae Cos SS ee = SOS aAcere sais ees ee

3=== :Sees Gees ckRR Sa ae se Soeatsenna ee ce SSamen SERRE foros SABBs Seek Soren ROR sian ates eer Sear ee ° SRR ; SS BRSere oNwe. ORS ae RRR aes: Sec poses Soroea catecacotateenatatatotees tenet ; Ps SR ae Se RReR mintonsenesaente in eae 23Sea See oe =

=: SeeaSeah eeSRSc Sees eetae Pe RS Ree etsBe SR BRS 4 BS Sees eee ccaSNee eens es | OS 2 Pee: Seon oe es a orSees PeeSS Beae we Ses SR Ba SSR sich Soc Seeane ea pas ate ASeee eons: ee ae aeRRR ORs On et ee NE. Seo aAy & Saat Saee” Ny ee eee Bes eS i PR ae ae a ee 4 RRR 2 RN gece 2 TR SS ORR | a Siticcsties. See Seem ae RRA ksPose BEse:3 Bob. 2 NORIO. See ae SR paasisncesaiine aeRAEN See Se OSSERS P 33 es see 2 N Shee cosaxeae aes oe Reesnbetnerecsaanteeereeieee RRR Ae cae : SERRE BS See Si age ee Biaiieermeeeceees sch Cec eS Bests

Siegenae eases ee aSS ake & KGaee co>eeRO Se S See puahemenn nae Rast an RE RReee Surman Sts Sg bes Soe Sess Se Stanteceeaaee aes Sas §g Sos : Sos aaa SS risens patSee eae 2SER BeeRss POeSeS CESS Seat See SSCRS * scram SSR ae Sete ESSE es fs Seeop $ Roi Se. peice Bs ag Ne “pagar ere a Cee Sean eee Ratan tee Fo. SARS acai ::Sn, ORE ca nae$es aenced terete BR eaters eer RR cae SaeeeA: me 3 ed 2ESSa Se oS Pencceretetatetstetetatatatetarstats SRR ae . anise Onee ranean SS as GRE SeeCO no Po:as) 3 q-:; eess Sener Bencnapnatsnicen Ne er

& a4 ORS oN ee is ees 8:

b Ee fee oS SE a i ees 4 a eee Se eee on RNR. SRS. I ty PME cocoa Me o : LT ES 3 ie Seer BERS a. eee a £< ™ | rr ss—~—sS—i“‘(Sa oeoO

= eS Be Siro. esi tinanennenecpeonse: Bc Sapa Rees Foo. aS Se

eS Ee eee eee = :saute antncan aac mma aSe ee Seas eat ||:wy ;Re OOOO fo oe SRR nie ois Ne ere ot i: Reoaree Rc aamas as5 — e -:: LEE NRE Scconcssanninccesscis ia MRT Ra ee Sere fee

oe =Preece ae Riots ROS “tanner (oie aR8:eee ae Ree Soc a OORT ne ane rarecr sty oe 2 aa pis

SERS os Sie > Se % Sie serene eaSoo shatters SRT RNR en Rien RR. xAa OS Ao Sane SRRSites S Ween SSS tees “iguana e: Sox SREY Bet acta nore et &sans Sees plume me area anna annaSSS ics sate SS “RRS Sco SS Se a poe Necataniorgesnaannenneeeeee ee ea Shemnnoees |S Seine SS sani Soin oon SSeS BS ps % peMee eee % he — ome: bape Sg ccna gai peterNs, pepe PRES EB Spinco Seest asasasusi : SESAME IS OS Goa RAR a Beg eeterencne Riana ea b Sores "RTs SOR Seon sethantes e% Seas aN>ie SrSee ae Chee oeRES SIRTRaces ee DOS Sonn 2. oan: bigpe deh Moeor stes svees wes ee Ne : i: g@ oe Lee pcre tne, RR nn POO nnanbe suse : Se” Sees neree ea Pe eee Bes See Reo nce RRS Ren aay BN wey PavevarPatctee Ross: SSS as Seen EEaeRott Sesame ees eeote Pee ~ Sa SR aeSe see es Sg 2 Sen SipEF OR peerstenor ose atohana NEES ee a PONOMRR Fy Sy. RS So ee ge Be petrcotnoerensscsonstnoernnninad ses Eo ee ee Seas CORA OOO :} £ Soc TRtaneenenteioee Sarre Gta canis Rae Se ECO oe eRe i eeoie BSSo ae Ree oN RR RGanes. oe nee senensenneonenee ss F pa oo Bi Bee eo eae ea 3 Smee Rs iSa: Seamsmts Shy % RE ieee ce ceeee ae ae SNeeee Ste Beas Se |ae eeVion: Serres. cao

i gee ee ccd tg st pO SOO cee ., CR A Se aes 23. eam 8 oe Sees rae 2k eegerSS —Sor sacipasseemrenis irs Se aaaSee pe Se ereSSN SSSoe suena < OO Ses Seka St a eae SR en25 reeeeee 2aFe sees sea cae ae 5 ge ee ee moe poraiinnttahragenneentette oe Se en ae Ch eeSR aaa atee passa os Sees soe Sates : 2 See . eee ae : Sens steer aaa iio in i aR a = ape Ss v = ees we . SS Sanccus Foi es Senet ee reresite seaman rneterncnnes erence cornea eae eR Rc " sents e S SP es Po Se. a” eC ae RRS. eames Ss coats Near aan ea coe Seemeaes =

Sar nS eae i RE ey ys ee ij : ©

SOc. FSabens eee Se Sees Samana Oa:eesiba ass RS. SS Soea SP Sr ae atts ‘eePS Se, eee a es ee Sines aoe eg “ 4 > Sep. Sone Se N.S ON ie SRS eR. eratenatecenstatetatetsteten Risecetecetatatatetetnt dhtteretotmtcAals rihotetataarare Moo Re SE y

% Ceae Bea SSeSh Se, OS av ttn outa naeeen eeRe RERR SeIOeae Bie SeeSes BS hic errors SsSS Samanta” ies. samen aa oicahiahieiteatesncsss seRa Sta, ° aioe 3ee SR ene 3 doe Seecnonene « Seah oaeee oebrahex acee Si. SoS Se SN, SPSega terSkcoon eS 2 sence RP eee Sencar itessa an i,Sean aaa aeeaSo ee 3 eS Bes Agus osisesass eee Saas Se ate Nganfoes nvnnesumeennee aes Semaine cent Seesaes Be oe ee2h SpGR SR eae RRs ieeeSE Se SE aeos Seek ae RR on att int a 3) e.8 oo) _San piers. eeene nea. a vo ane Pronsoetenneres By ts co aR take Sea aici ney hea SSPE a oo ae ei pteseratetatetatetete? 2Mm PER a ee Sida a AOaise yeoo mn i Neremta nt eae Bymer SesSees eh Seeaee ee So Bae eas aes Riker Reema oeInae Sa aon SeNar Re RR =a See

es eeRSOO : Sie... ree =aeoti: esCogiant awee eRcaeeee potent Me i AEE Re Bae, EER sunburn aeons SE Sy RES ena antSEE erae DSSS Sa

gsi ae cat ee a es ee pe eS 5

Sates nen nen = See PSR Re eae mniansetentorestaennnn. serene itesnasnennersnee Se a Shogo .

SEES: Sen aes : ee SAS Cnc Neer a Seether tment ore Rica. oa

ESOSee eSSee ¥ Ae ei. eeePsa Se RRR RRR OENore BreenTE AS oSean 2 , LA Bae coaBei: escSc nS ene anne erie eRa eg Seer SORE a es ee Racca So ee Coe Bex secsOX a petsterrecertnrcnestoneesocie ets Q

Sith Seerbce teagages ae nceao ak tigsiassaaan Se Bich tnBenen | 5 SoeS ORS eR eg ~ BER statescan Seuss I ReSe SSSR Seana

RRR ‘SSBesse enenaaeea Nese R ERAT S Siento seenetentettentre teen SNe Botinsrenee Sabina cin caesheets Es once ™ te Se ati SNES RR RAR NERS TR nrotentetene Sonnac

me cecitnasteenaettonnentenicneneaee ae sigh nesctinataneccrsatanesneamrseccmseres epetageectencserr te ng Be Ricans Basecosetoteistsrnarneteitetmnencteeemeretonee Siomennccnnnnenae ene aS wetatatanasnteteseccenonncieteteteconeratanet ees Sees ~—

SRR ES5BRapo eeae SO Peper ee Sue PeeSRNR eee Susi cement RS ~ = ee ees SSeS Reece TISoe Meee et Beeman: eens.saci sscchssierentenntnna terionDy eneSAN Soe nes Six

amt 8g BeBeets suum Se ei IE

Be a | a Sa eT ees Bamana REBORN ER seen

iin ws Bahasa penance 3: Rieeeeetees ta cna ance heii pec ens eieaRSEAEESE AS es SS I ssES PaaSaeMANE 9 Bosereieteriisgeisrecenetesntegteets beta sie SS ieguanimannnuncanc se ssngmense ESE seen SRO LSAEON oacacconae eta pacar Roseiunguiscntene oumecneenaencte es cites :

Seed : a Sane ee ne eee ee ek Ri eae

ee4 och ‘Na Soe eens mementee Lone ae ame com enna eee oe EE Ee ROCCO sOteSean eeaRR S: RET 3* #a.|soeS te SS ae Sante atatae a22S acess ne geen EEaea Me eT SRO tae ee alnnianinninae BS Sa SR SS pean Ma Sue A NR OR Sacer tt ba ace Reece :Soe eeeev5 :neg ee : enee ee aC RC nes eaee SS Soc Biss see Saat onsen. := % #53 os °aStee ees ; Re Srey eRMe BeSe Ro aORRIN: SE RR east Se nee NRrananaarerneees : Snvasntehenatets eR mone once es SRR Se Na oe Wao gianna een Metse ame Ss Be dhe a ge SF eet2an eecn 233 ~ :BS Oe a =e % : : ES Rien Sinan ca eon eRe Bee pe Re ODIO SOMO aan ats nae BSS oS eeeeRRA , SeI Dien Oe eee SR REeen RR RR ROSosa TNsoem Pe RE eee oe : 3 San eS a ey NR ee RS eae oR esm Suchencts ae Oe a Soea Se ee See neemEE Seeeee ont3|

24 : % SR, oe ee ee Rng sap cach eae oI he Sa ES BS tee eee Soe Se ee

BS Saeeae omenReason e Caran Tae petites oR aa ORaS BeeeyateeS RRS oS y RS. eee Big ea each an See ra Rs Re : S%Sahn aemm a cnet ReROR & See eRSeaN emrata ee tes RRaeSRS Se See ee eee SoSenn ERO SS22ES

< Br esis ek, RRR NNNTN ote aeseS Be Seo a geeSeas RRR SRE Sa Brattain seceaereuma se | See eee BS ey Re .o ROO z BeaeaasoN Be un Shes RoRNNa Sea SRY Sf Sharan Bo Nra ae be OS he See Beg ee eee Fe Se ae Ss: Sattnn thes Mean Piero toa SPORE SER Ro Bis Siaccncni es cea Seach Fee Sao s

ES Se SR ees Bee NGS sgt ee ae oe ee ee RES Sa esos EE eae oe Bae Se ae

3 SisS OSES SER sae aNe, eS SC RESaes aetorartesagctens aes ea Seehy paar Bae ene ae ESScSieee ae F< Saas .BO Sere SeI see a: OS SNR RE oR has SOcases ed Rees yes SSSBae BaeBs.SOR Bae fee:

Bees See ee 3 PRS ROR: RRR: ORR esa apear ReSs? ON Rs Se es BS Be Pee RR ORE ae o\ SR REE ROS SRC a Sioa Ree ea Fee le RRS Spee Sneath Sea a SS Pith Pheu Rees: Swann Be Sena Me ee :=eo Ee #Soy ES FEon EeRe BS. agPane Gace eee Se a Sh Soe aa trame MeSea ekeS SaOSS ae Se 2: ; a. Sa. Bara oo ames phoresis eth: PshsRe : Wee. Mepoe aSike Soap ig acest oes. on eeeeco Sa 2Rae SNioe se) nS eet tatetat oes FRR etePe Se - SRE eenea aahs a RR Se Seu oeees Stae SR oa Be: SRARS aes an Ba Shae ROR Pa eae oea.Rtas ES Beaan RRS NS teSR” Re SEs Bi S'S eeeee SasSis ifSeas Sage eg esoeete eae

a Senet SOO aOe RESeee SERRE SRN, SS Socuagpnt theme eos asse Ese SO Be SioaRR She SR. 9 cae: nian ae Sse enn See eee 8 ox tae: Saas pi OO ess & cer OS : ROHR. ee Bees Satses ee Ser Rn SoBaeRRR RE ties ae Baeee % 3eae Bate nes Saati aFeta at : Ate Ee Se, ae he: Raa ennaRe Rone RAY bts eS =4 eS : Fe :aeSeve Oho Re RS ae Sas eReS OO en a ISee a NR Seo ARR > eee rn een NSoe 8. Ss .= 3 a es paras Se se oe & see Sa Ss Some SB eS ae core es prc Sater RaaeenSee a Skuse I ROee IaeaToth Sapna. a

Ss phen Seernie mea Same Oa BSR cn et a Re oo Se SS Riana ae ee; Sa esaa ae Sa See sa apeSa ceite ES "oui. 3 #aSe 2 Sao oeRS comes gCeae Be xe =”oh eeeSe ae

.. Joe oeRaee5.aBS a Sa eaeSe a 9Sart a hase ae eee orctPR BER . eee Sain oeeoaaa NT SS Rees SeeSS eaeoe >, coe aoe eSeepaihcwrace Seine ee. te Seats aa ss BRR Ra em en Seca

BRR ReSaa ae Biren ce ee si See A Rata Bebra eat eo.SUS 2 Sore eee SS ee ERR So ae eS a: Sage Seema comnts aS nes Bese Ree Ba ae esfieFo = gaEY ae aRRS Sr. Bee ee fee SRR Rie RR a Pe aORR SSRs ee Serer SRE eeies Goes ae SRR RR Sere oe aeaae pres 3s ES SERS oR a aS 3tS ES > So a, So SR. >. Comey eos Benepe em a a CS SESE AR RR a a Re a aa SRR Sora RRB Fate ce Soeur, Seat tos ae Rae ee S.No S e SEES sears: anaes er anes Se ee. Seon eS a= Re SeeooatFe. ate See b Claes Beene SRS SO aePES ARMS > ESS Zon SESS eee peat eee Re Pitaee aeOS Y Ses Bete>Se posRSE Sis Sosa me CSS oe aRES Sea ch > ae SeeR a SS Ss Sat ‘3 i SOE ee Se : BSS Se25 SRN SERRE Sete ER OR ey RS Mae aGog SR a meee oh aeeae eekSe Se ES BS eeOCS Bee 8 Baer ne>none sae taaae ae gee ie Eo RNen RiSati Reena sc ee oRea eae ae aeSar oe amen Ne Ase Ee nets es Sener ae”.%RE” SON Ree aeSN Sa aseeSea > CRN ae ae Soe eeeSct Soe ae PON ROSE KY ax og 3ER San Riad atte ORS, oN, TY a Se a senopactaaas aa RgSusers aaa Diet. ona hiePaks amma >oe Gt sean a aeoe Roe Ses Se Seeee 3 ee a es8Se pega eSeien ok Seen eee SR PeSeaman nS Se ee or RaeOSSo Es ws ese igsSiosomthx «arama 2 Seceen SREFoe pag FS Br Nakao pig ES. SR aaRRS SR

4 Be¥ “g Cee$ BOCs Peresoa ee wo ae pormmomiannancoccoa aie SinnNSS kasSa SoSse SRSo OCCet ea Se Bae nentas- seen nee SRS ei SeES BS a ees Raa sooo> Ras,ES CRase ce Bac. aeRO om pase SES ei See Pe aeSYS RRS See nae RRR eaten eae Nox ae aeReg Lae Re ee So SSeea SBE ee Ge ek Ee . eae SS Se. Se ee ot. Oe Sts tae ami tie “ ‘2 Es ses : TE eas Seat ie a ra eae. BEES TE ae ag DS Se ee oe 2335 SS =: ; Boe coe eo Se RaaSa 33 See : : ee *Bisse cS i tees Be Ft, Sones 8: eR gg ee SiSERS eae 3Saeeeosin ue B Sasen SoRaenCR eaaanon of eee SesRO MsRag ee Ra % Ok Poe

BS te tS SIS ae Pa ee a Sa EE TR 8 Si SR Re ae et RS es ae a .

See es = :SE: Spas, See 5 cans CSS So Sea aE,a2. eeeaems: Pastis 2ancfaSo SaSB EES Mig Aes RBS BeeRa ae 3 S83 som : BSS SRR eon aeSY Ee OEE RRR SSN RC Ries, RR mE Cait Say Sea She pas eae RRR genie aSa SeaTN D3 ER SeaaaREED aa Upinttinnemern nctsoeaeeea Ban Sey nce RRRNC, 0 See SSea Re BeaSea Bae TAS aaneSeana. GRRRE SOO ERR tanec Ran eR ROR a ene CNRae ERE SRE OS ae eee: Bae oeaBae ae SaatRae Se ae Sees aaas Sie Boestsiyi nat taintsRSoaaes anatinieretstnrsensteinn een Soe ee NING Some coe OD OS RE RES SOS RNY es aae SS CES OS a eo ORR ss Sy Bess SORES ES = 2. Fees ES % ae» pe 5 3sSS RaeSame sh St ecco. ae See eRee aa :Sees £ amesans Caan as SEON SRSaSeSe Se ne amen ed 34 & aa Rae s etRes. Bose Segot enSERS Pai = PRR ooesgerne

Be SOS eh2iaeS es. Sak te as en et SRE IRnes pa Siete Re oe SE ERE ERE SaisaeOo eee eae ee Bae; Pe: a an Cee Baia conic NR22 ot Bae RRS eS aeae ae Re ete SARS Se OR oo ties see. pec ae RSeeRS Ros

ey ee Gee eS SES SER SA ce aboot Nat: Sed

pag St? Sa Oe Se a ae. a >. Rea ema epeieiegetatecetmeccerenees elses SSeS SS Pe OSS 7S RR os os nn, Rees Seen a> Se SS eS S “ORR, See SEIEIEIEEES 0 Serene oie boeeuememnr Sones SFsiSS Sieh Ramensaan annseem ee ERR ees ees: Se eresNe

BS xcvx cS ae Seomeaeate, “Re ee a” Sr ee Ge ee ae eo Se of

te aeSS Bore Sat ss ARN chutes seuss sangnntneg RS Ree ROO Sie eyTRS Sc nN BePER sos Maga ReSst eee Sacre Does OO ees OR Ree nation eee ENS Sa Se REReese ee. URE See ae = onc Cece E RA ieee oeSPO mat Be Secs ee Se Reich cla be Sieas RRS es |SssSS ee potGeeSER RRartnet OOtsSPE POO a Se Ree AEeeROS SERS ees

es «Be atea oN a¥SER RR Re Sohn SSSass Se RRR Re ce aoe Ar ee eeBea ee aS Be a trae Neee Sepas RRS See ae Le oe eae POO ShRN seeueBeat ee Soato Bae aase SOR anno Se Direct steonan Saar iaRae noth ;Satie ee ee ie anna, Reema an sem ee ae eS Te SA aa peeSe x

RR ee Bas CAMRY Nes ae keene ee Ris ee a ey Bee ee Riess Ee Sper ee eee ee Ree So eastern ES a ae ae Es Resort. Siebamense Wen meee Steno ati paces re papain ca atone bean nanan SESS AOR a, es Ra RR eS ek bead See Rae Sete eee 33 NESS aeBekman Seco askmetus, ake ease pam ct ae sonmete 8 ent sees bechrnn renaissance nee aeao a Pr asasaeeseS aeesaeabate ge Sees mag arsee Sena eeBe ee Meee Soee SOpies SODae RR aSORES CORR ONS Sees eeneaees Bette Sete Re So ee ee eth eae ona cSee1c a Bie nn OR RNShk SSSe NN een as SSSR Seaget ata eat neSOR ae ea er os eaeaaang MRR Rie SS... Cee : & eeaaaSoak. Cane ass aes aeAesa oe ee £2 PRS SEob Surtees Sen Mee LeaRe cane aOar er SS ees Beets ey

Ba icc ae RR SR ono a eens eS ener ame a SIS eR RS ee Ree ee ee Ree bes gatos cape

Seiko ee oR as ; upp il S. G

eee es SeRN. SePiSai See ae een ee gooemea eae cea ee sie css Ne eeBe esaes oe Ca Sa NsRRO poe One See Beee %eeoteee Bees tees SR aCneee a NS aSieur Race et Me Resates oe ee SEE ee SOLO RS SR mabe ce Bor: taaa RRO aaaes nara tees aaSoa RR a SIR SSeS eiteSes aaS FOROS Re aes ceeaMec Ca eek Be Sa Meeencnennntn sa wii aang saseeC Beiamnaennes Sea coke eae Ree SSeS RO ptr RS SeoOS £EEE ESA, II as Ree eae:

EATS Ea en noiiaan manaanmanmia nsenim BERR Aa BRR OS RaARN aR: Res Be eS MER SES em Ue RS ceaNe UOis Re BoestsSee SkaSSareas em Son ee ae,

79. Barna, Theer;Last imi egiata,S$ S. Gimignano

RE RS eR 8 is a Ranta gk cae cme gee :

gti non tenho acdaresonannnnen amen Brenner Seem ats kt cn ae ka ae Re NE RRR IORI ORE ,

eeBisse SOR cea eeSe ene SyRRR Sais ssBAeS ee* IR ER Bier RSMo Se RRORE Seeoaae SgeeRRR ES ene SERN TeSRE NNep CN woes Sage asLLL ER Sf eeeSoa ae ee e: esSay on oo a Me NG RN ES IDL RNR Sees : ees es ; aaoSeaeSsRR HesSSS cae “ Sata ee $3 eerae SR REE NS pote 2S UN ate enSen coments bea arent ee BaeAEN te wr: Sa Seo ai

eeBe ck tsen2S ShSa3ee eeeg eek eS RR Se ee is ee rege oe ee RE Nee foaieee— Se SRR Sieinen 7. NR RSS Sah Riese eat,So ee eeORs. BES wee sees eit ee i era ee aS a scheint: OE Sapien SS RR tasins SINC Re See Se RE ones, Sol

2 SR tt ann Bisnis sonata es Soi oe a Pe es a eteSaresetcte ced Se Ie ae Oe NCR Nay neater x Re “a> ae 5 ne I Se eee Piemene chuBren ata cna an an aetna Spee eran SS RENE Se sas ate aeShan sor aa ae 3Bn Svssasasoe oe SEO ee OSESS, aa Rae Rehe hseres ae : eee iene ROR Renee Beas Baten. eee eeSee ge ne Rats So Ssie ee eenees ia See pteSore se eesSe 2 ae RE ee se casey Bs SE SON eefies Te2 eS ~ Ray 2.OS : 4s SaSeeee ae a SoS cine oeaeSSSeeRaa: aaiucune RR oR SeaBee cc RNeeRR SRR I A,“ Ses ah, % vente Be eres A Ae 5 Re ee eee See ee Sonate eae sy SS see aR ee Perea i renee ss a OS Ra oe eR Re Nae Le Oy = BRIO Beg eS. > Stee: es ae

3 RU aeeatin i eee sesomer ses Sa oe Se ee eee SayCas uae. cnr. SaeaOiyrae S%Be Se20eyspaSRE ReSgRe BOERS se Sane Seas ® aee potent eerSoh ee Rei PES - Rane Bes teese. 2 ata Rings eae eee Sei SO PRN OeSpe co. eee SRSRaa RRR eee Saree 5 > ies heSeRe ee SN ecssicons onan atedee pers BR Sete Sec BeeON aes?SaGeO EON TSRO AS SES Se Re: Sea Reena BeSoe = SRR RES SS. ee pte oe? Saas erga EY Tir ees ae a amass eR. Bosca es coma ath $ae Age YS aeSOO oe ‘aeSaatRe < . Seagate peat aes ts SR SER: ma pinks, Sapam ten. weBe S BsBe na ae RRah Eee Sage oe ee Rae a,SS ae Ge Bon OR San NSoy SRR Reaesatnnaatieenees eae SOE aan. I Psat ee as. oe ee eeon :§ abana ookRS oonS See Age aut eee Boa Py oes BRR oseSse Sosa PSSoe ae SSS Soe a ae BoRRS Sos:ery RS BaBR tat an |ei [eee i-ane ee Beceem rosin amt ; SoSS BaSRS m1, Saati han ese os>sa RO, Se RON pe 3 oe fe RS Richie see See ie : eae Sees bs eo I Sc aa San See a estat se ga es estes She | Rens Seater a mncnanneen sme Segue eesti terete meats bn: ae ee aE, “S Gia aaa nie eee ei is a ee tae Se eS tae SS res Ses ee eexeinoeaemmetionco comms Se a Srgees gts ee 2. Sete. eae pie Pees are Stee © Shane souseabumene ie Sea tea

SEE aati ate cee cs tik Sia: ee Bowe gee SARA Ue San ae Se a ee ee

aS a cc SeayektaSeesRNcues RE Sec Be Re Bets pres,Pa iio, ae eS. mo SRegaaay ae Sees NaeSR SeemoS. Sate,aSoe Be ae crtanmnes © as Gamecee mae sae Se ee ae oe SR RR Sa ene ie RES Denn eed eee aS: SR PP ae Ni, POR RE I LOE SE SON RRR OS SS RerRR Ro ORS oS OR

eebaietarrcsseaec se MaDe emeraeReh Snes aeRR oi. ae ee esaBene x SsSSS ee ae See aes : Pirin en abnBRS See Soacess pees so mmees: be hauuuansnsmusnane nateBea agen aaoes eR = ae Dee ee oon>ena Bee Sao. RTO Speman Roe NR AREER RRM CK en TR SER Se: Peg Sat Sites hee eR & SOROS Sh Se SS:aeee.EO RRS. OP SOSeRIRS OR RRR. Se :PS Bec taeenateeaone wees Perera tts: Bene SES Ene aes Soren 2 Sere Sie SO RE Sat sae SS Bae eae ae Renita ae setae eeoe: See.SRa icc oops eens, SS og. Mera eee fem cas A See ee a a ee S domes". ge. Satan eMac ee 2 UREES oe ee & Rae go ag Me Bok: ose SR Ga NS eRe Be ae See POO” RRS Sg en So ee TORRE cass

53 Sern sao Shetek: So eee Bee ceeRe Soap SOS =>Re A SRE StRPx tet Ree Sages ee ean Seren eae oetneos Sameer: SR aateaeoe.Sete SE REEEaes Se gage Sa See geen SioSSinees Spay ees Rime, So 22SR eeRES Seasa srcsccanstenatctar tettiett ty aenenenet sate eterna eae “See SN Seana Se tase Men ae Se SN Faat an noh See Nett ctetene taeem: SESE RSE aeae s eretamme enoeoe ne Se aeSean Rae So CORON, Saas ER es$eae RRR SNR OSS. Seite seeeeeappanage a eeeCac caneSea caenaes Basan >

Senna eretsOe i.ae. Sie oa

fo Se pe SSS aaa geesss SnSRN eS COR RS SS RR Nee RBs Rt eee :SSCA ceigetaterene eee en PRR RBIS RIE aSES RI ee >a :Sous sfeee eee eR oS ENS, RSS eaSih BES SaBaseesrsencsonnss SRR RB RRS ee Pease ate Ser PRN RRBaF RS MERE RS aenne Seo ante. o> Oh“SO OS Sfhy tsSi Scie ees ok. em$2 aN eS SR SORESa Seei3c Sire Beoncaens ites.” Sb es SEK SSS ae See aeeect aes aSeen SeOs See. Se oe RRR ee SEE RR aaa BeaBSS eM ene te Raa: teeSe PSSESS E>.oaSee aa AOS BBOe BSR Racor SENOS OOS, 2S eae a ae aan cS ee: ier, Seer 3, Sea, Setaie easNR erSO: ae see Baas ean ot Se oe RRR 5 jngascnmiae Sec aa: ae

oman snes Sam Se Si ea ie Se a. ic sae aa a Se of ee eee Snes ERS ae a Cy See “See $e % oe sage ed RRSa ee ie oe rs Re a NR eaego pa RNS SRE easS Siege, mamecatsaea Sea ceSea %SE SeESeseeSe ae. Rae de POM Hee

PORE eae celeron Petes otasateteta tate eee” SSRN RE RE EE RRR a Rt eeED Be 8 SeBe Bae Re5>Lee nae - eee Ses SOS aes NT Pa eeSas ae . me, oS seanataten Nase ce — *oS ORE - eeaie Onn.Be 5: aa - Noo ee aes =, ities se seer SeSeek es ios Sa CaeScout PB Rio at SSS $3 Ss seSeses giltEEsie

ce i .

Sea : Sores por Papo RN Beeeo"5ae=.~CeesSes SeSE oe Se ee 5Saiaesamen SaSee oe Soe I ae 4 O° =Re .2 SS " S& [2 a Eee ape Wns atone sent eses aes peace Rone. os,a Sa Se Rice RnEIsee Ceies 2VY Zo ee Bs eenites: Ss Saas Se Se Bie SeeSSR Sa at oi a aPe 3 oN Setar Sa Ses cece r= nee See ae Fe eae geSe ae eySot Ssoss en eo:Seoeiinnts

ans: 4 Bo =) Se. Ss > Se Regn age Pe. nd gas BY Se =eee sone SES Se ae Pe Ss SRS Shee Sts soak cms naa > ee Se Ss a Sor ors : i SS See oes inte PR eat es soa Sa cae b> om 6D Se Rar Peer2geBo we OR oe rNSe ae RS SeeSe. OD:SE Seeman Sete ae eRaeaeReet ae tee:Se oe ieee een SO SeeRao. = rae =S> Save er SS a oe ae Sa a Ss a Co SS RS Sees,” BE ee ° oe

= aw SEO ERS SPRUE esate. oa Spates Sone ae PS SRS 2 aS se Sigg ae ES ae Ss Ses ae = ege mes Stastee Sekaad ces ae ee SE ia Sa SA reas SS Be2eS3: o weBere: is Be PSLON a aeSake ey eee PRoeeliPeght cS©:BP aesee Po $peas caeoe: RS eeig*S eisie~: [SS Sa a8 S ea es Sonatas aes hess eS >aea So: a aetick Spe: oo. Seas Seen Beestent Ses oe esos Bae Seas CaeSR So eee Rio feos enMeee Saas Bs ae 2“3 Soa rs)aw° A Sa ae Sa ore : ORES ae Seeed tnoe LoSeRSS 2S tes Cea eas. ee Bt ke3SaaS. Saha Geese gn ba 5 $e soe 2 Se 3 ‘ Sova ae ct sr SOR SaaS ae ae «ite Fo Reins BRE Be gus aS ae Sea a eS mae : Q DY Be PSBeets Sees * se eaeSt a eosin = Bibigteaaceawnes everiss Mae PRSCea See eas Spoeed PRR Bice Resi > teheae Re Raga CR ks ee : SS a SS Se Se pas. a be: Bertani ven

. aS > =e - > Se ane Ser ee “oe a ae eae Se ESS . a

= > . Bes = *eeBSSeaie Sd aa nits me. 2 nt eee. Se aeSea eeSES . . enn ein5"Rs BeSoa RE ae Ps Rees = par papeeee Stkeae Sapa SaaS gar9 Sete RR.NOM RS i SS Poieos. Rg ee Repoke SSE”:SsSR aa ia

;%Ree #9 Be:ee ee hagas s eS getXi aeeee: Soe ee ptSoo 4 Seek sv ; OS :Sanaa Settee RatyPutin eSPeSON Se a RRS ¥$eee.Seo ae ayoe aefey a aie ee Pate aeee 2) aabe py. oteesatarn Bg as ete CaS. ee aeigesak eee Se Se eS Sees

BPE OG SSDee’ ae meee ti i ae Bepares ie |eeRE See SePaaS See ie vein ae rete SR 3Sgn 8 SO,eee eens SR Se oeRR SH SESS PASS 30 Ps aepea. oS ie cm

a ® ES sare Sane ; nee Be 5 Pee Si pes ese RE aaa Bt Se: s : Rae ee PRS Ses Siete See Se ae) weg bscee Soe ReTie 5 BRESales So BRERA” ea Rc Bis g a CORRE oe Se estasms a ae eahe eos.Se See ‘Se oe ge oem ails. eh aSa Bn oe ekie3ee pcSere a tneakPE Pe: Beeagen Ga ee s 0ges oR xe EeeBee cat es eee Remers. S Mpc: FS setae Mag Res

: ,RO BR aSees Se eae BAS, Sica >anne BE Ee ae..aes PO ee “MR RBioe) . Parte ND ete ee Ses ae “aan ene as ~sER BS a5 ti.cg ee 3gS.eiSES RE No on See ee Sara eek See ees aeSS ees So eeen OF Sao aee Bee SS Sea Se SN Nee Sg sag ;Se fies oD a* ¥=“Soe aRotceSR neaae eee eaeS SS “aSe Si Sees Be os naBoe es 3igs oa ie ;es oe aaae Poche So, ::See aaSS aSo ee tee Seats aeee>Oe aie LPR: ee ; St HE Ree oe :eae |ena :pao Soef ea aes

ey: : :§; See sc. see gies ae RRR Re Se RSSA aSee RR Beta aeons oS: : tes >bese aEso SBR Sa :oSSa a=Some in =SeSaeeSyeee Bix Ae =eee Sanna Ree eee ee iy Ps :SSSR 3bat rs2 :RR BscS. ge Se Bina es . Re Syccamamase A eS 3. ta beee e =: ; Po a RRA: Bs Bape ; TSS So: ee ee as ae ae ae = Bos ee a ae ees estan : See Se ae aeBe Ss AAI DiS gee a Oe a eee of oO Ae Saye oeee obs : oe Cay San Saas bo Se SS eeeeead Se Rg Re see eS pert ae eS Be “2 Se Se ee Oe ee Re SS Rigi Bit te ge &e

at es i i ao SS co ele Us aN TS | oat

* eg a oy oS Soe Sey “x ss ae aN ST oe ae Sa = : : Miran anand = Kann de> 2 Sa = ey = en

:oeFes aseeSeeeee eeesofom Be8 ae 4 ERs otBe oatae & ae te Ss : "3 4 ¢ _= eae te ©aS be Wart aN x oe arsSeas Steght se Se reesetepgs BS ak 8 f Sere SS TS Se Binge ga ee Saale Mer eT BI : Tee aed : | 2Ree ee os : ee ca eae He BE ce ON. ot Seana ities ae eee : eas : eae oeoC a >. ee . : Wo Porson ee a ee Ske eae oe Rsk 8 RE oe Schon ae ae oe RESON eo by % SSeS Se Re — ae | 8 x Ss es $f soe Sito ie aes See = Se Raa eee rate SS ae sis Cee = . 3 et 5 4 . 3 so Be.3: ;S24 po ae :oo SeRESS Ro RS; Bed RS, Se ae aes Sipemnetr sy teeBeene oars 3e 3BEES SSS Re = 4Sejoe) A Sapee Sa es SR ar er THES Pemoe 4 oa: aanER5 Eg sean BeaeceSe xaei.¢ee(ies ea pee ee Es eeeCea iySes oe 22St 8$=ey a—v Re = . aN Becca a es = Rees 2 RO LS5 ae z SRS ns:By eS seen SOL SScoal ce Zé aeae - Be A :lo) Bes> Soe : See a Lanett oe ee bone Se Stes 2 Bak eos:ee iost=e

Roe oe oSae eee ae Seems aes xa 25 bi2 ieee OS Berea eee eee: ee BeOS Be ae ice ; iiaSO eeee BER SPRaOE aes :Re 3 aSoaps i Tae oes ae 2oem GR Se Ree —_

Be > Res : Be eeiina cenemente oda Sor See Sager nsSes ed Ee eS: eS eo “ aee Bs oe Bae S sg Qy Bee eeae eee t SE i Bre Poe “334 . ;Fe estes > eeSie wre ves ee SoeSees =F aRea ‘ Seaeee SS ae bee its RES :NOR Baer eeenests SS ahaa ae . OU nenee bg ae Seeks S== : >SS CS.oy >. oe,

fabs: ee. aSeae Be aleaMe :es ee3tee BB :PeBe eer Pas |teee Bet eee ceneBE teeoe 3 a2ieRSs ae& eei ieh b wet Boe :Bic. et:aeBs —| ;it-~= a BeBet peered: ssoaaeae paA Beh 3 e: ‘See os etpei iia [= Ret BS Bae: SSE : Sata ee= ee >Pe Sepi i=} he 2s. ie Eo. a eo BS fe ® ames oe se “8 Be 2 teers rm OC ae “setae : RR oe IR eee ae Se Gin St ae >s = Pecan % pe He Sy is ae 3 : 2 a a 5D =

2 % Seat ee oe Bes Sg oe ; ee # ye 3 S

aleR rs 2S Co Sy ire RS TERR Ce Shoe.Re aoeSees ng iees aoeSR eaeSoS Stone Nae d Ss>= Sere $s > >ee seSeas See SEES a . SS ee .Mees eteries Becc ze { ;== SS ogte om Ses : . ee ee Se = oie Ses Sig ge Pasccrtcrn a oS eee Sea ) oe cemees - > Bee : See Se | Res

PSBS. Se So Bete. ” eeBae es ..AtaeaR. «as Seta " ee * OS ‘ ss4 i) coe ; Speier SBS 3 .See oe ae

dé eeee is ESite FORae . SS aaags ii, ee 9 eS RN om| =inB yo? ws . os SsSpee fe ye BR aeeaAiat. aeSsEF 2Soaey Be § Se ee, eo, eee ae SeGROEN a*%ee ee gue By a bsp ts ¢f ER oeaeeee eee: S So as Sees SeeKS 3 aSgaaeS. ad nee :ek Chine ORSTO =OO » eeonc Res ts = ent eo fay:. :“4Oi eaeaaSain 3 Pt . os See x race Ss ae a Rane Se DeRESSo Peon RESERR OTS Steines ee. See RO eos SeORR Be >: = : :SRE os hers: Siaaey ae Sard ESR aesBS eR oN : oes gtonde . em =. Ssgrisea Sn Beas aeSSRIS RE EES RS SRA Roa cere YiiNBalate Re NR ee ieBBB aes : Sen Sie 6ES.¥Oe See eehes eee cc aaa eeapes S9een SRoma PSSeach pepe SS Can RRcman ae >Senna aeeats Son” 4 Snena One Se eeRP Pe NS Rec te Racecar cas aaa ere = pate aesSo §

Soy gee Sere:BEI Sea eR a 3 Bes, ee iets ; Sao! = meee Ramer eos Pa RO a ee 5$ See SSos SS ee aeeRe Raa eee Sc Saas RRS oo8va. PSR a, Se Sea SSRN Ses Bo Ree Se eae pe reeRe 8SaS iSBoeios SORE ee Oe 8 BRO RE SyORSees ee eas2©: > OS Se Sans a es oS RatescneeeSRat costs.ow Vane yeaa RSa >SSeS a hohe eeeSoe RS Sec a ceneaa Beas ee Oesa SeRe Sank SESReef Bes:SS BOS oe Bere rayataee Mencnge Eo ear wae

See ka ee Essen See eeegs Seen z ¥a oR ae PNLoS :*og aae antN : ae Bee eS Rate = ARS ‘ WSS Baers eee eee . gic FSSmosaseeaee. ae % a: Raho amon sa eaace 3% ES See. Me Se aa. RS a rN Seog eeeOR Mea ee LS 2 3oteR =gc aaCC rooS Nr Rae Aa eee eePa SS oeen on heea Re eee PLN €Sak SRS CRS ee Sewers nae _ arg pang RE ee ae is Bie aene oes oo SR REN ee aeoeosteer Sakae MRS aR cnn cee Seo ae SRS BR Be oS ene een See eens seer cee Re Re eae Sons bs. ee a eS ae

Re SseRa Sy DEEaRRR se 3 ts Be csRRC se ere eR aed x hy Syoe ee ca ae ay acer geeJk Res cereee eaeoe os BSS ace Faoo eepsig US OR RESe RES Se ae eeees eee eae ee Ret ee Re.a Oh eeCR a a eR ae Be patinaoes SS AR ee ee Bas EES SS a ae

gp Bs Be Beso ae aa a a ee Pe SSL Se 3Be aes: ak orePie Oe SRIee SOI ON MAE eee oe See oe Oe Bs ees Re OR SBR: ae es Bees Spat aeCNR Ay She Ree ee A SORE RE ID SBE ee BS Aefo RoR Ren oe Ne. Se EE a:Sie . Couns SOOO ee eeBSS STIS RRS a 8eoHs fiesekae OS 2s Sa PoP ee Pyene eeSNae SO eSheSa as RENT AERina SRRFS I A‘x aeae ateRE RRR eeRSET eae aesRL Saee eR Wraps SOReee ANSE ae SAO SSRes ae Ne ER Dae. Seas pate>esccna Be "SS * Pheer SNteRRR oy % * aes Bs ae BERS iar ee eeLOA staan £eas cf eeraters,sfoteterstosensretetere's Ses Baas Reman nS”ay : BR OO NN aera SeOe aSee vy Oe 2seeemeena gehe estens rate SRST Sisagageetee See cee wiscesnaviegenenvaneersanananmensteasneerge teneetsteneeenesieats OR See:3 RR Bree ne :ae Ss SE Se ae

ak ae eR gn ae Shitty RE S.,*. Saas ins a Se aaa SRR Sane SN a xPets ee fat RR eeSe Fs es Ruase Sonahoaaaney StseeBS oeSS Se 3‘ ct gee 7Hee ne gris eae Mae see Sih ier ia a ce a ts OS a ! oa >| ES oe san Se Be phatase ees se Be ame EES Sse SA , hs eS So oe ome % Sam : RN Se Rey nee es ee seo OO SS ccc SS Sy RR I a a ; ae es :: : Se es roomate aaa re 23 : Pe BOP Senne Oo ORO : eng TR Se. SE Ses ee See = ~" eS ‘ ,

soe ee coe eee Bee agsaeeen BE SR neESSe BRR Saeed >= s >Re a ae,Se bees Reo. PE aa ERO am NSB ee PS SF SR ee ne iSe PN s: SOR PaesSeana soca.” Sarees Seam. Se aaSaOES ese a ae ee *%eX

3: wa er a Bo “Gh Se ieee Ort ee a oar Ri ren eas cae Sieh anc ” ae hnSeana SSS Seg pe Se 3 PsVF SSM Mens kes ee ieee PR BE ge pe ig cee ee coe ae ARS : So AShe -aeee & oe See. ae Bo See e'sSee 5 ees ae BR a.Se eSSOR Moose Po os aeNG eee & AS, é Bic Ree a coma Seeee ont es eh 8 OR a Race aR=eeo|pbb CSee Le SIeeRRR araeRES BR eeReteRES ae eet

ny = * Oo SO a. ea a Se Ry aa RS x Mie ic, eee a a perks!

eeeeae eeiOe Se aS ES a ties. aMOORE ee Nae iseee & ee; Bere! )a ee .Sia: padi a ae SySRR. PS ae ae ae SS et aE Sa OeOSs ne>aoe, eaeae Sa Re ao, > Se. Seen on2Site See Oe Ro Be nnn RS Tee Sart, aaSee ST Pa eeSSateSS Se em O° Sn sen” lee ae eealse 3 ee ‘ Phe ge Sa eS * a fee Gee ek etes 2 ORR ace amend med eeeSRS Rac a aSS Beese ee xf ots Simmer semen. ee Mie St a oe 2 aSee peanNe! te > SaSS aaaaa Scena aesBet : re: Semereane.. Sates > Na emir “ee Po eeoeeeSo ;8Ssek eS So koe RR a 2 nitieccoemsnes Sota ae eefoo Sheeee > SO| ame: ion SO" ironeee 5 aaa3 Ao SS aSOs ee

pe ir ‘> Distentoteamsanecneees sentenced : Scene °-eS >. boner Bete tae RsSd 7. 3So Scents SS :sotto See cs eeee>.RR en at Se be es SySRSeRe cee eea :Racin RRR Nanette SS SERRE OE Sa Se RRS 350 aess wiatcacteesctetae pinnate oncsninaaaen cia. ERSSot a BR es Sees pore eS NI Po RRR * peewee% ea nse a ae oe BS Se Bac Bee Ses Bsc pececeaey f 2S" EER rt nena ata hae een| ny aaaa.aaOR ee aS SN ER RN Soe eeor

¢ ee Sas ao ono Sn See ae sat eee Se : RS: paar ee ee paneer. 2... ee ee 3 aFed a. Saes “23S CR BS SR hae Beeee:ae ao) : SBT Rca Sx. =. peaSSE care Se (ee teOS Se Se Eee SEES sennn Ske aeSERN Se BaSar CR Sater is,: eS “SG OeesLS RSSeaSees SO tjRee we

= pr So >eee ie oie eS RRWw ee ee REeeER ee Seats Rae te.esARae ee Re Gee ee *: 35 eg RES AetS Recs ekOO ee Sk oe oP ae Reg aha ;x: ms y,xa“eae. Rie Oo Renee gS SOS 2. es SRS eeSIR Se Re ee“ 32Me SeaBs an, So OeSettee ee aeSees RT&Bae RE PONS ee BRS RISOSa = cai x:

° # 3SR : ;RES : es8SS aeSRE Seg Sa MSccs BoLeeR aa aeSe Bee :cSaxe ReRR. ch Pegi: Reea aRa EseR es :aeRees a ae 4 Oe,

; Ne BNage ee: SS foc¥ ROS we eeeea8 ees SeRsotheaees ates 3 Reece. he as lade ceSee aees ee aoe te .ae ToRS ee Sc SohaeS SRR Soe seco ce aera RD. ake Sas ESS Rare ‘ RES es RRS Sener on coats Si Sea Seth aa Ese a Sates SSoeeeaeeee ee eeBS~~.

: Ras >No SSeS. oe Reae ES kt tira.RR anemia ans Seahmae ca saeaSE of et SS ee Oesane s SFE Beck PRA ASSisRarer Reie hd Sea eefeeSiceee

a MS Me Saat =rae Reem eam esRe aRaos gates ae ssn eco RS arene oe SARE eeee ae iy Bae eee kok Pe aeee Rs ire SRS Pie ees. Rr RRR SS SR aChk cca ae RS eee Se SOS ate Oe Sees. MEME ERS SM nee ps RRR ire nN RESat To. Be Ree cesMaes Setar hee een eo TR Re.ae Se SN a Rie: ee BeeSete eye eRe Serch BP aS. SR acee RE OER ee ae NSS Povey aa eSRE Ss eS ,SR ORR LE RE RRR ee SSSR Se teas mnogo eeS25 ReSR ae Pe aac, gclie tssoa oe

84 fO RES RE See Reeee st Ne 4. Assi Assistant of OLE Orcagna, , detail HOR ] detai ell,of S.Ee Croce, Florence

SORA IIIT OTA CLIT SRP RRR OORT Sy ONG. | BRON EN IRON 5 NON nn scone on2ae Sore ORAL OOP APO SRI RS iissicnasecie neae esae * Sees [ss eee sein eecanmennoec oteSR Reuamonsi REL OR aC ean aa paca oa SeSe Es BS eo Se a OR SSI ae th NR ea Se RR OD ROS See eee 8S cs ao eee ae Pere ce SE Esha SOR ak es SneaeS

ee eS SOR LTS gar eS | BER: SOR 5k ye | ke RR OS ae ee as a ae

ee ae” Rie Oe : or Se Be

ee EN ce ad Pees Seen Fee Rr ee tik eS ie"i OSS ei tiSane 3 MROee eR aeee ae aeae .

aeK 38.Se Sucgesateennncie cc reSsSNR REE a ett et aee “SERRA SeAg annSR te aSsaeae Ren, appease. So Re Saree ae oeSecs cagrees oe F ee RB gk SR RRR CGGEe ar a See See & 2a Seen. ee SSS Seen Nee ge ty ies agua 2% cee cae » ot of BRN Ge Gs eee eae ee aS Sean. Se ar ih aN ae ee Se : ae "Se. Bie > Seen SS Cee rami. Be 3 oy eae Bi ieee tic ed iy Sage a rs Bee get ke Sona’ SES Oe eek Sees eas 2S RS Bea Sea RS gaicinrncene sa mmontecn tines senses e

ee et es =

Ae.Sete ei Series PRRBe Se Pe SORES Re a Coenen ne Sanaa % oS ee. YMaan FS eeeePees eae ROOT SI so neat : pee eae sos.Bae eu ee

oe) ee ee ‘ee ce 5 EE RS ean, eee aot ET |

Bo BERR he 2 iPROT Be oe Se eee BaeBe ae ee Bi, a % Ce ee atte Des eeSee BG Sk fee Re es oR cane teses Geet ae ba Seas Rotem. eeeiais SERS FO RN IOCO Ses Docs ge eeeee % ea brs re aesRON < Soe. eh,gad eee SRS:Passe aacoon a Se eee tossaaR. at Bios: ee RE oR Reena Se is, Bon aonon. hota aesSees ARES a: pi ins Se Sh eC aE: eG LP ee >, Sine aa a aR RRR. Santas Sa aa Eo . ae f°. aE, ss: Se ees ee oe a Bt se eas Sa Beet

oe ee ee hes Lick ieee SS Sink Ske AS

ceo ee AR Set eS eR RRR ST Seeee Ro oe Shae es Wh a ne eS ee ee a a, eee Bee a se aS eeee SR eS eng emer fe . s hes Ag fa gene Rs ae 3 ied Bae aes. Gece “eke ¢ < eons Bi apes ~ Biber senses os occupies gies Sancta

Bee aR ag ge ag Mtg oo oe ae Be ge eS Ss OO ee Be

es re tae serie, ae BSS ene 84Ba aes eeBee: See: sen Mgfe seae gee 8ES Be esge oe aeSERED # eet ie od as See Se Se SS Seana aad OR. Y Re ORRee eteaREIS, ee Se SRY Sead

we or ee: Se eee ee PP Aee Bat ae 6 Riga: ee Bre ee . aoa SB Ge Oe Re AB ae ee RS RR Se ae ee Sh Ran ee 8 Se tsain 5= Fee Ree ei Sa a ae ee - The i eo GES Gane 3 Re Be RSoe Se 3Se ees ee Re ee ach RS Gee ee ee ss Se :a Peewee LAS RR eeeeMe eeaSas oS eeies eee Sco aaee ies Sa ae ee ee es pes Rtas Soon Ona. ORE Ss BR: coterie Rea ea |. Pe a Rs oes Ges aes Se a. Se EE RS EES ee Be Nee nasa oes ae a aa ime oo a 8 Bs

oe 5 “SS ee ASO Oa IY ora > Sane SRaRoee Boer ee: Semen Oras. SE NON Ser hes

> Se MS stanatecatatesetelarerateretaretetatensterstatetereceret eretecetet riitesasetetetete OEESR cs, ORR, SRR Re ae aeete Br eae ss 4 8 S SABrenRNa mee te Be wees Vite aa aD Raaencsmenmeney Rigi “ce ote

ei! pa SY opie oe es Soe Se See eS Skee a ae Se REE FR BS RRS & ORS ee, See Seg OO 3 het omeaeanes Ss se PERS BO NER ae. og Singers. Seer ie an os

SSS RRs ee RS aSetsee€Ae ge | Of Soe ce a ee pe ae isepe Somer ae §; ene ree 3aBoge ee ee Ce ae oe geiRa BS :tga eeaRe es gid eeGe ee 3et +)SORE eaeaeSe >Re er monte: Se Bo < el fat i=. ei.Se aecere ae AD ae RS OeaOne secre eeoeea ef * Se, eee Rimes ER Sa 2% ic ee EE a ~ Ras seems OnSj attREE apes 2 A OOSIES aoc Be BS BF eeCee Ee oe| re og EAR NR ates oe bt BSSe a $22.54 BEeo BeES Seogee) eas *cS a am Sok. cient, See °“ he eeeSee Soe SeEee PSster Pore Bee aeSs eae

te 2 a ae, Was an) eRE ae wee EsPeat A egPao . eas Shpraatht Seeae | SER CORRE OS scoa aKBe Nata ek ee ee oket ceeee ee i EEO Sen 3 ie eo SRS

Seas Se age ae ot Saas: PRR SE ee CORE ee eeataeSes #sS & 22 beSO eSike SSEEO ag 5Seri: rh Sit ONS RE eearecur aaaRee Sa a ee ee aeeS BROR SaataANeage aeSek ae Sone

is ef Pe Mee geaeSei. Bis:Sscee ee be as ge Bee: one oA:Xe butfa pc edeS Beam ea See a: Pee ee Rea ee mea 8SOR See Se .% ge ek Seg a Scere Soe Mes Bae tee te eee cee Be ta s poe Mae Se Nae eee ae See SoarSa eSDBSte ca SaaSRn SaraBe sc ORR Same aRR Ne oy i bir" Spans fee fae Peeeek. eerSts&: Py a 3Okeo: ek ‘ge ee Caan ~ os oka

CS BeaS eee) eager tseae aaie oh ae See Reeae. e: am Si>Soe Be, Vey oyaSee iepea saa xSee cateSeen si ORO: .. Seogi gunctiit So eee PR Nee ee esSRS TSSRe SRssmopman rat a ae ts igeeestics : es 3a Se 2%ghee ReAe bas ‘ ee eaeeae Pig «Seas 2aeRRS RRS Hes> Re geeqea SiC ay oSRRR ae oeeS. ie 8 Py

oeraeCee er gee Soe BOE en 333 een Soe ae SS XS Se, Sse is re erxa hae tk Se Spee etO's 2& CMe Giiaetion ntPS CfaRE es SOI Re:ah BE se Prog ,xRRO eeae"KBE SEE BS Se ea SO x aenc a Mien Sies 3ES Pi S ee ee rae ae ee be Sern aE a 5, BE BR SRR: we ee: eee meee tee eee Seoe RgitCiera tne Se ae Bio GO hes Sern cine ae ae Ges See sane. Sem aa Sta BSSe OR SeeS RRR ee °} os Sod ae 2 Ee eee ae “ag af: bee nee nee eae ae BE Oc ee DEN ceSNe ee etSeems ieOe tL OY RES aSeRR aee, aR te. ee esne Se ee es SO ee osee geNae ae Sse Resee i Xie. ora eb nes Bis te 24 Sf PRS Vv Be Bemee BOS aese Re PgCee Ce. oe.Ree v Bee ee Soh ot Piss 8Sgt See re age sees Hes Bac nh &

eh ee Bo gg VE ee gee eet se

rong ol ge ee

oe24 oSBre it eeSSeS es See ca See RIEene esa,ems PRE Nog PB Sages ie co aioe aece ¥SRE ae sagsSsRR a NE. iy Soe, EB Ra RS RS4 3© ae see Se RES RS“BEES MS oeCO. Fag BB: oe een ts eae eaegee Se oeSO 3 Bose aeic SREP ROOST Ps ges ee RE ES Be Eee A :eeee SS 2Bee peta Bs Ne ee Ro” Coa aseme an. aaa SB Ser ge RE BS wey: BP RO Seca pee RS ke pee ee > aa

. ae SOR mr Set o~ ps 3 SESS Bi Se ae a & Se p23ees * Big, Bee 2Bee 3:a Loe SeerWo gesaeRS te ae ea#3SeosSEE EgRSSag ON aloes. a oe ae Bits ee Meee Re a ac i? ey . ‘ So: eae Bk pS aS ee ey 4 ne PORE EE as 5 Saas err ee gs Wie at Se BH ern

pe tsRRs ee RE Se eh oe Beer eae :arceERROR engpeeRNS SerORRIN. Saag Mee es:See aSae ee ae Ps BORORE OOO ESNRe iE ER SoeSi en.”

ieBSS33BESS siti,SOSe ps:SRR a Fn OeeergE Siege RS Se Sac, Spee eeESOS pes:Seori eyeeRe Ben, aaSees Fo ee GRRE goRe Bs 4ae BRO SI ReSERe a Se eesO OS Re eeI AI SaaS

SD ck Be ee a es 8

eyaS eeGee ee BS Feterie cme Satemei fooerBove eee thd ars aa as Sa AeGta: ss SRnkteea i, aoe. es se is oe i.Sa eS it Roos Saa Beain maa tyteBO Peis e ee So Bae ScSage ema ea ee SS SaSka NSae Rie Ste Ne BeSe Se a RS geoticthy SOPSa Site,oii Sie gi eete SE ta ton,papers aoa ee ae ; ie PaiBRS aes >Geer. meee Oy oe eenem Re I es I eeieoNe SOs Bas Rese esae ae ate, ye 3 Oe «hee YE a Renae ae Se EeEe Pe ye BRR eee oe Sie Seam Gee ae Piece! yo ats toe g Be Sg ra Oo oe ook: lSeePEAS Re SER:PER Bea%a, Re es: rt ae SS Rae COamie “4 oe ySO a OsORES Sabet «cuca eS: ee eS Rd ie OSata aeoo Re ee ile aS peceptee? Be RS Se Ses seeee 5 ™ ~°S x ‘ Gee ot Seis a4 Raa cute ees So: 5NURS Se, sien foe Sa“Sa Scat Bese r= oo

Et ot Boy ye sa es Pose Ba Be SS Py tenes it Ran tie aera rece peg eg SS :aPTSS ee Ne. eee ‘Spas ieatcgay be ee? ie Sos tSSoeGROEN Ce DeAeSeiten AEN NSgotRee sess Macacs Whee ae Seaman Se fesse We eee as Pere Seemeric eies aees Sea Be Ba ees Saenger eeaetn Sia eeSS Ae SS ee aeFens om Se *SS Pe areata ooee Som ieBee ne Se ec rn eenraay etSy OS =: > Seba eee OgRo OSS ae“snd kot steerSSS tao Se eee Se PN &, ane nee =Senne :~ : Soe Bes ee rs OK Cee meh oo Se Zo ces 2: :xe Se hoepsSEES pcs coi, ea.Beemer aaa SRS porta cea Bc aeaease am PeSgEaacs egal oe ea CoeeME eee oe= AOR Sg: Setcteee geeORES oe“”>4 age Soups sea * 7 eae Sas SA hi SRR Bs so BRR st ve Se, mieeepenne area Gite, Sie. ia. * Bn ra ee ow

eS Gage eat an S oS aes OTR aene Oeeas i ne OOS ;SRS ae Be ~ ee tee. Mee. See *Cae pigs tatienae per}ne Sohseosai ieee. saemes oon SSR a at ~—% Seae. ee Me aa Sone A ROD rere Re.RRS ee. specs aoa aaaeee Sages SES setts 2wieteateceege NERA Nake %aeSoe &eeee BOR Near SSscan oat. eames, SEER BS

ee eecoe esasRoR ote SaSs oe i eeBart athe Keone > ae Sree RS x eeBESS vn eae,Pe Sasa Bee RN ae eras See ae y pS SARS oe NegOng OhSok eere "ae MBER Re: aSRE SONe sank

Hpehstennec Sreeae3 ee agSE Sea6eeERR as fs aROR SESRe? are See Se eon haeos hee as Q EOS epee nae seme Rn ceosatte es 2 a;Bae” en, eaten pecensstnanie at on Rec oan = SaaS % a eeSeace Pea eee See.eae, Sea seae ay*C5 S sae seeceee her geasaneee,® oe RAPE Seoe oat aSs St een es . alccasetehahe . be “< : eX Neeaes . . oN ay, af oaeatcratnnana®, ae. ae aeSETS el Seetecoseceretetesetstetatets PP cee nD RD ae Moelle ne ee s a eo . in nae . * igen ‘ > - . Se . , onan oN ree Soeeceate OSS. ge SE &

Se pean tn soe ES a 5 MB a es oan ; s ~ < Se omeamice ena Sn “asia eae ce ; SPs sae

So BE SSeS Re ee ee oS ee bs. eee eS Sei Ga “Seen ip Bi ro

Re nc eee nee nD Senne oor eee ‘rs . a ¢ ee See OOOO - CBO eee xn. eS eMopreteteten can Nee late ten Sn on —_ Sioa Ssoe Seto See ee : See a Sa nan HES DI ose LSS otis ea Siisisiegeesd ieteOE.” oe ee rie 3 See a ee sprees se SRS eS es ona 2ROSS Secs Rear » SR Bete Ge Sek Misa So i a REN Reet neeitis eeeseSree. ota aS ak ‘Ne ate scat Meee tee SeeNeate Smo CSO, 5 Se the=: mys aaes ~aet. ania Sati Sooo «Wotan oe nag Seas ~ SOR ne oan eee Ne :% Ree Soo eae aa OSA SS a,erSomme Bs See a Coe Romar ce SoSe ee Rara %. Sat Se aaR a%See Re eSRegan Roe aanSRNR. aceenene aERE rere, Rh. a AS oSon

ee scene Saige SSR Re Bid eS ee ej Sa PRESS $: aie st Bac: oceans. ‘See, ESSAS, Se SiRie ae ere ; 3 ERstees Se Spann Sean opSe SaoRowena SE fae \gee Seances. >2: IESeRe 3 SCOR Be Saee en Seacoast. i: a“Saeco, : aSS oad woe eae aeee Kiet aaa SRS osna tata aeoS eases ee” See ,8ee Sree — Ca SESS eeSee mastaRica asec eer ctatesatasa sonatas POS Setar? Spine rerane 8 Co. ear meee >BS ns PA" Se eesmear m ateee eRe eecearieen nox¢. ee - : aSS* % "3 toad Soe memo gee Be ae eek Reset. speak ~~ Bt iS oa Sionesuner ae See Ree So, a REESE LES Bagensspser aa tanhatetetetatetes svi > eae = ees Se Ps “ aS OSES Oe ae OE AO sprtoste tonne a % ~ : es.

ees eeCeoe: eae = .Sa omer Bh, Cites neat,SNekacaee See ee one neee ae SR Seny ea Ax ss «2 Se es “$eee SEP RR RS. SCsees Re Csieestacatetat"ematSatved eS ‘am 7 < , >& NeSe Sas

SSeSaspas SoesaeReSNsae i Qs S Soe SH oa Sees aera. on2 aa RR RN Mes ee ceeSemen eee oe Se peeee tae, Saks Scerenai.: Sammee nO6,igae SES, SasPag OS‘‘-SS sotBees i as sa Vv So es ceePeSeKe RSS Be pata te Aeaepeek A Soe SO. SS eeeg Bee RoeSN heEe 2 Ree aco, oe peat 3S. ioe sa ~ See ane ee Sk Paine pie Coe. 25 * en Soe Peon BO anew rae le oe A s Se3ad :Re. Si. -ae “s *sane ce Se iter=etntstenaSeestetetee Se oars Oe Rite, pa pee >f*‘ae teeSome Ba Sd eRe Be wise aeae Reena wee Recess ane : € ae LP«A> RE: Mone SeSPAead Beenmee Nah:te.sie” Sot ae Et Se Sie a SRE St Se ae ee Sig i Rae ~ aeage BS We : Sears hs m 5 > Soon ne ee Sores: ae EBS RR seed Se Cam Aa ak. giancteenaaaenanee SR Re eR RY OE Rk la © aang Bee Se a ea P 3 a ea ~

aS 2 Re Rae eee eS eee ae Bes ne Rn Smet Se Sos SE eas

Sn er oe Chase star ene 2 ie hak Seat ee Meee re . caiaiens Soy aie ENR em Be RS eee ‘ Le ee ee Bee Oe oS ae . ek Se °

Ty eae De Beas 8 SaaS eg ee es SS ermannay se aaa Pe ee ea Beet Mi Sa gee att ne SE eae ae Set =}

esae> pono ae Se RS Rt aes: IRS Sf 33"TR Ree SR¥Soak oa oSI”ee Eo Sa SeSePopeater > ceaet See pr i eeSere aaa ey ae aeSe eeashi en Pes OStie Be Ses Soe elena . ee ans Or IE se sranaceenn inate eeeSS hee, : Sono CO, OI.¥asce oretanete aRaaa: NE See xSe Bes 2ee 7 ve se ne Be Se baaoS Oe are See te 3b ; Cte, Oe SEE Shotts enna nae agora eis Seg ang‘ % Pe tes Bee os oy Ee See Se aa =a SOS SeiMencet ata" 2'- Sstectensnnrndl ROS RKO es Phe CRPas ONpan ecaeis iat OO “ae xome wits 2 eee See ier mea.Seen Se aR Ngan nen SIRO eSSOOO bonne satrravatntaritee ee Sets eee tarenatat Racin Reo ey Sana ee: rete aeS ieee cae noe Se Pa SS SirSena. ysaia Se as cognien: ES tonaN peat ah Sinaia SeasROIS eae saaRO Riskigaeenes SeSeed *ke Secs casante Sa3aes eS see < whe :nates wae*e , yao SSSR So aaneungttne alee PIR eon commen: EEN Ae SS s = : Me. Se Pt. UR es pas. meena So OO. en Sty aoa aiaaey Rretetatatete cat Qo PETS RRR «rn atsEES a. aeeae =Woe Ieee Sah24 et este Sars ES : Seiten esos, a wet RESO eee :NPIS Seateene eesae incre ncnnnettocat oa RN Ns tanaigMine > = Renton raesSe gh ecatsPa BRS” Sa or eS oe Be Sees Pires pe ae2 Meee ea Sia “5 se Sanares Bae ” & a: oo MS et os RS nes Ba a ie 4 Pe > a Seana ae ae ee “ ses " peegeeeees Ses mae eta 3 portant ile see y noe Ss SS Sathas 2 ae a] asf

3° ae ae “ Ste ah a bah nd Setar oe a oa Bi ie Ven, a en Soe eee aceite s Seren . SRN % - SS 2 tire ° ee = ORR Ree a me ee 0.) a eet Bence age Sc aSRasSieShy Sooaaateca meee . iid ee 6D Ls bee SR senreercnrotans aos oefey Pre 2k aa Seco Sone eeekeene Sees Shalem Se ogGe entedSean a TOBEbe ORee 2. Sepuessiey Re TS ES ne——— oe Sepak Be 5 Se>SSE So es>ene Beets Sate pc: ee >,oe ee :aa=sieeeee o> ames heey " Per tN alae. Se or oe ae ba ease . setete tee Sa eee OO sosetataset oP POR 5 end © re-nee a >.RES SRE aeetarsteteteteiete »eSLER SNR RRR Soe : >ast: Wieseteretetesereaeees 5 DAS ReEEE NT RD seas SohaieeeSa agate e59

=ashige: eam:SREB Bas Se SY Niaeras oh es uence YS SraNGS : >ae.Seoy eo ° pa.wsrtegreteeroeat Bes aR «: .Remsen SeaSi:sae iad PeRPSe eae, aeEeSe) ; RSS =Soo * Cele oN: Ss 9“CRORE 5 aeeee STOSSS ee Soe ome Se ene ee Se SENETS So coosRee Se oe aesaan Rte ig ees Ps es Ses ee ces SeePES. oesSesse sie

Srey ioe se Me es aie teee ee ee &ee a ary os ei SeEe pas aepee. % ke.Se. Pe.sfaoe a 4 sitesratapannney

|%i >me a Pi LePeete £3 SOEs « ©5% Bories a Ree ae ee. SR ¥aes ‘ybs o>het F yore ae =e ’ Fy = ae Saretet pe a oesSomes mast Bee wy #SeSoa ce Poa se = — rae$e) 234ate Bssae re aS Pgs Some

BaPee:fies Sas RS enScat 3 peSeeeBenes Bt OE ee notes See SENS PE AIT OSSPse- *“Sy ee Sos Bie PeaSree Peerieas - eae "Giaes Peae SSS Fae ; Se ResOR ee eed Sg Ps nas gee iit SSeS 3 sees eeesco eeeSee ae ee ee og ee Se Bike as et Se. Be aptey Bee ar Ce AT

& teene. “iosco se Ci ae %ee BS SS oo ae 2 a N= i;

' aone .ae: *ee aams OeoeRA i heeeeo aoe aesOeeo! aa pois Se- Se Rxaca ooaN, ae ee Sn; Ne 3 $} |Ps : | ih } ec aeBee se oeaeBetags os 3West Bhs i sas Se : Paes 3 < SsSea i See eke| oS Ore Se Se ION. SRSak en Sy ae Se xs Ph

te ns ie3 sort eg 3oeBe esSe Sesae SoaaX. Bae Se BES Betas See ae oS oo rs : Poke Seteae cawee RS Oe Ce »ies | e fe fs \Se . : ee es iiss + States Eee poeote opeaePES, gfe =Sit Rego. SS BP ae ‘fs Pao, ty ie Ps %& ;

Ee ees st pes > ae a a ws Sean See $5 “3 co a. Se Re, 2 Soe toy SS ae SA Se ee ake ~~ Se a A Ae %, ae oe 2 3sie"in SER, Ste BePRpath eeSoares a Santen 2 goes 5 aeeeMe.eepoeSeEESee508: ees taoeay Z SS . ‘ ii‘e seer ang ape eee Sak ee atee a BF 5 Boom 3 RRs = Sees PB scot ae ae ~ Sees Sooie eani EE

“4 a2ete "Seat, ‘Sa. eeaaa : si RES ey Si Seas neeReyke eeRote esodaSeaeo ee s Se .5 eee e SRM eae . FS Seno as = Be ee RSS ae 5. Soe. tena et he ee grSa SS -cnttns BS Sesepia iesea Soe FOS2Ris os Sak ee SS Ss baer, aes .=ees ts : Sart Pes Bere: a ’BR eee SeaeS mob are heise 3 3 ee |

iS eSAs Soe Sageee RRSas eegeSse SS ee SARS eePesan ee a see seed SRSate Peie: eggsBeet caens eespa; } die.oeeeeke pee seat oe eeRee ee gk Sree Sea ae SS SS BA ee es Me FeoePR ete wy 2 Ss Ranson EReae omen Borne Saee oy Rosen: See eee.toe SaR:See Se ae Sistooe een eo bee BE SS eal 3% Soaaere ANAC isSoo Sees : oa Ssigre SeeSe Me atte 3 Rants eas Reiisinerteis wap penne Rese Sees pciMag se bosnante eects eee ae — ohFsme ses =PiRare LaOe Sproat Se 3Ser Stsoeeehe Sienna oeNe > Seas SSR Soe: aciete aSe. so: Soe esas Se ae eS ae ee aey: saaaeSEAS ; ee we coats a - syky eeBs ateeee pentane pease aS eee

aise : 8 es tae : 5 ee PES open Soa 2 Se = oe ; oe ce By. git San a Ro 4 oa ss Boos S el Se m2 OS 9 sch oe, 3

re a: : 3:1: ‘See cs Ee: me ae aategales See ea “$A Ren ee2Pee: Cg ee Pi bate RS. Ms. SS aaa ba Pa 3 2 _bs penne sonra eaesar eeAe, ‘ ee See AS Ns D3 oon 2a ~RR oe oe FOr. ee FP Psd 2SSae ee amet. ee ie.on See y oe ee ee 5 8 Sse ms sega a, ae gee . opie a ts § ms eS Fae a Se. aa See Bs PES * Soa perme ae OS tt BN aoe - Ace : saePe ee RY, Se i By em ae Rk x pescsSA ee Rear om pe Knee 2 brane c bs Ry ca eS oeoe pe “Sees oq Besseo re sek aePee: 24 SoS . .S¥ee an Bag Bees See eae a ra xk:IR:Bic. aei atin S Sit oe.oS Besoa ie ee WS eatseeSess Rois Bees Soe taaeaecae se aepeaks bee yya a. 7.e ot gSa’ se a VBR eae Page seas ees so Bissrasoe Pie Bean ene Bat Ss: Bay EO ReeSee Sek aS xs esas. bee ie ROeae Seer Se 33 peas z ae Same ee Ee ee

Sc Se. sev = Possess Steaoe x Rete, See iene = Bias Rae i, > ee Sees Io Rass oe ah moe on Gerrans eae it Pe: a Saeed 5Si enees “$s oe” eae Re Se “Sear eerenee ers osQu ‘ .xee: = Shas ae spots me: aeaesaeSeSon aa raise BA eS Tecan oe a See amen . Ses See oy nee Caincniatitnentncn Pee: a” a $ rt ee ANS eg one eS Bae Onees bataPelenne ots ¥Sry er eete * eM es so". > * Ss SS Sena Se Ss paneer See +3PSee eeRSrenare ke — eat ostatetatctnretn ke gees SS Sen ee nse Bee See S3 =oene‘ Sh ; RS ER a S33 a asRe” oeeeorp ae meats Peea ~* Ege Seo Sty a ee ; ee Ren re NN Sane Sr ne es Bese ane cts Sa oes Se Rees vine Sea ee Spe en Se ptr)

ee ;% sons SeNae, ieRoR aaSSta Se eae pa oeoe.Pa OoeeeazeaeyCED Sg ae Besrcee Ss “et3ef 2 eye . esSee » > neni Sar teensBee SN eee ‘henaannigannennnnae Ee Re oR eee Stipes : ae2pasa see = nea aaa=eeeeaeRees tas Secs aS 3 eS) fa

3%, Betyg “aON Sai as Se*See SESS poate Romano oni REO oe STR:even Seens iERR & SBE a ms tn x Ses he seey Mat oe 23aseth By - e bo : Saas See ms BOSS partareepneterotesraeercetente ieee Pes : ee,aPe2 as een Ss a 3 oe « & 2a a, roe Re Sigg co Sates sre Rhee ee Se ES RStsmrepantacges 2 eke tess oSaeSees Rt. Bow rs Bccerrs Mr as eeSas ae 2 eee < w +34 Ceaeo i :Beet pitsersnacaemnr Bete roeneaea Te pains Bas 28 HeBe me SAB ee, = ae,3 tp So ieeS ne Be oS :oa as sea rm ORS SRE EES SND MIN a oP,ae eaRis SRESE RS ane [eS mee os Soe nat ms SS paar: “Sets ro) oS ae Cae 3pie. “3ne=SeSpee Rae snore oe=ne SR arae ete *See, = ee 3eeRe= aa Prana SPs ag sat se iene AR a: aSee ose Vas ie a eeshes eed $< xBeats BS RR. eae Pegpegiiae SES ese Ss Soe SO Sep esSeopa a Berd ye. 2a BS Se Seo 3 Veo eOOONIN ROO See BiNee "ye Sasser Bencaiss SRae seen $e Sah Berane . * : ‘Cc is re ss SOS. Seis aepits ee es RN RN mene Ses OSes “ me beeeee “ Se esPe Seana oeeeesTee SSeae Poy a see SENS3 Re scares $s sa eta RES aES x gi SSS Bae ys eich ted So Son eR Eas Roe oe aS . SAS Renae e 3 Bese aes be eae ce ae Pt Ratner BS Pegi bd 3 es Se SRS Be te te, i, coe aes LEONE OF ACRE Seendcee > cS SS eee a. pn BS BES SS We he SER LY HS BES Se Se. ‘.Te : ed a a Ch Se *Sneath te Ri>aweeecoees PA eetate San 5 mM ae ae. raeRBG > a Pe ee *ae ke aSe 0oa es setae Soeet, Dea tas Ste eeAOe SRS: see SRE, Bey SRR GI EZ< TAN Bt P ,% Ros ae Po ng REPOS SN Pn PN. ae ee i :-sar Sate oeBE Ros So SPI SS Be SD est oeee: a ie $73 P * Pte Pri , Yee ee a pe 2 naa on Ns. Ps ses 3 ee fect ck soe aa rs ee Seren > : ie aad aer S‘a bitin Cee Les. gasses 5Paes Soa eee 2ee ataPET 3Pe ee fFas *ie£25: 383 =Bo ‘xaaeetene ioe aeSSe aa a= Ss CoReS 2SR eee cS ee: ii Pe NE ETT oe. ;:;*stains ec aa Bee pet Sa.Bi ee Ce RSSe aos oe aR Giles Sa as an eeee me Be TESS SO Seis SS: Seae BORN, oa SRR a© eS ee SENOSSOSOAOSSESONE: sect stoassnesesesateebeoe se : as Cin. 2 Ee Set so RE oe BEES. aeae as PSeet ta Bh. ak. Saas eee oe

= ss IN DN lh icSoeae oes Bae i Sok ec) SOPOT roe 2S hax: PRR LILtote Seats id 3

bas

=ESR Sen eeeeee

ss a

cS ee Bae sere Oe cans Senne. sans ‘ ABS ne . “an BR Se ROT AS

LS ree ae saan reneeseretn nae Or es PR: Ps aSSRS See ae ieee Aaa gy: ee ey we oe a esro eSaeosSC RRR Beiter | Laake r% A MMe oe Pahoa: IEE aa SigeRe. Rote. Sa eg : y ae So EN Se ~a4se; ae aSSe ° a oe-ee” eaeparte etna Atanate ESTASStSoa aa RS "eis aie ey NSN eS Senate RS: OEE wewr $3ooope. aero esha EERO os »Sec a Sse iar eRe yo KeRet SRN

- we . ,, “ . ‘, Ss eno : “ . a Sa

oe Skee ee a ns I eS ay Some ps nies epee nfo Soe Sa Sor . a » ein So ‘ Bota Se PO 2 ° , es >. Se od , Ge ie oF ee BS Sagan ena Ret eas oS See ae PR a eS a? ae “

— Sees, : Pete 2nity i: Saas RES ate ee cs SeBeen aoe See BsSnag RSS553 SS RRR. Oe eS O| © ereSes: SaaS Saas PenGe Sacseie See SRae Ss eS A eeoO es se ue = AMEMEE Ps, SeesSaar ae Sor ne Pssoete atte 2)sae Beguano ok3mesa 2 gee * SeBi raat anS ae Ls woSs

a eee as Sa Pca Seeae PEO Sees b Soren seemsae Bee. 0. Se

sy oe BS x et ee Re eS PO ak eS $e Soe on Segal . 2 oe v SA ed a oe “hy * ‘ Oe persatasta ans > ee Sy: eS a oe,” | Aaa Ne iC ee " q i ae OS agg ~ + See

ent EE ee OkSe“EP RE o of & eeet, Ss Feo pas Rien Se Sea. Mh RehRe Ne SB RS esee BSR aBreet Re#8 oN 6 agNe She ce ce,Bs bee eSBAN +s OERS eees eSees aeee See

oe Saarek eS TEER so igen Non Soabes coe oe parma costae8bacon ia | iss} v : gee ORSeeps geeRKsaGy. Neale Be oS cSiinacoro ee Sey ee Seca FR. SS a te:wees 8S :fSY 3 Kare REESE YE ee ee atin 9 Secestent i 2 Se ce oe Saas Pa eee Sos. SOP CRE SON Sx oe ee By as a . : Sa ~ © re)

pao Beant pe Suetenees See pieaops me SSaeaieeeey SERLEER ENS pies“HS Bh, 5 eean acsSenta : i rae mie— Pees NN. ceSOR eh ee —

RE es Re Sk eeSas Si, BOGE ~>eeaees os SORES chia ptues: | Sener iss eras Siciiy Sent PeeSopa ee. Se Bis Rieu okt ty® aaows x “oN oe Be, Ste NS ine Cai pas 2 het RA oo ae SS eee asOS oe See = nine ease es Re, Oe Soe SeesSESS Rabat, tc OATS a >sy«Cees teas Saas NR >Ssa om SS ON Bea Be ai aae tt Rene aAaSea. 98priate, eS SR eae ae RRC ae SS 2= C4 PAS Seen eaeRassias ORS SSE =* Bese . Seis pape Basis & eee Seay SanRR: en aePR eS RES. Se es 5aRRR BENS eSRspanties: > Seon Bi ae ates oe =| s

SS:“eee igBisa 8Soeer AB eg aa OCU eaeeapie. Se“Sone eeehee. 9eS Eeaes ae BY es SES oe eemete etaes aeabeet > HK te ee ES See Rts : eS 2 ee es aie aM, Oe ee eee 3 ie ee,» $e ine meee Sates Ss ea =SAOOIOR bcs Ipoet oS tet Bs a 2ORO eeeaes ins. 8 Bi aieSees Rees Pe a“oe P. SES Bet ¥5SE vena Ko Beate ee aRARE osssen.Be pee 3}cs32 és) ~. wee seen ee Ne re ge S23 FONTS TdT an Sains : QD ~~A RRR RR eee, o% wr'ece tana Sagem =

DeeePsN a. eae ee ES en Se i aeSaeyIO RO I BI re SN OO RE eras = Ss eePegi aR SReeeeBERR a, ORoe sees he PDR aeCOR eee Rews ae RR cece, See ARS e ae Siecae een ea ae na aa EEange ae an eo Baca aesoHs PRaREE oe ase Sooty « SPS RR aeeeee bso eae onpeeeeasaaaags setae Sheets secant cnaE asta eacnne sone So eo Nyaa Myne eeCN Sa SENS Oa“g ete pees cs Peies SeaRae at com Bight Seea

es ee. oy cae RSS eee CPt ee eeeee ce See : 5 RRR, pees eS ee .a a ee IER a reeeSate a BP Saat ERSesAaneeegeet Ree peereaeeerie okeeecn

Prairie a RR OISF I ae RR Stee BS.SORA SeettnSSS hk ae SeaeR. O ie ok 5a SFR SEES SRR a esac iteers pee SE Os SeeRE. m enSey pares Seee ersOS * zsOO mee : Se EAShae ee SSeS Siege REARS sees os Seance eas ee Se SS, Ro Re rapa Ra ee PERS PES gS Big os cee eae eR NS ae Shige. asa. ts oe ed on Sema tes Se Bite : Bat Pegs ate SS RENOIR Res y SR SAS ese SaeeeeeaeOe Bacatn hag SE SRE Re: Bae SteraeakotERS ReStes Pec Boe i a Sea Se SS NCS ee RR Sota SORES SR ae ee aiieinnt SOR Pein tea gee. aaa Bye Borie i ME RRS Se ea ee eas SAO RO Ree Siege ae So ee bare ‘Bas aay SOR es ees a MO a eae eae a. 8 ee Soe Sara ass

Bees LORS. SeeRa ESESS he aKS a SN EEResGE OREO, LOOT x BER SR ss SOSeSaaeeter SES Ree ae Se Sesat SSen ae my tea So ERRST PSmS See ae ONE ee>aSaree eeeoeae aie Renae se.is Beet: ae ROS OR RO eee aSaOe Sia See eeeSe Nae Us: SiBSS eeaeas Be Bieo ae oma abSe onaaene ee aed aneeR FoRRR ay oseeaL Re oeoe Septinoaan Sein iatRSS cee panes RS ers Ree

SD&Be se ae eee oiei oe ee22 —See 3RR oe SORES EF EGES FFSe a etghSee ee ‘ae ae ee Beir BeieeeasSS

Se ok. Messe ee eves co ca ROAR Sees on ee sees af pert. sees Ce ea ea See oh Gere Le ees = pee ee or m5 Mes ee eS Soeeese2BER Oe eePoe Sa ee eae eeasaeSa eRaea Ts Peeoi, eaOO sna ee RRR RES KsDiarra oes SeSt aneaig Cpcpememteteaone Senne oebs resateen satan ahammar ott ¥Baeetongo ReSee t: CORRS Seer CES Rik BES ToeSee Boece Sas See Sa aae Pe eS ER thRE MARRERO RN Bn RRS... < Ste oe oa RS Re” Sea ok See i Bo Sa RRR Bead pees See be es eeeRENE Beene eae Sa ee SES eeRES aHee nee MS a SS ae*ah Bee SNSF ee 35 Re Shenae ease en Pepe aoeSane aetna a 3Soe ¥De AEG ian > eo FEfe POSSEee 254 ESS ce SES EPS OSEEG as Serco %oe XN Ok” see. ON RS iZ ra ae snc 2 meee Segoe 0 teSe “Seema at. ee es ee SOR fee eye: ene Ae Re ee ee ee Bee Bs «Showcase ce ee eed hese ae Benner esrene Be aa IRPgESS BePRED Be PIS Be te eae i Ba a NeSeSOR Ras Sens EN SO Ie ce .&Bicones B, BeaeSe SeeSSre, eea ee oeRac RES SaSeen ARSees 8 ose potas seas ¢ efRP [; aes

petites Be FS Ee eee Ss Bes em Gi ee Ra ares Rie sete ee eee Oe Re ote tet cae aa cane Ss Se ee sienna: SRR Rie Re bas

iis SRA he eeSe RN : Moana eee SERN SC Nc SES enn aeanate eckPr aeSe ORC. SS Sas sonra ee Be Rees Bese eee Rte Re Ste oN, NettROR oe scBeige coe, ginage aes yeSue Bee 3RY HE SB aera sities agk TOSSES OO. eeee hp OO Semen Ame ONG. Oe SON Sere SO AT G3 5 a 3PRN Be : ‘)Soman See Sees asean = ee eeRE ree PROwe. SR iBnoe Bek ON Pe Ee aState ge PE 8 See So eae3itera >asoN ate ; Foa sa ae See Reece

a ane em 2 Seige eS 2 BROREO A Eth ee ee COBaa PRL SR SO oyae onae See aaa S= $3 eesne anseee in: Mi SATpne oe vu ts: eeeecSco coset Bia. aeoe SSS een RASS: Sores eee Stk ERS Rese he Bee Rin RANSn. oe sae BRRens. a Na a Soene COCR RRR ate eee % Soca Bc 3s Geese Speen Sersenen a ©>

RO, RE reOe neeae ARE SOE eR ARES Gees eS RRSgeSRR ara RNAS. SORE NES ERE Sea ae ¢Be. SB & of 3SSeas. eens esis sane ae Zz. ;BS DSPR: PPSeg ne pes MeSRS OOO faeSWee aenes Ro geeREE. Sythe: IO esther es Sk SR a Sah SSeS LSBs ER See = .AT Is Ree ee Jae Se F8tSS aBR BE EE cota Be sete he: SP we $3RRR Sr ae RK eRe Niantic :See £ oeotoS a ee ¥Bie -KE >sae Pie, Saar aete Baer eoEN pao ba= SPS RRS SC 2a Seam ree Oates oe eae caRR Saaaa ER. Oo Seoe eo Rpoo BRge ae Sod "Sitios SoS Re Sa7ae oe aSia ae SAR PSS BS LES i Le BR | a Se ig OS RE Te eg mS See See SIS ee Sie eae: Sea oe oes Sat ree. aaaee. SSE hoe ia Sess ae eae PROS ota pacer > SeeBas eee SE ee ey SORA Seesaetease os — aeeeeZ Se SFNe! seei,Sa Sie aeOs ee a OM aces geeee fsRe>SEE ga RS es Re en:Te BeeeSees gtk. ig MR aes : ook ee ee 2 ee aees te i ee eee ae nee ea See SO EHS, Rae pas Ses ae Bet ase Ba Re . bo fe hs : pee ee Sage Pe i 2ots SRaioe, 7 Se oO ites SME 5 Seo2aeBg Penge: saryOe n@ptitiusses ee. yates > aeaes Baris - Ce ae ee ean FMRI SR otgeet oe RN Se eS te aeSe Rome Sa eeSS S See Sosons er oo >)

£7‘$3 ®eeae soe er. 5S POO Leese x rane al Si i Sca,cata bp ae 2eoe 4 ne 7RAS Saas. 7 eae . >See: 2SaSFee SSSeeSS ao aes SZ BodG Fok non >Sa Seaman 2 aa SS AAS. Relgmae g .OORT nes i aeITER ae ramet oFSUR Seaae ae ae SS RRO ame gS aibares RY. 38 SR 5 RTaeeeERE Se IeCONES eS Re akg snaems SERRE Rae WSOC pe Sets. Seo ny ae aes

F Sree OOF m 8Bek DMs I cE ee ae ee § eshm a Wee es .a Paes fe sae 3s BieOR RERR RRS oe ade ager aeEES eee, = Bi:a’SORE SS oi eaten gees ¥Pi: ah

se ee a ee a oeenBcd SESS PotFee SER aie a Sc sapeclibe ESaeoo eee See SRE SRwee eae BP af me ER. SERS: easti. 2 Se Sa” Rea seeee Pigsaeons BS ESes SeaRe Bok ZeaPape < SsaePre SipeSites. cages peas =a aSie seCOR, RR liars: RReae Sonor t teeae crag ioe Dee Re ee See RS

Sees Sa oy Sena come So a a Sa PO RS Oe OSS 3s Came oe aes x3 Bo ee. Ree. SR ee ee betes Soak S Seema ERS ae oe. S cf oe ee a er are i Sodas gicc ne OOCE A See acee See tees Sos a Sa , Ped oe ae Ge saat RRR S sR S. Sse PORE SE OS. 3 Re BO Se a 35

Peer ee es OO OES hg IE ig : ieee ee eee CCR ch gets | ei AP oe ee

eeeee fe SOR aad 5v.ane pera, te ee Be eeOeSOP eeeRSOF eek SRR a >AO Soeee aRaSioa REESE SESee: REO BS oO Pe RRR Some Ser[Se oe Ae.” be RS RO SRR $ ES Sine aie eR.Sia ae See Spades aesyt

ae oe ee 4S a ce Seles BS isSee tae Ao Sagas eaeeae8SN. 2AES ateos dost maar eo ee4 ES: i. Rane te Seni saetere SERS ON aae SOROS.» te ES aes ORS 5 nn oO Seer SaneEI Tian Se a amare gee ess RR a SO eepee te errss en on Reeneterennente artes SteeSRE BeSep itnreSo. OR eR = OE ee .oe Sie SeeBrSoni eae Bae SB Seren aa para SERRA ROE a Sera ANE gare Be ea te ea SS Se Dag ee BX “5 aoa Sos ps teanne ae & sn ah st ge eee 5 Ss ane Seo er: pee Resmi Oi : oe eeGirt, eege aeSenn ep Uoiar toe Se gS post eaeRae ce %aeeeSS Oeie Ren oaeae SRE Renn OO Nee eS oPen oe SEES SnFSR once eens 0ice OS EER aS age PRR Mose Be ee Bere Soe RE £Piet Bee etEas ISenn NT Sth: MRO Soe bisSa ORR es es : SR pete reeset eon eee asaees ae na BEERS See oe ee os Re nnBee ee i eaeeRe: tan xs SORE PETE APSes ora, TSPS FESS “NEES RR Sp: eae ee

£3) rr on SF, cso etBee ee See gaLP ee ae Renee. : ga ee Bee See ee eS rg BO SatMy Bas 3 $3SS See mshe ie RiaSe Re soaLee Sone ol i

Peewee ese ieRae eai ec eSEOE OP CES iaee ie. eR aTOS 8i eS ReSisree ER ay Sea TE EES EEE gee ae bs Si is we a. ROR seCe oha3.Pane ae PIO ee site enaeet nataccnng: och eects coBS a ee ee ee RS aSoest Soe ees See ee etaeOeSO De OR SS eaten SS eae es Pe OP, *, me OO. SaLR enBBO, ke aeTe So aint a~ ‘ Se ¥ncinttn ee a be 555 Ce Seama See eeRRR tate ec peor 3a ba: hey BERR aeaS attROS cana Rear eae Sae hone eaeSee SOA aes dali. i Noa we nes uo Sr oxRe Seed 5Pe 3 ees SS Se cient “ge Se ae 3 BE oea RNR ee 2S RE pone ONAN Soca acRR Seen eeGRO nnn RENN ka Ke ee Re Se a ‘ Oe ee OZ ee So OR KO Be Oo no nnn, Be.” SSN pS a Ba RRR Oe SO Sone Sse ee as Pi Sap eee aa aie Ses iis oan . Se Seeoe5 St soca Stce: 3taeNistor eS

Se aa sr - SRE eee a Se en 6 oye ose . anaes ——. OAS SRS, ee = , a RNS eesetacate Stas ae ‘ Proce > Se ates ie Oe See. Yast SEES Neen Soe

Bors es. goa ste See ry Pgs a Ree, se eae ope SRG tS pt eee Zane See aes se PR SS. ae Eee ee < ye eee e

Sige S Seas Tk ee SY ite a OS Ratos, eR Sethe ae eR PRTeeEee yon xggitetg RE fe ERS : oe PRES ASe Paty ss gh AES. Rt Pay’ Od A eR ese ee BOs Bas.AES Mcwaeng a ee eaeesPC SARS Be ee

Sieh eee 3 Sen See Sse os S Re Ra See eee See Sees PERS Ste, | & Bory Moe Sore spe SPSS Soe a aceky ae = es ios enous oe sane ro

Seas See eeSater Soene ES eae ESF Ain SeeSeBS 23SSeeeeees Re th4 pea apeeens. Be Gee ae ee pee. ae BPaeosSee aes fp eae aeSe BRB hg enFESO: Se:comptes es 3 et es Se + Sea Re 4; See See eee ee SS oe Sas 4 Seee Sere Ss Bt Sis aSR Sa oesFP peta 3 ae NeSs RES Be a saeeBiron podancgmn mee BSaePea EO oh KVL EaLES 5 Ri Beeeae, ee be & Fe ae Reenter naa ee RT Pa gs as =PStsesas. rs oe Be Ee gee PE > : ROS ie Ae ai aes $2: Bae Say ee: Seen ms = aces wet,eke. Sc Meee eeGee > se

aes eee Saneees os See Si ee ieee" Rots, SOS ES SERRE IA RECS RS SEE Sp ms geeaaeee: 2 emis Rae a bss Saeg $ eget Ses Ss Shesaat Sr oe .qfae wo“hae * ee ee ae A fo aBER - ae oS eS SeSeay Sak Sap : : aa aiaty ersaus oe OR cee Bar fee oeSSSp cone rast Sa nate ta yeSeEs oe Msg ot eaDiy eonSan ee eeeverteteoedra ong So a aoeDae gasses webaents poms Sg

Seceesoe ee SD Pee ae eo FERS Sgr ES ogee ae oes i eee Dug Snag ag ee me sie ee 4 Se ae POLES Ne Soiisa eae ct 5 Seg EES Pyts ce oeae Pe SSa Soe eeeseoF3 Poss Eeaot ; SESS enRSStee aESoeSees aaa Nt 533 gate 3 Se Ee Sars 3 Sys Seesa5 ae ee oo3aea3ae re : ee aR BeSas SENS BP eeenw ae pa Rca PSY SES BEEZ a PdteSORE Reem w & sea gow seas = gee iseSs Neca Sa OO OREae Se ee eeoe es RE OaSeago: ts Dies Settee seoottnes eee S:

be Se fs me Soe ay Ae? se Bis Se Posen cae foe 3 oe Bs re eS Sap SOR Se Buco ee aN, oe eae BOS eects eee Sor psa oe toca.

x bf Ast Ses Eh Se ee wk He Te, Sees Sees Coe ~: gis eeaeeen at eke Bee er. a ee. Pee

Be Saye eeceSener ee ate aeBPi PER abaya sae a Re ? SSS Baie .sere‘eeSaas Goe Se ar3 sntn ant sesso ass Songer o> Seiaeiegaten eat Socee pee ,potSe Pete Sete per Ne ik REA Nee seen st eo aS RN— Pas oeLeip Be a | See Kom inTae Saas Riana aMon xeoS PRK ne ie ane = Se et ena ee eerane tk dann os eo SS: ae FB Se thSxee2ise a Seep SN Se Seneers bo Kae toe ed besosSees Pasory SexCPS RS et Renan spre : Seg Soames ned $33 Ss rs » eae See = Ah) Ribena Re se ce Bas as Fr $F gt BE SHY > Sect: RR Yai So ae De Sake. ate ae She eae Ss Bid RO fe tiie cae tare re tie ee ga oS i eae er See Seashore es RS: BE ie. ene Sc ae : eee | eS Me as St SS ; ieee Rees ee cK: Se rs SSE is ec ge ae Sas ee te ae eee Se ee SS PS hs co Ss ERNE Ben a Sa Sess acts. Ce te es Se ee oF os x See S OS Src Se ett some te Ree en Soa, ne brane Pe oe Soe, Seg Si RRR Sai ioe Sopot SS pS eee etRc: = aoe

Faces oe SAG eee A pot ke Soo pees Bsc e ee GG OR Beg pene oo: React Se Base =

eemae SES hie Se ¢ Ss Bkpoe eee ca ec hee Bests Te 2 Ge SaaeBis Bip Sereeeaa os a ee perc. ee Ss tig 4 Senge BEee SSS S Sie ost ae a. eaSe ons memmemnaates. ae BS aneSe oe eee Se aes a Soar A ee RRS EREa? eB 53 ed > v eeeeSPoe Races ma= ee ae Segies eS*ss SeeROR 2 RstePinon. i Oe ere So Sat SyPeas SF ch 2: ase 9 a3 oABR ak omanreg See SeeeS ea ae ; oFfFsaceae eee SeBeSee pee oa See eeSeSetseaShenae. KOS waists PSR mia 3 Rec en DS : ae SeYaar Sane at Se Sie Sone ‘S aor" htanemene Mite. 5A See ie oe = 33 Roe, cy ye ee Ae Rieck ae So nes Ss ces Seams Pe St ie es Sse gig a a » Ss aes Ye Sas SP se =

to-% See See SSR SES em sae B38 ae gt age NS See Sak+ SBANE > Soa See tee gs Pacersmeets para Saeeoas SGA SeBec SaasSES Ro >. ee & > ee Rane Cas ER RES re os oy Ranney See te ie I ad SeeSse ae a PS aii PaSateen 6g Rae BS Be ge“Pahoa ie aa Bae apes aoeRRR oo Shem 5. Ra Ce aaaeae SF Fe“Beg cee eRe 4Saieee ee AE 2eepee eet ; RSSS:eeBa“St ae

5 FS eae ee See eteSa.mae SEryBE eeSeeEPS: ge Pe StS eeeee eee Scns Piel csee| Reet Posts es eaeEe . Bicone conte a eens ann aePy ote Si SeeSos pod NO Sa etees Nes ee eenCp - Rasen RS onteaaenaae SF nes pasa taseenns ‘> es Esse sane Kssetechent an oo ae L* 2)

2: Pee i ee ae oe SP So Boe SSN BOSS Se : So LOX a ban Ree Pe Be scpeae cata See nig oe Sec =4 ~edotg Semen . aes ‘ ae sete See S Pon Se }5, is ey eg Re eeerae SS es so gess 8 neeruaee 2 BRR a Bessa bate: Maes eae eaeSansa: BR Se Pane. heme parent Barger 3:335. — Sensrar SeeekBoicaeetaecmeea NER, BS ces Peatate eteBiciscunccresenstaes ON beiReet 2" secant pateete SS aeSe gseee ena SR ae SR SSS SSeoe ae3 Rss Bee Pe 5geaoseeNY aegBeOS Noe Reece pests See Rae th og Bee teagee aSN arasee Serre Ree , Cn Seete ee.| ES aoe: bos Pe PS ae Pasa se % Bema wcs Se os Set ge mere SES eae ae: esSee PKR ee eeSee ae asPe i eee wee :2.a 3aeB=} aa t¢ ER Seoeee aReee ae aero aesee*. ee ae Me Besor SNeSPe ates Se cee ea Sap a oe Se rs) Sie SES Seee SEBESES PERE Sas So anae oS Raa a aeSe Rs oe sai gs © RSE RecsPpa et ee Egor: sROR . Ss Be ee Bs eS ego ues ee ae PES ae Se ee O eS.af ee weeo RS as ee ee os Ronee poe teaS ees saeeS a TY. Pn. Se Cee Oe O28 ee ae a Senfoe S35 Saset Rteencesnneorcrenopaeon Be cS ee See mR: ee "Oy mesons Be es ae Pe Besa tens wN. Soccer aS SS oe sat 3 a oe ae a oe ae Raa Rg Sy gates = ets oe .. Sea ee PRE Ea, a se 3. SS Sete eh ee cae ee =|

Ce. Se Rees tS Spee cra . eames Sa Be Feo: % ERR ee ke nae RRR set SS ae sen Bi seco, ee sain Ss toe, aoa ee eee ”

RR SS Seca: roeNaren ereSER shesan>Bae Bae eoSySBE aOOO sae: fyapiece a oSRpate oa Sas Se . eae SSN ee RO *aoeRe $3. Se ae stBenno ee ae Pies oie ees 52 FS esea=Pathe Se Raheem esSen peor: anne Se ee ay Se Se‘mee Fax. bs RS eae Sooners, “Sa ee ieESR es 5Gee eas eee Se SON eoaORS etaee op 2S Tee C. RS ae aeeames eR Seo ee ee eaeee Paes cock ES Sib Pha gee BS PSeeaterierersteN® Scena ae renenrerss SR:ey SoBe SRE eS Pisce So er.

~ Pe ES ooh ee fe eee oe Cee ee ee ee Pe ert os ee 6S eke See SSO ee Sooo SNS Boks es Ge ee eh ae a = ann oe Gs ene Ses ae Re ae % ste ee Sas ss Be Ne hes eS oe a ae veh SSS Soe Sindee meee ee oe Sais Bn eae ats baat ce ae EE Q,

ere5 oe seek eRe Fas Eeeee £ EES oatESR cat i,eeEan RisPeer to Sees RASe SeRes Boeck Se eee Bs Sgoas fa Se : ae Re aes 3ee3 yy

bs 3 a eae sates SRS seek aos see Bn es Se Re a = Rosas Sa Ree .%

Se a Ce ° pre Reoar a $Soe ON SeeSRBS See stn pissed Saaron Shae epee Racce eS RK. Riterenee Beceem SETS tiesSBS Sia oa “3 ee pheONG eae Ses a ee en aSee ane BSscone Rese PH antes iro Sat See ere Re soe See ee ee eee: Po ey~ER” ee A Rn Be

SES Se KER a Pos Se A eea aeC ee Ser oe gui aad Seeses: Ses Roe = Sk xbane ae hte se Soe, on meets aS ees ee A cH ae,ae ee Bo a hes es oes Sie3 ee Slsfe ates Ancwee et a BS aes PEE ES Shee ae Sones me ee ee ResS 3so — : es >eeeee ge Ree =

ey RkEO: ee ere OKeeSoe Seen ee Sass agen Bee SES:aea Bia ost ERS Perea SeeesPsi 9S BR RES ;shee eee ak Bae eeae od R aes i geCRE es Satis Roa SessOS pc Sey et Bs SeenRS eae sc eoce 3 Sees ernecBer Sacanae si.saans cathe ERSposnsenece ta ek Seat BR Bee teSSS SSS ere saat sna ee iets Re tienen: PORReva Sor iee SeBeen errr oeeho eae st:ae Saeed RS sae ii eesgh SS Pics. SETS SS ah ca eeRs eT eis Rss sites Sota sents SSanstins Ser SoaSee SR: oeBees Sk eS RReBSe¥ Pen . Sion RS roneas EeeaooSSiete eeecates a pam tee eeSEES ee ee as Ree SESReser es Sete ine Meteo as stecnesicecrcee® Sees Soa My onemonspaaas. Tee see ore ees BOS es eo Ra? aeee maaan ae eee Bhs cceemccras Siracstetencontaenee Sy Soseman neepenanon pan Lea SS Soiree poms Bee SO ee Pee SRRaSS IS eae epee cea SOO seeereneeeesen Reser ay SOS LN oes SoeSO Reeateat Rae Ric ieeeRees Sosa. akeee cere eretaletecetete eae ior neg ‘ee aae a ‘~

bos SS SRS Seo ae Oy eg ee rie s Pee eee Se ee oT SS 8 Sa eee. Bo Se ge ee ae pee. RP ae see pc Ses Eee ee 2S: Bice aenn ee ‘as 3 > PB te RN oo &. Se ae pre ee Sere eS Sees BES Se 5 going isnt ana ee a Saaanomenes ee. cae as Smee see 3 eS Re 23 Se eae RS*See none Poe we Se Pare Be cone SP? + a eSPP ie Se ee ee Ss RR Sacer SR Bc ro, Baits an a Sol & Se te eae SSSe Les SReeSeer Ohete%BP Seas 2c SONY BeRDPRR eaeSeaSoe oecnatenees eee Senate ee aan % $e Sed bf

Baa he BA cc, EE on eo Way gg RRS Se ee exes RES ae _ ee Be gy

Tee Ri tte 8 a Sa oe. ES ee ee re 2 as ee See OE age eo se | OD Se eae ‘2 Sk Ee a a Se See See ORE at oo ae Sais Se secant es BS See Sees Beane eee Se Pema tncss Se SESE SSR bo be ee Se eee ese oR. oo Reet Seo ae: ca eae oe i Sx SRY Ss Sar, RIO a SORE Petes CS Se ais Panna oe 3 RRR Rs Sicee. Sas sp ae c

Poi ata te SE hate ig. ee Be os RR pint Reece > Se SRR eo ra Bese SEO RRR SSS ES Rs eae Smeets aoe peers SSS beceecntins panned nee os i ses aia Sas So

bis sae sesfiES om SORA SaBe ceseeeOO4 OS oa ne ORS ee ae erSaaeSosa ooteS iter anata egShain a ateies ORE a ean aa a a Sa ie Serer ee Ss ot 3 ceES = PnWETS Ss Bet Se ees 4 SF ae mae Seas oe caer sas cee SS. een eS Be

ishige ONSoe eecoy” Bk Se eeRR pSinteSese thaeats eeSree neOS gaSSeS ap Sarees a se nena ShSeon eeeeeterna So Sere ee: Be SAAS SSS enone orem aaaat a cnet Somanracnsae coo ieee Seine!ae RSee aS wont ee apie 4 =

Kg >: ECS &Sa2age Be onaeeS Sc ReANS FsSee SePFS oaSESSane Sate: Dees Bits ceSPN ceeatate eeaeese Se RoxG Rae at seerin %SOS ‘5 Syae DORE es aRRR. SR ea > See oe oR eas eae Seite: encom Sree” re Oe eee ese aM aa % asied erct"Res eS. RS FSR See Be eta aRyeS PRONE: Rares aeS SE aR pee SS ceee Se:SON ee eS Bk: pS Oe ty:Bt ae PHOSae Sees Siete. Saarhecneene ee ks SR Soaeae eT eee ao, Bh RY Seas aesSean eee REaae. Sonahe a See Les aeeae Bis acon ORBSSeStance So eR se. Rae ghee SSNNSptanpo a a, i 2 Re teeSare eeSeoPeer > OaESA: hen 3BS Seven Seton S.A ee on ORS soe Senne PY ORD BaoBERS: Rae ’ etc ys Sox es ms eeeomeee Sees ORI SOO +s Ne ae Rnsad > ee 3

= Recs oe es oe Seek Roe wo SNe er CS See DR Sons Ce Sc Ee: = eg SOO ns CoO os Ries Se Benes See stee SS pee a Sy ix * SESS 26 IORI = fer es OS SPI. aod ri See SE RR bea 5a SS ore oe vias o%, Sagtticer pean oS eae Se ee Se ee ae

BsMseiSyeae ee 3eyes Ges ee Fe ieSO gee es Suet Be ec PRE Si Seite acs seinen Soot en eeasSees aeeePRs ee 2 Se: age Ricca eeSoy Reape oa aa a 3Se

eaee SES bs Sees — ASC RE SS Ben aoe Sas tian ean one ei aaa Rico ees Ree Mee SoS ws Bb ed SSeS SS Se ce Renae ns OO oy ee ses 3

oe oe a Baths tha Senge mo See Sp Beh andy x a Ce peat BN See Ses % ee ss BAS Sahat" 3 es : : ie fee 3

So2See Banna Seorsoceny a Bee Ps. NeatCoe oe oe oe ee athe SARBoos aon Rae Sonne bases Ronee re,oeRea. > een »SR ah eatSth aan Bosue aA oeseRLo. %oe eeeFSS Giang Rhine VNcen: ese Kee cone BRS Re oe Rae sates aos es ooo one Chea oe ORR Ss oscSRS octS PsMatinee oaseseta RS RRS SOS: Beicccsecs Sees ooRES Ses meee SeOOO RoRSSe ° aeBes ER OStae Seto aes NOs Narenanoes Sa + aieSee a PPSS Rae eee agen Rees: osSORE es RSS oySReeeeee, Ween Stee Sh OCS SRR aes be Re) Soe SRR eee RAR Nee alan atta Saagpeoeee ne Fe DE SeeSRS Ss ote ai aan S eRO Oe;: o%, rr age em Senta RS ccannnln a OOO ea aieNAP Se a ae SES, “39 le .Deaketanies seepCR Rea SRI snars Re eae esaeote aSRS Se San Sag es ae RE aSa=See SeSe aTe :oae Ne een Sc ie SR ae“Sy ee §geome ge eee SS BR OR Sone aeSome GS Fe SEs hcrate ee aeRa ey ESS Ses oe Beige Re eeie+ ae eae :snes ce en Schon ter eae LS PSPS I I oa Se. SS aes it. S a mnaenent . ee eS [SS aoa Sh then cee ges Mage RS I a py So SS 3. ca 3% Sees ee 2 an a emote gerne #. I,BsaeBeOS ea Pe acaeaera Sa aes 3. ge ea:Oe $3Ns Prege Ss FoRI SOS RS ae9aeae. a aeSa eeieS DnsigoN Oa oeRR SS See SS See x os ER RRS Sek Peas YRS.

ee > See 4esae aERR EE PF ISS ON hes ROE SRRO neeS OS. SRE

ee,SySee Ses SS BOSS Sete RS RR eebahoanin RN lO I oS SS ssRe aeheaa aa. hySee #> rt) xEP By Sees iSPSS. SS ia EE ee eaieoe. ER See: sa Bae Na Pe Ae SS SR ME IR EO OED S35eo SSSe SRes eeeae sate RNte ~~ Sees: a o> SSBR Ba 2 seen Ie Siac sonatas oa Shtaaas saamnnaannnneea a ReSee oesee CeaN SSERO FE, Oi © SSS RSS

CSB SSSR SERS ESBBe ee era SEO. Cae eeon Raaaa an tea sth earn.Sosa ee Soe eee REMena eR Saee aeery ny fSMe . BRA SR RES 3 Pd oeSEes Pik: Senet sire eeik ets S.:: BE ge ee PRA SOye SIN CRS OO aie Sa Lei aimee =. ooce Oc cae ta

geek PS Rat ta7FE aad as rene 3 eee ee Bee so 3 ee &ae aos BeBa eeaia Se Se ees, ge Ee % SEES hee! saeSe aeS. ms B rs)a. SE ooo a i,eai sn Na ; os ON Ga. SN SEa aS GeRe SE OO See e PRS pts sasasRe Pa eeSic. aaRE ies Beed. ae See Ss PeaStae Be SS Ee >: a Cee ne SERS Ei ene os ene i, Sie “Seeieesececcnosmcmerssmes, oe ox eee. SS oe x ee I ce * Sts ccc eae oe as fe Re: RR . i)

SeySES PRSORES Sr os eeSEES etSS on oe =ieBeeeuae bees ss See SSeS RS aR pds SR sereamerae Sees «>. >: Se oo Rt Se cr neee aemanaeaneton. Se SSS 2 xpe: CS aoeSeSin, REGS SLBS ALE Be, aeSS SRP POPS SSS SRE EE eS Se ODO. 3oe SAP So. Oa aete eeMee rf $PRGRate ee Se eee Seer ESE 2 ESOe eR ees Soa Sos, KOS Re ee Se SE SR: 23omSet3$33 &O

a=eee FT efpains a nae MR Ren Nn noone ER ae eneone nA SEPP keane OR CER oo a EES a aseo ne a“at a CN, 9* feat Beara agaist RRR SotOOP ee OOOO Fe SoMEN asrs.ES SesnSORES EISTaPRPS Sm

$3 i fees: ERE Siete Sa as Eat te RROD oa et RS ciate Se penance SS aa ae Se aig, Sea, ee “Sei Ses, art4a = iz feeeso BekRoc Speeastit sn oe Bo eS RR ROSCOE SeMoet Shs okBipic Sas Se OS Boao |Seemige eieeoenbeman ent pa a Re aE Peaaa ¥SRaS SSS. aanReCiceeee SaSerer as aRR Be fitsaaaeoeaes oe S ES See tae cd pet oes Be Soe ee Ses See eS Raa ee: Sete a ee SEARS ae,oSSee eee eee. . a Se » Ber ERS no RE coke . SSSRE Seee fal Oe face aooaeSaSet SCSee. SEES,” SNS2aeteoponest Seeee ge PES RE RR SReeRRS

eer eR ii ee ee ee” = ee |

gi Soe poe oseore ner 2 go Ee Seg dais 3k sR * Peete ee es ee ree RO es oo Pe SE a

See) to 2SR SORES ie ae ese Se|Series SERS Ge ae eo ae SS SRR oS Retae a Se ee teed ce eens 3 aeRe etaSSeS Semeerte

I ogee Spee ee eee oD : bes SO PE SST CS RIN Sa OR Sos. een nw a oo 2 Pst Secs SCE Ba ae ene Beene 3 See = Oana Pas cscnccr ntsc . Ho, Boek be as ¥ gitey © Rene a :@ om .:i MAE ERE ESRM as paiienecrocets | ears °>ce 3Seas: oo ies aepeta eeee, aie ‘= aan oh ae anc eS Seeset SS,SEOREN 5 Soe aeER netaoeSS mh See SepGeo ate Seen ote ne Re a PR teSea. ISee EPBS ict. is No 3$2"SS aeoa. lo: =

MA OS eR eee ee ee oe ce | U

ER ASS See ee ee SS: Soe emcee Pong SR MO RI ROR a RRR ROR peat S See oS ae eset te Saree Rohe Ae eee: se ss] Se. BM. RS ee oe ee oe Reale ee ancien eben oui none nenvassnan b-iobegennynas tepapeteloglaate: suecanettetategtare ts SAR so Tae Os. OUR he ta eee Ne OOD iS Se te RASS | REO, ee eS ae

hoe SENSE eR > a pete BES oa See PONTEee: .patente See oe anene Ree eewesc Se 2 Soy ee eeoschew Bi Pen eae ey el DesceStsHtS hk oh aeamaamat eee See. See SNSPORE ER ee ON RE Ra Seees ee Senn aane RnR eas aan >Sea aamea aaaeeagin Six. SRS RR ae ess easaeGR 2:EES: Mig OS OO ca ae. Se>aea>a a “Se Bs Bast a ns SaSERRE oSSsea %—CSR RG Se * ise ; > ON |>: ns %panne :Bt && Besse eee Rees SBS: BSR= ee SRR Se ON. ern Soconmmncnnes. >aaa 2% » Rock SS Se Bese RROS aegitronkaie. RN RRR REeS wena res Hee Neca ae eon rin Scenics ae SE ER ia en NTO NO: RONEN -. . a . bees SE see EG ae : PRE — Ss CS EE ORRe OReke EE »OD eaea Spanonaa een sa eaesa4 aoS; xaepoh Bg S32 Sate SS eS SRM ee Sez he, ScnsSees *: ‘2:seom os ea aBc agees ai Reo =ame Pe nseee 38Se Bik. 3 ~” So Gat: Sek Bs SF eeeRO cae a RSEe ane ies SEAS Sans >Ss aRRRR aos.Re Ener een peae PES Seapee nNee ER Sea NRO OR IOee NE Sno ee Se RAD LS Rice: ES ee ae am & tS . ee By Rona ie Matas aA ceca eR on ce SSE aleaaa a ARR Sa am OOOO acnegea 5s Beara Me raneooess Sree iecterene x eee ngaa Sc oe RNR eed SeNn MaSN ve eek eS ee oe a tsage Seecs Be‘these exse: |&

SRR RRORS Ren NOI OL ST IE. Pasi, oo Be Beth ORGS oe en ee a RRR SS Sheen ss Senn i oS MRR aS Os Ke BE mes eS Se Yv bo che Sie SaaS Be a EEE eae se ae ea Bee Te SS Se Per Te ae Batis Se ieeeN pe et es,a8oe SS SSE Reet enn Siesetae ie epee ee ee ne Se Fae eae ie, PI, Ste” Seon ai.Sag van eae. oon ae. >a = Sic oai '< eines etre ON=eeOE NeaoRe te, oeRa eeee Sa“7eS eeSa Sea eeSS ; gsRRR hsESS. ee eeSa, Sennen re” a ame: : = paSa es ES < pes peneaRSeceRSS ESES HeOb: Pica:eae

a Sok Steen Sea 2eee ot Nee ea aR Sera ‘osCee. Se RR neeas ssp cee Be. cox See, SayteaS ee cone ee aa,hee ee atiBe sscre « S.A Met Sooo Sey eeSeana Rerbtate. BeBSS areRe enceeeoceas 2ears Se ental ae a3 ea begets Score Es aene SOO. es ene CoN SSNS e. int >aon Smee WOOONS SRN) Sc aoeO eepemae So aSe Sane eee ee Se NR eee es untae ce ORS SS eae SIRS * Be ee Scag RE Me a CE. SRC ee ne eS So Se oe Se eS... SE os Ss gee a3 Spain i aes 3 SE ee, SS Se Se ea RRNaeSE RN Ramm oSseeses ee cS GOERS tp SR Ss: Raieat Ssee ont eeReaeee Sea 27

I SO a ee hg ee ee Be ce A a ee ee

he Sate a Pinca 8 RR Ree ae RE

ot Becca, soa PON Cee OeeaseS: Ss aS ieee etek eetaBh. Siam mn eenS. te SRR RE So.2Se eeeaee PRO Se? eae Se eseSema a a Sesh OSee: Sn -Sesoa wo

SERSe Sagehaen ies ie § Paeeneattie MosNe oa Ste Se saan EOE eS ee a Sariaewe WRN Ran Reena tee a,era OeaoneaeS.tnSo ben te, SA,ON Se Ieras oes wT eaaAe enn OR a ae On RE ee EM re ce 2 ea *RS SEEN SCO SS.aeee oscogeee cenANSI nee Oewee oea —** eens2esaSm

Seo Beh aeele ee Reoe aesPIPee eeSR . Sig cama ae ty eaeSeaon eegee Saami oe 5eae Susman nee Mg inin’ i CR Te nN ne A>ARRA TC ONS oN, Sasa oonSOR SS Ben nae SSS enOo SNe aeee aeeSa mae, Soa SoS REIN. RENO DRcoae ar NN a ea neS'S an See RR vacate. ramet ofwi Sa

Bas. ne seen nan asen ie EE a ea no eesWereg: bar pecoat NS as eeoeeem 2Se3bemSsate a cS coeRe, aoe: enOe RSEee ; eee a eS Bec cen tence Re PSS. Raee RS: Bn Seok See Se Bsc sna RSE ac REN AR IE oO MD eon Nine a Oo eeSee RN SE Stes, aeSS OS nc See Be Sa Bee aon to ma a Ri on ReeROR ORLS They She Ro Oo Sagres age: Bang 2 oe oeaaay i n> es SNS nn,Sea . =:ee SS SaaS SR Si a ee etna Ck a. enn gt Se x "3 ee 3 Te SEE Sea aS Fe Ne Sse Beret natncn a NE ONSET MEE ESaLNG NSPa : > ec 3 SS33h S ShsBEE acre eTee eS ee sag ekg gupee seasaes see ~Ben - Sees Be| >: SO KOoaaEOS bsON aeee eNO he occ Oa Cas MES en Rebas en SyA >as 2 : Se %Se =Be Pg eae aA nN ite ee aeS SME eeSe i ry |3%, gia he ate)oeSad Peaes| ON Se Nee aN eo aee SEOE a RE RE soaeCo aittttoes BE‘ee coe Ce : ; ee re Sone eet. bineeee sens oS on eS #e So ONS OR RE Se TS eS zi ; Se oa eS SE SESS SRS ee See 3 Saas ee Se

>oh IR ae eS.aa San cs : Cae eae ee :; ceS SeFR OAS NONO an ee ee Re Rn NNOE BieEO BS REG CTR REE, ah Can ee ae : gNera s aSAS be Seee4She SSee ODOR nnONO Pg RE OO oeeeEY REELS RO Ne Seah SeRe en OR. Se es BaSo PO,, he Re Neo MO Sin Sat RN an SY.SSL OR> LS 5RNLana eeCe ae ea; .

Re OR SECA fe Re ee CeO F RY & oN,Ree Gi Bog Ni NS Seay SERS Me ia SPOR Mactarnesc: 0.See PREIS SOEOs SSSR SE Se Seen het RAINE ©eeOA SRR Os, eteR Eg aesnae i +Raggi Se eRe. be SSR nme RReeNEN we oon Boe Pe Sea See aSere natn OE Oe eeTEeS Sa ae 4Se Se:yWIE nee cee ans Sh Sosa Oe5 on nn RT AR Reg aSNO RaaeSee tial Sega Beene ae Sp RRR ROLES IRD Rene Sia eee eeaR eee BS COBDS Seease : ROO eee ah p a Ny, aR es ORR Sei AD aia oSaa NNN Nc ORR ag een SN SS nn rron, ay ORS IBia SoRON Rg 3StOC ee So eseiagh nities pe a: EaRetin ESTOS PESot4eSPRES Gi ORO TT aE TT se EOE RSye m OOM RP iaresea i a.4Bits Ps ae eaeeen ueeFeos aie = eee Bkani a aoe sci ereSea SesaeRe” Lee 2Ss ee a Socls a ae bo .SR Ss. ae ae pe ge Or Cee FS SEE SOcae RE RR tOa 3aieBRE Oo} Re See ee Soot St,fer NR a.dsa ae eeae aeeee Seae Peene eeBe Shae Sees ee SsSoto ange, SNe OO: Ra aes SR ES a %Skee REY. Sees eS

Cg ah SSeeRR SeeSeSS ee“ |ste ES ieSa teSe OS BN 2. eS EOS eeSe aaaoe Oe BR sg38ges Mas 5 ae Res ceghee ai, OR ©dee? ee3Be iia et gas ge ee es = Ba ee se ena Sane saa acces Nigh 4 ee ee ee 2Re SS So ee Bx Re as Bae 4aeBees Rests ts Skt eee Bees Fg 3 3 SSE re RO KR Ny ORR ey Pee me ak eS. a OTe Se Rete ° Rage: es aS red

ae~ So & RAE ok RRRFeiner: Na Sa ees PS ee, Sa ReeSe mreee a basen kee” a Sag 5 ae FO? PO, Oe NN Seo a oy tech, aia SEO OOO Oe Sea BB thi Oe ee Moan ne ov ctesacanateta Ppt sonnet ene ee skin See Seat : SPI TEy 2 eee fgets, nce Sec oo i ga 679 gmmaeter ements : ~ ee. ae Se Seis Z, Seats a Bae ae Se ee Rk eae Se a SS.SeaOM Sageraekeae ees See ee RRS Ss ae SSR SR aannnoaa es eae ce SESE be & CARER pea Ri ies * RS RR ORS nana nan BeeSS ey fsSeoe: isBeeSo BSeee Ce “ane eee ers aebacishatoseieoanain oe Stas tSSagccnenseneaae nee eee Se aned*= pees LE We or BES *esa oe Ror as Se Sees POR OPRR II eR

Sere cof) See ESE ay Soar ee ad So Race eS i La 3

Petites fi= ASS OE Be 3 x Se Geenes & ot eR SRR sae teagan Masten sss RS” enter ces ements 2 :its See NO aeet > 2th Pyees Paste PeeS Se bareen Ce » eR Se Sr Gee i * ERR ST Romine aea oa Benee. i arseaation ce$cha RERenan RR Seep SR ee Sela aosz PERS es BERS Oe Nea ea eae RS Sa ae >> 8 Sapa > oie Seen Be Sn ee oS Seeker mene eiotatenncres io) BeesAP 3 aeSS Be SORE ee SkSheers Se Se a >SES ae Sacen De OS Rie esasaman fs Se aes me Meco poe. ee a easeee siramonsmmnaenemnrss So PSS RS histoire es Be RB SN, o pee ee ee 5 =2 RS SSESesgeri: ‘ omens: —. ee. ReaR Sec BES BEES es, 3 Roars eSSues te rhe ee See oO hes Pann me. OS i, “sate se cata Sere higaetg Seen Renee SPs Oe Rieter —~ be Bip $e Ra Re fe a a Be EE erg Raga RPS ae en Psst cate ee Sekt OS pe ES RS ie RE Be Seowicncmncnr os pen] fk 2 ee es See : a 6 aa ta er Sone Sas, ta ccna a * Sees Box oe oe ON ons. eel Soe Sen Senceneeee By eS eo a See > gama ae x a . # ia Bo oes ss Se eS BS Pea eS heen ay ee ieaemass Baar eee accra Petia eS Re ers CERRO See I cna ad is ee RES sheer. ee Seema ae 7,Si SiSaas se bacon mameSees SecaSee Re BSicon hae SNeoyLenS aes se me REEPees eS ieSeas Be Sc shuentteacaneeats ieee Seats Re xaos Setee eeehaweapapes eae pee MSeek a i oe eeees =

See Be Beato es 3 Saas ~

eeSo &sae Se seteceneterate 6in ae cern aenarerite “ooasta RR Lae Se Soe nen SCane aeee 2oe eeectssnes “Hoe OE ene ¥€ ae Se eeeae ae RieEx ee ee etctcnerate: tatotatnsdte SOS ee Lae PN a. ge states! ieee hee) Teco RS eea Seen Bec A OO weiee tee euratere Se . epee Bo ee: > aenoes os ames tees aS cect ea hy “ey ee SS ra ee L :o 3 o%a3 ss ee zee ie BOSS eas a ko Be oeOe at BS & 6 Soca i SOEaes oe Saco A Sin PaesBee ee 2 toes FiRe seanennntnetaann hee ae Saks ; OR i > per SS PSE. ae Sian SR es Seas See eee ROPES > Ba Me a RS Fz RSS ie x Bee 2 CO PEE en a = Se SOR ok nh See Ree See cs RS Sige ss a : e Ed < + Soretags fe hoe ok Be ee Ses. co 2 ‘ SER eee Ss See. ae Semnnonans on asa os Sea

“aes, Sahin aS SSR RES es Pas Seana Se RN Sage aa 3 © SOS eS: os 2 = Sra 3 ERR cee sagan SS z eee ORR oars RS a S 2 RS soe et i ae See paar - BSR CHESSa se cos ia ee oe oeBSS m a eS SF 53 eae aCaeOK, Fas pierre aoe aeoHSage eae See oe re aa SO Pee lay ee Se se iis seSeis RRR SeShere aan a aa:aSS i:hok Rag Srroeney PeTes Seat ee gece tarecieoh SekSe 5 Gh KeRies eee Baeee Eee, a poe a OeSS ae Re aoe 3OR NN eae aa eee cue = ” SRS oa 3 fact oraeee Be"So eeeoter naeS:SE Sets SORSESeae RRR Se,Goran a atten a aSeaebtnBe BesSNe CSBiage a opts Scape SRN OM SRR ths | BS SS a ee:aSUSE Scioer RN SP KOREN NeatSan apes nae SeeieParas teed Reo ae 3 Le i,

ee Saat eR ha Sere fe et oe oe Kgs ee Bi en PRs aed S ae Se Were Seg ess a a. tad RS Ps] ge te Ee PR oea erat5ance RF Be Sage ct ed7 Ezcoeoe Sg eS Oe SeesPSE Bata Seen SS Rice ae oerade Pesan, eS aGee sigs RRGe mre Sees OOOO a SSS aie Bk>Si % ae Reeetatings PR ca pea rt. oe iene oto saaee os age eo ; hiss BS Ba MeLess Be i ee ORes NGS eS gnRet ie Se 5°Os ee $e Bese aeta ee | aeac aS Se ES Ge RNC rane,ES eeOca i Sars ee ais Caine eee TOEeae RS ig tae? as =SeChee SRSLinge Stee eee he Sosa SS aea SST Sa SSS oeita. a EROS aria Riemann RRoe¢ieSea a
pane eae ae oN

:# a Seca 3ee pareER. ks Bees ae ‘ee e.AaRE ms ase eeRRS ee se>aSs aarer Pas ek Sos 2aBR sispoe. Riesa% OeRi SRS Beeevee ’ To) .. .hogs ated Se cepeteletagetenvantene seeage cet BES 2 +RAR aepee iia Rae ae pid.hee eee Pe geBS SeOy oeaii eeSee Se oot cat Pee Sad wee oO

ce rr aN eS EE Seeds fer = ee a

foe" me ee OS fe ee TA ee Se Sona aa REY et OS SU eos SO of BR SE | Se Soars 3 ie. Me3eee aee: Ae ateaieaoe 6 tee. eeeBhan. Ss BOORESES Piet is OER ae“ Sag a 2 oo. SS os Ree: w i.eee Ee Sig ss ‘gt re ‘oon easSSa Pike Nad Dae RR ee ec as aesae Sos. Bens, e Sree = sisi ge ee Saas me a Re Pence PS. Pie SE aS Saar Samana OO nnn SS sete RR te = oa a RRR Res

Folge ting Ps ee Be Se Re RE ae C Ge ae Py we eee Fee a Ste SORES ORe oR ee SS ESS Re SN Re oak Re SOC RN, OS eee SOs: Sees Rhee Se ea eR Na ne Soot OOD sae Re aS Se eI Oe pees: FS Pa SR OR se ie, a 2S ae, Se ke eee rR eS oe eee _ RE ae ae Sane ie cee a gs Bip eee ee rage

gos tat ae hes” Bie 2age MN a RPoteeeSRS ge geesKaan. eee Secs SORpce ataargrngs ee Ss ii aeBes OeBitar SO: Ge LO ROS DSoeon ee cs Re aS SR hey eats Sa Ps,Bie eepiste Se Siess Siete 5 fo Brae i eee, Piss a ERuse cee PR i eehes Sees Saabscene # Bint PER a aeoe eoee : ch

ae, es ee ie Se fos £ Sem ‘> es RR SS ate ok es She Bee se eae > Se LE Ros Ret fae. Sr e Ee eae se : pa SF ree es Ok, Se 2 Ree eS oo eases ae (sf fe $SOS Gate. oe 3 aePee ea eee aeo ke SR 2% es eee JER Se2eee ee eses PSY eo RSSeAe eee 3agEN Oe be ae ieCee eee SPP SOREFeOE 5 See SRaaBOS SSSy Peng xoe eee. Be ws :Ota eesee oxa px fFae 9 SPO fare ge ae x oeERS ee eS & peg BS

ee ee a tteEO ok ee ae Se 5OS tesOAS EveAO fk eOAK ff es= CEee SG ee oe NE gePPPS Ef FAR 2) OS? © eens fo RNS COS we MS oe FS

fePP Pes ay,Be PeaoeOe Ne pe ere!FS fo Fey Soaer i LO eeSo ia oe oeEN ys Po OG foo filth Wage ae beeyxe 3 Fee eeepreokeaia estSeean SEES = 7¥ :nee eee eSee ae RSae SRE BERS SS oO Reese teas oSRE gs FRX SY: gp

Se: pers i cFS 3 Ps. ee ;Se LeDo Oeeae ee eS ResShame Bier EX eSaete % KS SSeS ; SRECae RSFEoOR RssLF eats Ri EN SN aeeoy geYeSesRe

BS re Ser ae F oak Res > oe os SH. $5 te Sion See neem ee Poe era tog NY th 8S ONS ea

Reh ee:seiZits: y oes SOR PFicee Pee fey PAS4és Soe.See Se thee ess.Bea aaaee RESa. Sa aa OeRae SO as Bee‘ea a oseeBreses 5SF £ és ty bay ae oFBx” BE.Ba +e Be PERO? PsaaSan CaaSaSoo isSO So aS ey iSek ee Ma SeSRR ae BSSrcete% FLOSS SS SEY SAPs Bap RSS RS RRBee. IS; BPS Bese a See oeBe ongLS Re See Bae :SR geee seha 22% PSRR oo fe RE as & hes SFoS RR - Sei RR ee2see eties < et © 6S hee Beh eS Wiriig niet ar Bee FY Se eee PBS, Bet, REI pea ee f3 Mae ov f peceeaee Po gata RC Se os ee, Beh |S Se os We caren, S2. gE eemeRRR Siem Re SERRE eae #2PS OVSOS PE oe RE$e IF&. iE SRS” sae SREB SRS Sy bah =.

PSF soy oeSo 4 e if Pe a Sree eS Seaiaeo 8S i | RESSiiese Seeks eis bg 5Fo$ oe ee oercs ‘ ‘Ce FAK BYhaw Bee278 eae ed . SScae Be State ee ERNE seers She RagE Sa.RRO a ae aoor Se >> See essSr SEIS a eck. Stee8Sask ; Es Ss #¥, Cee PPS See semen Sees Co aes SRS Ce en oo: Qe SRM 4

eS BS Fee Dah Hoe: ae ee See aac eee a re ae pee eS

ffsBeMee SFeSet Bae ea Rees SY:asGe Bee 2 ae Ee eiteasor2 agas PB cefe ae # es, Reg Re Stage SRE PSS ae SES a RSee OS‘aa Saat. PE PA oe ee ? iy gee Sg ih aS a Sp ae oe Foes tad 4 2B PD SS fo fisted. 2 FEO eee SS oS ee: % BSS FR28anOO 2 SR ee 2 aaea ee oe BSPoRR eae Sees ee Re Se ae &.SSO £3, £3 es: SR So % prea: es Fae tees OR ssoswee SSa SES aePe SERS Se BE aee Ries em tg os See Legoae - Ss > bsNN ENR ee CS aeSRS SR Bae e Bee BeSe, a ieBea Ke

CF ggeeieee i PSS ge

eeeaDcar 3 Seeman x i Se SoS es ee ORE RE ass co Si A 8RSa Re oe Rae PR a Ne SORES easton a. tea OEE5: eSSas “LAO Pe Se ec Megat eee < tas ae stapca SOS sana cer as re Oe cece RES Se. SORE GN, SORE Bremer eae ad oS ae ee $. Rs fo ee Sa eee Man aS Se $* Ba aR EN I Soot eat Hye aad Bie aera,a eae P eo Agee NS ae Sot SES tsa gene one SoS Rot Be ae See, : pees Ue pecs a ee Sak, Mae Soc ce

ET fees RRO RE vo ee eae So et Mees Se es

ee ES ee ee ce ee

ef ee eee BS ee Se taeGor: Bai 2 SR a Re BS a ea Pee. eet esees BisSRS Sh SoEbon es ae eS Soe«Ras So Bieaaa SR a anBe ea osa 3LSiecnaae eee | ae a Sen Ca pier.eee SS eoRI ee eso. Sa is, BEER a Dhaene ceoee Se af ta See, ene 2SFee roe ee

ee fe sae Bisse es oy ces Le Tee Soe Sey OAs Re Sos Saat ne Se oe ee a a ee SRRA etn a >.Og "Re icaeea Ie ha aes Soementcces neers 3 : Sep Maer > Soe eS ea sarSo. aR . 0Rape. UONGRSRER RS RES SOSeaan Ss STR iesaeSe ee

es. Andrea preS Secs er a pee eeeee pee RS eeER i e re a da Fi i Seon. «ciate See3 OS ~ . a Ve Soaaoe aesetPesce: Bettas crsBee OS aRae See Siiaeey Reogcart f . Renae ae. St gS ee, Sage SSA ee as see. eesaeme ce

RS asTR = So : Prec oo oeee eS. Be ee Be 5 Sasns RL Se ssa 2Po ey >earn = Be: RS De apaeee ee 2 ROR. ECOSe Seapine ceed

oS ER cena RS ROO eeOO ae OI neBE nn”SRLN Se ie eoRR Seen aeoS caRRS aes. SR inseam se aes ERO ROR ETO eee d

97 renze, The Navicella, $8. M. Novella, Florence

Nght SOcs semen Se Beg >aeMe eS Sp Se tae ee Ss i NS SBSHS EERE BOR Bates Shs, Se SOO ENPR SRR are aS08 bSe PES TERS SM 5ers REO oeeeraia “8 PeeoSne omit: Sieh: o) SOOPER —SO = aR Soe eee BeORS $3 Ss :.

Py ook? Be SoS gxaSe ee he ao 5eRe 2h Se SY Keeea aedts : phe 5eee 33 Se | RS Recege nee ee 3.eee Soe es SeerBe 2 Beis SF amuatintaae e* S oe Se.cio 5 Se.eae Se cs > eae. > gta > Demme cons "SARIS SS sci a a aaa SS GS,” Semeneay SeeOe Se eee eet Go:

Siok | ee eee oR ee eee. re PE Ss Ls 3 emer Pg ae Sa See? ae as oe Sees SS ce ee ARSE Sek ee

ee ee oh NS OR SetBe SaBS eSSs.Gm aseae. BieNO RTRNS ot.eee . oR ae % Pee Setei some eS: a 3 Soe Sis sie aieRk itiesks eeRARE 5 “ee S Soe a

Fes ee “ies SeoSeaton Ae ae sete oot”Sees «siete omens BRR in ene came. kines pees “SS PRET ZE SS ae So, Siete: cama CSS RE em eReeeSRE aaones ees Sereneeene 2 3Ge toeTe 4:

SeES, Soeoe na Seca ais Sianreamnen «Seems 7Sot Penae agt SO Seow eens. 25.BS *ee Seo pa.a 3Ae hak fe ee =oS So =« ae gee eSge Sees 55S “SEE! aaa fee 4143 xen. Co ae Sg ae aSaSa f. A Sees ARES So ae RS cae Patan aeSs? Se Rs POS eae % 23eet oe See i ae Same eee ae ; ae Sen Se Ri, Se ae "ieee Bats. ‘4 eben ace ae ee ee se. oS. Se Pie es oe 5 Ss Se: Bo RR “See At ee eter py eeRetin PPtnteg *% Pe Saas Ee eeOStins SR eeRcBernie st >Sy% SR SE RN Dam " Se ee = ORR RERREE Aa x oe See ae ee See BS Pe 3é Bet ee eS ae oF pitied te Pes ORE SOM GOR SS ye ROE :“e ee Was Sa EF Paes Se ANE. ce RR et Bes ee . eeRk oe=a BEARS sgen a Ba PACT th BAS Gees «cera Bee J3 es Se Ra = Seem. BeSPSS SRS Repl eesS 2RR RP See: Beane. £8 Soe Raa emer eaSe ee oe \ TRS aes Se Ross SeesCS oS Se Sr ee ee SS Oo aes ee RS Bee ae oc. Sa cemeeees Se ese: Se Se ees ate 8 anes, ir ees 5 ee BS. ise Ge SHS Po ORE EE So aR de te ee Bera as

| a. we ae "Sg ee ostana ames ke eS et ge aggdRor ea aes; eaSE ae:ee viSee OS Ser, eee ee er SiS Meme sce Bi a Be a tstienen RE LOO RM BS BeMc aeateeae2s “gS“sae ee ages ee Re as ‘ of©aR RENe Speen} BPee cate Serena Poofeo Sa eas vsso" Be saa 3 SS ec Be a Rs ER a a * ee Be Sa Re ee ePa EoeR BREN ies ee ee ick PS Sa Ra ae: Pea: * emma 20% eR eR = ee Se eae? cee 2 SePres eeaeaage See ah aa oe ae nearsBR mae Ss io oe Feibgre I>BP ae we re Se a ESoS RS cae ek peeee eatin ae RPP , : :Se >dare SSsoPS aesees aX3.75. SRR eet Mee MN Se SOCOM ae ae as Se RS OO eae cae Gomme So. Ne Bete. SaaS a RS OS S23" Seep a Rs 223 BS oes& aeRi oP eehe Bee Poe rh ae Soe FO gee Cane eegs FO RD Sg e SE Bog RE eaOy Be Se RReeSE ko ae Pcs PRES i pits osa Sa BosMs ee: ceeet Sears Ste ee

8. Andrea da Fi i

9 .a Firenze, Limbo, Spanish Chapel, S. M. Novella

LS.nae. ee pati saa Sates aia ee aaa oe nh iee i Se Se, re .kta os RE egiaee ee oe 3Rage ce ae aeae me. = itenting BatOO REO ete eG ae

as re a SE ee ee ae i aaeREE ee Sok oa PESFF Sos ee eae aeee aesce Sake SRE Bis oh Ce ae oe eSaSS aea oeEe Ree RE LS. Bees Ps ges ok “aa PRS ah. Seetcenncrtn ance can eae asS65 aaa Bo an ta Shea ee IN SR eee ir e,2aak. ae RRs es ce escent ames ROSS

SERS SR oR : IS Ie ROO BorRAR RAS a RAM at RS nt ein RN Sell icee. eee S25ne RRRSRR RRR Geog Re tioat aeR ESE IIS SR” ae es GOS RAE SRcet: Ss Sg SoeeSO RR aR iRR Ria.RS RR Ro akSe Meter ees SE sii SES SRRAES Ne : i? BERE BOF Pe ORR RR Sey es Beeman Sos See

3 Be Pe os SSR +eee * joe : engine ventas ecco egSSS : SS Se aeSeee2RRS aePe ie, Oe. G2: ha,ome ceomer ES ee PEPeBRO Fo RR BS % ot ies a eR CStena Cae otras Stee POR FB eee ® i> oe Soe Bc. re ee Dae sae Fae ee ee a Spee Se es eae iictee age se FoSS Or FP 2 Bere 2RR A RS te ag SUS nen ae at OS oer SSSS Sie To GRO Fae OR re, :Ry nas waa cea ROcr :abs: can rere Be ES PR RE Se Ee See eeeR eR so :NOR +ieee” =oeee eee SS ee SMe PE SRE Fe ke SN ese: BO BR PCR i Ng) * SES er ee Sects oe: Pe eS Ss SO RS Sn, OR a RR Se AABN ON a SRM Sarees ae SS a ps haa ee osPa2?MP RSBe eegh Cree i eeRe a ae eeBEES peta ste.peemore armeme | eae peptic > ee SO ag Ba Se Re % :ROR OURS SERS, *eee a: Sore $3:: i OE RS Be eke oe eR ROE RS ali ee, He: ce

ae ae A ee eS ae oe ie ee Es

SES gary Os ane nS ESR SRR ae ae a SR air SSR SRE Se $ Bete “RS

RES SF Ro NB sed Seman anaiisnn atesOR ee ieea K BS a ;a: aaeDOSS te RRS SES ce Bees 8 ES Ba SOR Le aS ae aeSeSSS aBea oy] 20 Sy2| Gee °BR 9 Rae ee;aa5 oe ;hers:See oe

,PeeeeiaeeeFa See eet ek ee eR FS ee Se > eS re aaee Fi Sane mmm. s ~~ gitmaing iese," eee RE Suse ss oehe Fd ee eT ‘ ee yk Gay eee at Pipes SSS SR eet ‘ sae teh sera } ee oar; ESSN Meee ey : Beate iateneae sis ~CUS SEO. ; 5 §% SSaBeas BSR ese Sk ae aeFa : SoS Be aie, AS WeaSa Pees pagent “eR 5 Seer ate ; So ae we Res asaoe. ee sie :Be SER Se Ses Re Soa Re apt Nee ae SO SSS “en d BERR “ An's ce eeBosom «alSie " cei *anor oy .eae ae ae . .Co SE a ee Oe OP R o Sake : < Saeiie” a Ce See : a og ee ee MRE ee ie Se I ecereaas St Ce. eS i oe ae ; Roe

* . . . ... .*. ..

: EE NO: ite Gir) Ce ee ae eee 7 go :

™o pe ee SP Sy ge ge oSSaige Aana er ee Per Rs 3 ge .ae Reo aSeine ae a na BOBS aot SeSe aeeee etn Sree tee % oe : DONS See Seo 3Fg Se i,ee + %, es.:oe2eeSE gh AR : caPs &. Be SeiBORE. Be ee et aeeSES eee et ahoe SRC ON on Fe8 ges pe I RES Se ss. Beet Seas See genes a ae igs NR Bc: aed pe Baten eiatin.. > ry Re Re BROT OT SR RSE eR RRO aaa ete SR oR EOS SNS eae Sosa a ‘ S od — se z Scag Bese oa oa Se . aS3kaeaeSSeS ENR oaaes Sema sed

bs a Sy a Sos Geos oe Bk, cook eee ae er See Sc se, {ee es ems St Re ee ee ae

a oF Se Se See Bee eaees osce Sees primes its: Semmes aea et.ke eeeaeee eeeR ee Oe SRS eee. S| ER eeania ee oop SRE Shoece. Beat) RRS Poa RRS. eh RRR Oa ee So. SPE OYaan RS RES RS RRR OS Diao Leea ee SS: %Sake oe).Semen | ee RSpias SS SS: Sa: Sa. SonSeeSSeee SSeS: SiarnRRR SS. Sis Dat aSo SA RRS Ge RRRN eR CS ith os SaReae a

. . . . .’., .

dee es: Sat Sa eee a Set ee a Be aS SS Re 2 i Se A> 3 Ey ROR. SS SRN SOR SR 3 ae a SS DOERR SSeS ORR NSS ROCESS ap. vd: tt. SS RRR RRR Beat as oo Se Se Soe ee Boa Sota eee ees See =

Ranh aR Nt a $ KR SR. SORA RRR a a oh, Re: RSE SAR a SSS RR ee eae se ca akan, ss eae Boe Se SEES Le NN RS SR RES aSSos SEES SR"2 Pea SeSS ooRnas a SS eee 3< Sos BeSnSOR a cae Ro RRS. Ria {a aAN aE SEN. Soa SeSe BsSRR: Ee ae 2) SO SABRE Se SRSA SEOs sake ERNEae PSN SRE AS GENES. ABB es cnc m . Reeena. me cveeae Patchnt oe Noo acacataterne tee: seo ean Seeconca Soy

Be. Cees nate fo Sees oe 3: eee Berea os Bee oe oe

aan me ere pemncinnacatts >ae oo eee or Oaee ensen Ce Rehaan Re ” iticece Siiecnsene MRA etiam eres sicher ren Bitoni anon 2eS Sea oeRice Seeneg S00 one :gem “SSeres: eae persone eecrces Sees eranSenet acces RSS een DS iiscae at ne aa sea FeBR eR.ceROR Raromntn nSees Riise ie = Retina arene Betas has PBS SSR ree a Sea Rican Reranch soso. nts saerecy tennis es SS een ee See Some Seant eee oe Beassscssncnnec nnd Bee ae pet SCORER ceSe = taesmoneneee Siena pee enn es Se SoS ee srr ees eae SRR Siesta ga eae Oe aah peerenae re Bote ee Eee enc ce BRON a an Se: See I ON ne SERS Se ost ty SRT SO Senet sr aia piers cine heh cree Sarna Re cace eee iiseeennnccnuemni. | : eo SR ER pons. See a en gaat cece Rintasngassun nena

ee SER a SeAllsernenceteteneneeal eee TNSree ORR -oePee Las RR See MR“teeta SAenan ceseam SNe ont mn Monnaies Be Pan dh Paratha ae nf re ie Peat ra eaae cence ye 4a etatete ss Samoans 5 \ST CE NIShuiidauacananncasnnaae De nae atanttenaennte nananSraeeees one rete Saou Barescea See ae ieee a ae eS areca a aEEO Sy preteneoiot-ceelereierugtioeeateetanennen AS Re nn een en aa See Renin Feed

32 Maka Sos Ree Rooke aaa Reece Steet Tees,ksMees 3S Sain pap ae. ge ee SOR. an a Sore pavnompinterersce Cenc aa theca ME ee we ee eA WinoS Seeoa ee eaeBre. aa soomemrann~ Ree SRR ; asc:Saas | Gappaesaemeemsmmenss peices tes ipaehacmnne nue 3 A

Siar a) akon Sores cone eee PGi ees "OT Sa a See: Se © SRR See oo Bites so” aaa cena Soca ae eee

aes Ska : Sao cae bs si See Sage Be ey osSonia Srotces a :SI. Soe Sepa Sphere caeieee Ss as Se eaeSaar SES be ee ee =>aeSeaman Retro : cee SacoaeeR aa.ose Ae Sieh sete eas See. sae Rae So Sas 2Se een RSS x SS Se See Bras Fone Seon eR ESS Bete Speaeeee Serres aeRe ret Restieres oes SEER *=Bare cons oe LOR aoe estS ee Se See ieee eee : SS mee Sh ee »ee ee —s SRR pa een eee. sese. Bertone atone? -Seiese we neteaeetnnnnmnenanesattroe coos ene Sec anne SoooSe patentee ompee Sates : Semicon On SAOSe :ents eat >cohen eR a PO RRND, See aSooS, Airs Oo Saa¥3 Bionic incem2 Ser tes isaac te Peeters sas Sorte a i. Re SRE ae , BE ae one RS Se SS Be BE eee SS ee eta Se° PRaeeRe Seo Crseh OS neie3.4 ees a Sees aSecaSerena Sanaa hae Sie Rie Se cere Se ae Sass aks ance ee q SeBe SRS atone Se sesciicnnannennntee Sectetiren nuh uen cree tas fee tee

paren anon anceoeSee s ~ste Bites aa ae aaSes 9 a ee Soe sae, Seiichi ea ame naar Maire tae Beretta Sacer Neca SESS BRae Soe St.eae aeeeae aa OS er xSeraprneametne Bi IMR ose> ees >. a ee SR eee aa ete ee aRun Boe Ge ge Beene ns Se ~~Shien Ok Re Re ee ae ES: Re aS: 2a een ee. rag eS Sistine nn”, onan setae SoS 3 SO aeeSaseoonenenrn * ee aae. MAD ae... ene te aeSRR ' tiaeeaese soe. SEB pees Spleens Patent Manca pear RRS Sea Bieri heen he SS ae RS Soe Sioa Rises omen naam ms Sete ae eee Semen cs. ec a Sa Rennes cen ete ee Bien nec ee ane oe = ae S 2S ye Sa ee wanton eee Setercece sereretentenstenens semen ae & i Se ee Ss as : OSES Sa ae ees Bre ed es guetta ae secs . Sa °s ° 23 See ee otters eterno ore ateean : Sa Nene os” See 2hase ee > Sees SOPate ee * CAD ae RRSa SNM die pcetp ohne SL pes ae :aes 3pcenenan Oe Renee Sees 2 SRS a Sane aesssBE onSaRe CoN ROSeaiondinicretates eerste. os eScrores se peecetePesahater Soaannomeneneni Sars See pean es Seamer Sees, Re. ae LO ERS pion pemietercccemnreerncteeress SERS Sith era See SOM cscsoonsnerecrente ponte emramropmaaonontcanite wien Seen an Pannen ees

i #&##— — eeeRenamer se tes: TS hosthac a oaRainn SR Soe on po Se SESS SEE RS SER a a See Seiiesoasinc See ae Staten Saugiiatanesa Mees SRS aiaeseeSate 2—

Roreetats DooneSeen Fateha ee Rie emen em pron Sehie. 2). RR soe Se peor nncamnae Sa Rig oe eeBio —— SER SeinSeterrae sinPatntatctpSccatarate eeeee SOOO. Re ae a or Ca SOE Oe ethernet : Sees Meena eeasamo a RARER a eenema Bie” iemoeneniii sna corrector Pe Si aa Be Cnn et RIS SB an Serre eecon Su .ee— SO eaeseme een iienacanptrn tin nent So a. Sb Re See.Shewianananan CoN ses ieMonee Sn ae eee :eee ; Rie none nnnoae tcaeey REE na age SER nara oTSR Po SOS RRs MMaranatnen eee eestn BS SSE SES eesSessa Sey SN ita:eg See xne ; ee Rak aS encase eeesees neater neeiene Seepenis Siitoneee ap Sass oeSeances ee os Porte Sra .RD seen 2S SS RU‘ RNa Rn SRI srnicantnegteani Mma ssn Sere oa Scan eSSSR SSSea ee

Bs eeSie Same Oe es es Be SR ee SORES Bra ot Se cae Se SeeRRR Se es ee See SS, o Sesetters Mea ge ees Soe eastarstetatatataee eeconn ees Siete cea ee outs Sahea areietocnieenann neste SSRs eh seNae SaSuesarsonceececes Dcgt eeSa SS ieenna! aes.se Sateen eaae eee Sin ed Renner se eRSA sar Seemann eSSee SE ORE seeSe Sion Se Sean sienna SY Betis mee ansSees scene Shida ieeeisSn, oe Ciara Ree I me nenom eaPantie. spirits Remon " IRR Sees ss Retocsiaten = — SESS RAS ee Se Saas oss Berceees {ROBES SER eee Rtas Lk: eee Meee . Sn eee{2 es Seas Sees Se OES eatenBS saeceatonste' STs : RES Smee atehice 8 >ie- nts Sees Beare ORES See Buster onoantiee See et Ses a Seaton “Se Bosoesat "Opa $. Ss SseSeen coe cee SSFO ; :

eS Sie siesamunoune RES Eee BM OO ES.RR pnts Sash aRan Soaaea ma 3 aSe ce OR RRS aiBeSte Spas SRRERE o3PS 5 ancy eee . pee oceania. Me poateRee eae ssSe = ee =Be Bests Sea NG CSE Sa |Ss SER SS Seen: , oem ->, Seaman oN eer ncaa 4 cantin oR Ree “Sie xSO3Soares ee Oe SseereeS Rn SSS Ea Sse teen 4eee. Beant ON ae Bie ed * RE See =:SRS Aa SSeS :QpA Se Senses 5 etSoca ine: bedennrtncstostractsssts cece as eS . it r RS: G3 Sy Spa Seen ae Se 2 Sioientcrrcrnnte one RS SRS ecseenein tects eases. . So B.S re 3 SS aggre ste Cts -

ee see Se oe SS. a Sh ae ae 3 : re See ae: cos Sea ee aaa Re > BF % : Se Sa asaePt. *stnntars5,ES 3Re :eee Besa poe ee ees Beacon Se neeSCi: >ae os i.es Pa a an fae ete :a = SS SS Si eee oe > See ae Bibne aSees iandier tS> Ske 7 2SR ae "SRR ee a ERS ai | | ":i Se deere SOS See # 2) eee Pe eee s,s Baca Eee sta Behe Si ae ee ‘ ‘ced a—.:2baa sei PeesDP Sa Seer soso. areata teenie a?ae ncn ne 3ge 3 SoS 2 SRS Cae Sea pretence Sc. Baemsmrern st eeSee See Se 3eee Se SCS. Se Seon ae a : ae : oe 2pOR = RRR Sao Somme SS Siege oe 2S a. ee ; Bs >Se |eea See Scone a Ste GRR. nadine: «Rae. Saaee sy \, Ua aes r : Ss Se Reesor Sationemnsaneane ch a See So Bio eee. ee To en a Ber cee poster An ae ie aa Bart. Sea

r gg eS a ae ca SORES Ss aes Sa Se : ae es SESS Speen

—. wee SEO aTOROS a Soon OL. ee— RS = Somme, > RSS :BN Berar. aes —: RRR ee oe Pee SS . BER Sees >aa:: Re 3Ses oy Se -— See eae tae Ring Rk po sR eeie |_aae,: be seare ennier ce Sesion seamen SS ies : SS : Soe ek ee See, Se Sao So se eee Soe eee: Sess Seem Se anes eas Reach RR RN Rae Sa Ss SR aaaeee

|SRin byanenr ooo Bec: SSS > ae oo .agen eeoeBeas poten eo. Setr ..SRM Se soot Sees po SRS Seehea ,re rea Saeect uaa Sa Been ae.

Sent oo een Bia ee Srna ORRaeons Oo ingen oes team, ee Beton SSSRtree Baoan: aiasatarenee eestor Soeian restate é bgt: sees a eee sate oe Speers Sates Re BO ::_Sa & — foe 5 Se DP capa ne. Sane ae 5 Seamed Baan oe ee See ae = SRS a eorcr nn SS eeSososCo=RRS eeRoemer Soca2”Be Sea a‘Seen “Sipe eaeSeeee setceiernncvarsnanesnanecnen ate Sita > eS eee Ri a. aearoe. ae Winsett sonsnueauan Hes o. = SSiveirteerinnnenrone Soe aes Ee ne : + Se te Sas ot See seit Siena eee Serene SS ee Wetatetcecionrinnatonoee attends aeceharecerorer renee es Soa Be a

Soiree ne : Seats oe aeSS eeeae a pie ek >. 3 Satie serene R oeStns Sea.nae eS: Ree sg secaterenttenaenae ReemsRan eeeeoa oR Eee Ss —= oreemmegne =a Secs PRane Se tae ORR oh Sees eee, ae os, SO SERRE Sos Bn aSear : SeraRc Be ¥Pee SoSe aR ees SS a bose Reaeienscononnaetecarn eons SosaBeer Bapeene me taeoe2 2aRR __ RRR Seee Se ES ee ee RE SN PLT eR oe eee peeae acs Sent ea eae Saeee. RS raises Sree £2 SSS See ee Deere i ee annie a ee Sey: See ee PX. Ngoc oe SUR are Seitemeens RS 33 a en aa ets See [Se SS Le 2 ee < Re ee Ee Se SRR. UR Sr. a Sanaa seacortgerens tea ae Besse nett Soh Bis RES : Sebescee "SS “ eo See ea 2 . SE. RNS NO SOR, Le a $ eee SR eeSeaeaa ERE aS eons catesStaeSe : Berge eae3aeSeaeRoa SSS notes >BR a esReaes Bev. eee: oe Res 3 aes Heese tennant SseesSee = Be Seaton ae eorht aS Rhea os EE Beg TS See De eames Ohta Scenes eee ce ae E Oe : nn. 3S: LR Se eeSSR pinnae atstscess ieieaenenesess lentesPo Se ON ms Se eae : Pecan statae ata SS BS: Bs 5 a nechatatctaietetotatatetstecateteceveteret Seats oesneseers = Ses See mem Se Sao Be oe sti Saas seeing oSneponsncrace SS: SER Sic ene ee maemo. a” iSe preter ee eteacSnag aR3mee 5:netaae Saree Siacicamemene pists podsnee RS, Re ae cee SSeS Se rs. =~. ’See SosSe oeSa Bee geaten SR es oe Serene ee ae aataietatatenscensiorscsnscsasananonrsenatetanate® tele nots . xa 9 2RR ko oe ee acorns omer ae eaeiweaseeaned oN. ae Eos Spo reeteantatenaet Siateotantatrncnenanteaenonnennet .ae ee Bg 3ee Sens Se spinnin eee : . eeeel:“ae sia>es eno enon eSieee Se RR REecae

aa es Sire SS sees Ch , BS SRR Ns a SR a ee Se Ra a Sees Sea Se

ees SA nN gn ian aneES : SS ee1 2RS retorts Ba REN ANN LD Neinccm Si BsSs||ae ... _ ene Se ieseonaSecho Ss es BbEnna ie sohen i eee RO CS Ee ae Coreen ale Roeser Sense SSR ee See ea Se SRG NA CS a oo Ps

< So coe esPe.roe ic eteane REN a RES SOmare 28 Ss Fm Soe ae ERS oaSPas ra ey: Rates baa: aoeBie sitar mm okaaaSe Sa 2 ei nee SESoe BpNg es Siete crPS as RPE sea ean eeae : ao Seos Resse entetafata S33 Seee eg measure anatsrateh - Sa RE ag Sc ee Re PR a ieee Se Si SR TS i a Seat nee :

De. a Saas eaPeReRERE TNSAS RRRS SERRE ys Pig a eei cae ae ae Bn ite,: See ee SiRea ee Be athe is TS RinaRoe eesaa Recs oo ON Rag eae Be :9De Pee ee oe poy Saree Oe 23a = :Sissy Be Ps. Ee ae Bore te ooas ahRee : asBie sipltncnc anPoe iota

BONE MeES neee eons ReSee ee sae oe ae SS:ck ees eeeae ceeSoe ScoSame cia aameta otic nane eo RS Soa Peer er Re Saas esLeta SS:Shee. Mee eee oa eeEee on es ae Seek Tok. CES Rimes £& Ree SS Rk See & < $265 $5 RR I. Sk RAE SR 3 ay "> See oo : whats See. SoA Ss = ee Saas Sotto. SRR, eee eee oe wnat Peretet

Sa SSS RSSSE eam Senta Baeng,. 1S SS eae SR oh Sota aaaSSSR. seems oo eeaR aa ORR oR oesSAB Ra ERR SS SSeaoS Seee SSE. SOE SOE ROD Cases NC, OmeitsSS Raeae Bo esasees a :eS Bae eRBoemrocs as Fs SF Sa AE a255. Ce ORS NN SRR 2SORES or eae eeSSwsseaspteter nate

ie otis cane Sa ieeeSaas ae 3BRS OSSSeSR SeCR: aS Se SS See Sa ,CS Peehbtames =| OO ee eSce.Jiea SS > ae SRSa RRRS SAE Rg a A ct Brees os. ee 2 a Rees See RRS ee ee bo oS 2SSaeOS. ee yc SEs $e am POSSESS. SS DOR RTRs aSSR & eeSS See eS BOSS Bates:saeco Bi naam as S58 Seco. a Soe Persons BistS chen eoseeStLSSeok.at.a ae aaaeames sae Se

+ (ERR eee 2eReens teSgSeas eee eee oegeet adPee fees SSSR OR Sees See ne eeSeShBees os ScSees eee @ eeoe ee eee ag BR ea RR ee ae ae eee tS gS RS Sees oe Seth) Ge eee eee oe Pee > SRR aS SoS RR a a RS S200 2 a. Beene Se RRR ees Bes Biter: Soman des ts SLUR ergsSe Se en nas sa Se:So eee ees manasa 33 $iiesSee ee eee Sa eepS eeaesiee ies0.Sieve ee RE be Sess eS BR a RR See oe [ee Saree SS eee Bie ek 25 2 RR Sit: ee: ee ce ¢ =f fCOeee ee 2:ee es=. SRE 2 By b: SRR 7c e 2D: SS Seth. Se ee SS. SeBe ek ee oe Sr ENINE ee Peers ee Cea ea aa,aie SeSein Sexo ae Pos SRM. cocncecopen one tgemanagene eseteseastenetetegennees Seen Seen SRAM ns. Sasa oh Seemann : Se> a Sat : ae esotaae EO er FS RS TY us: Mere SoeansRe oad aoae ¥

: eSeeee3:ox reae ties Suen a es rR eas SR ,ae + wen— pencsnarenrety oa SSSR SasBeek RES MR Shas Sag et Sos Matte acmeneeee eeeae eS PR. Oh BS Mae SE eae NE Soe eases nh ‘ RASS eae Re Seat eee Sa a 8 . ae :oapioaeactt >. er am OOS SES REESE oo, eee pecans pa # * ae * : ah Posonai a a ER RSS SE eases or SO ES Spe Su OS Se seer Eee eo Be as ; eee

ee: ee Se Pe a BS ge eS ee Ga. Se . 3 }

=aS 2 RRR re senescence Paani. Caan seers Sas ne ~ oa Rewae aD Beaches ane RRR Bate. Bs 3es SSae: ae ae 3 Ea bene Rese eee aS Saget erent S ska SSOS “Sy - sea aaaene Shamans cna. Sie.aeGare See Be Tsing Sone akBe a ae eS ee Pe So ee ae es ee aesySSCS ee Sip.” ammnenn iis Soar i a: cS SEER Sie Sona o>. Soe > bake SN SRR he Se BNRBie NG Sa RES Ro RS R:©v

aaron See tn Sooe Ree RE: RR ae SA >,cee Se Re RRR eee ee SS eae Se RR See Reet “Ske ~ pep Sean aeRO eS... osBieta Soe Pg PRR Se ae oeIS Rey Se |SS Se eshte soleten sonatas Skee Sea. oo ae v 44 ORR SR ey. oo Pe aes Ns SSR SSE RRS oho Sk. Ree ORES aS aoe. eeaRa ps DR Loe ~s ed RES sy. Sees ee Sean Na CREA rete ae SS ae Caen Ne VAS. eebs ooSolas as SR Oe ama teteretosatecetatee gan cn eS SRY Re pa SS iSRE aURES, SE RSs Bee he he 3 See Pes oe - . ae ca : eet ROS 3 See. Sete Peres? Bee Pi. ~

nee aa cae Pens ers Ba 8Bees ieee Ek‘Seagee aes See SSS Sa aa3% aa aMOO ae SSSebe og BOSS Cae Shae: ss Se a.eta i Sa: esas FPO Sete nee aS ae ; SiBeet S Sass sieemecnennne ee eeSx a eePeSORE Pas eeSh ae iy Les 3Spamererrncrme gaa Be es Sooae Se we ae eeCea a aSe aRSS Dy ne a Se a meas Baraca SakeSee RTSy ee RR > aairs eo aoe haere ote a Se Ses eee | 23 a Se Rete 2 SOU saan ae teaPeas Sues ea Fes Sy SS Se es cateSe ce AS ee Be Bio Ses Sapminentinti nner nen Re See eter Pa taaed aaSaaee ciBae tas apa ate se =aPag SSSees a EES SRR ne Reece Re Ss asRee pe oe SabeSen ee oss RFS SeSn3ER Re anes Ssena ; eae

> See SS SS | SR ; : ; : i William Rockhill Nelson Gallery, Kansas City Luca di Tommé, Madonna 120. Niccold di Ser Sozzo Tegliacci, Madonna, Pinacoteca, Siena

EET ER ee No RS BE NLaeELE LL LOL DE REesEAE, RR peed Satie ges ee SE BR a es oe |Be Rare ae Rk? he rae nr Se CR ae & oY eee es eae | geoc i aca Reg RSS if re > Gose é 343 fee & RE seats ae ot AMER + Seemann. a eon Ran ag re Se gS: Seen

es BEES RRR ReSoran aa hee SRO&Ne Se REE SE Be Se ieas SocciTS | IRBSc Seto.Cae Sekcae ea SOS os osSe SRThres a Pye HyCSI SeBe SieeSBB ye:e 5 4ets. faresS38 aSe RC ee cc oo See a $s Sa Se Sec es Se ce wih. Oe eNie Cee ane sotetataPatats ny... See eee $3 ee Sc a Co SRR Se See ee So Ste soem Soe Ra URNS ee ey She SoaeRRR i RR $e=Se badONSeREa FS CaS > pita OS Mercure SeSiete eae 2a eit a snes Setar ee OR Se SS SS 3aSe SS PR oy RR eet=> Ee ae eeSe SERENA ATStag SC aoa See

eee. emma RY Pa en. ORD naRSS I, $e Ie Sa Cs: SCRE. Se. ee Smaak Re Se a nesie QRS Soe : . Se CEDP. SSBy SRT OReeOR oC RRS oneSine See

= Y pe ae ae HELE ef Te Bee oa Sa ae a Be & cee a ae See

ae erSS Bee D aCO RR RR oR. ERE RAR ERR SS RE Sette Bae: a ge fe as Rae RRR as Bae; RE sing eSRRR nino Sea BeNa ckgSMRR Sac Some na : Se SE SES *ae PeSee “a FsSe es ate . oe eaten Semone SNC Nd RE: ae SO Ie Soro ee Soe > SR > eam > a.Ba > Si Sanaa aon "Seveates Soreenae

POR ve ORR See ES EeNepete Es SR $5 Seg PENS SSS Sei eat es nearness. TS Stasae sasPgs soon ee SeSE Poa, NO a: a beBtBye5esRR ae So eee ee Rae ee ¥ | Bae eee see pSReRe See“See ck : & 2%; Piste CRETE ES ag = 3 Siti Pe ee : ¥3 3 Sees aS : SRS pe sk se oa Ses Be 2 3 : 2 BE St % RS OO ES Se oe ae :3 ss $30 oR ee a8 Tin eA a OR a ae oS ae eee aeas

ee teoP fo BO ARES ee oe einSeeCe: a oeeeSN ae Soares. SYRSE Ps SS Saeee See. Sg|aSe ae Bases REPots a BRSaas =>SxS Semmes ama eS ae

Bar See a Rae x ee Be As BOP a oe cme 4 oe gS fee 8 ee ECO Be

i So RRR SR a By ES SS SFR Re es SBS YESS FR ai RS

EBSots pg PRR Sec Sorat mamnas 7 amas commas Pe ei se; RS Bias, eae >, Tae Seeteed eee:pis Samees oS Somers eeSeen saroueaetea 3am See eh,ame SiI:Sega. see Sa ON oes eaeES, AR BRKeone, eRSSEe ce ee. a ae Cie STGeer eSSAR Me taPSS eee: : Pcs Soe BeoSaaae eae Roce ear ER taeRSSe eee OEE eee ccsRRR Sees Ske hE eee: eS i aaa RO a ie, saa bo ee ees eae eee CERES Re La ZSj FO no ns nn aia eee. ahs et PO sn RON “Soe rs SNe” SO TO gS Diy Sy ONS 7S RR ra”. ana a Se ae ence ee lr ae es are te eee BBBske. Seaan one a eR ieReto erent ciemeaarase SS LN Ree Boa SS eh ce Se Sk IOSet. ns Secs . Rocmetitient YnSeams: ee MN TR‘3

SES SS ee a Se Sereact ee ee ec Se SEES FSOSE ke Es a ie9 See Beare eseeSess a ae .ees ee. Soe Sas a Oe ae nie)2" RRR [2 aS PR 4 Ree: OMe Se Sa eeSoS oe CS 3 seas is Sos eR:soiia SS seen 2 See eeSe ee4ae nea, See eeSie aesSeat ee foes See: Sn- ioesemcammee nee Ne aN SRR ee” BC Sa Soe Peeeg SMe re“3‘ Be olSe oe >. SS>i Seer Ba Oe ro ees oeie: Rootes antennae, Le ae

eeeeee eS a PRS ies eF ora Se aa pe ome eae ES

ot Peete : ae Se a‘Es ree 2S Renee ; SERRE: ps wae eeeae 3 SRE RisSes OS Se aaa » gaara Ssae --oes Soe ah ae :eatecrere’s are: na Sees Syaeee Be. eae Po Po Ge ghana >Seee leeane 2See See BsBRE Been oe eses eRe ga SR SENSES. ERO Staite essaeco eke ae pe déSE Rees SRS: saeRR AeRR aoe ee eae SS fics eset SER

: SS . Sees aeRS Soe eats Samer Genes asa pak: Vy te SES ae RE Seeeae: Raeae See oS: Se SS aes ae _eee Sit see esSoeyy Feo eRe Re SP asEN "yeaa terinpassuam nasRoheeseason aa

2 ae : DSS“3See ee Sareea: Be Soriaa ates ReeoR ceSoe waeaeatoS RRR ees: Secs eee ia: Sesae Soe > SSS owe ae PS: ee RR SS he See Rice BS SeesSpeke See. Sees io Speen RR oS aeseeee Seeman Rear pose tans = eta orae Eee SeePoe ae IS eee he SES Beene pesca BRS oeSeck at Bee Pek :: ee :SS oeSEE Se eS Poon $5, coe ee od es RE _ Rosen eo aee ae Saratoga Bes te ae S nS RE peng eae eS ey > Sea oe eee Berke canes BES: SR eee OS

SE eee Sore ee * RS ee [

a ee ~ Ns © SERS Sees aaa oe arene emmmemeememre Xoo ee Becontree canton SEE ES ES ee 2S 3}

Sea Ste sor . SAS RS eeOS SeBer: epee a aePeES roessBo RO oe tea Sees eee ee eg: Sr ES SOO BR:aeons canes et Samra Paisoan eat eeSoe Beeco °“” Raintree OARS sus4Se ae ae oo See eee SILC? aanpaste a Se ee |aes SEES A Eeapens Sots

oa (ee Sok Os Sens 3aeee RS GOS RCE SS a aes SAY Se ae SRS Ppa ono nna MitBrenner Bonners ssincone ces miscnmeronecae enaPe seme Reaercnnont SSR aeSeca ee Reta te wes . Sout ae Se gee i Ss

Seay css ees 2 Sates SS Se Seie, ageame, Bess sewer Sunes Sameer ritncnrasswonencrae SiameseSoe ncaa akie SS cee oe 13 a SES Se Npes NeRena See ee . Soins Saaaae e > “aeeaee > te Ses Saison cemen aie Seiatateneons annette penne preaenteeenane memes = a aR apes RE Roe SSeS aos SS | Saeco Pics csc sees Scam ee Se ees See aga con 25S.) Se a by Seas oe SS SO PMP cn rie Seceresetn n= ene a Soap popaerennenaances co ame Race ae RSS

as E>aeSas escee ineSaban Se Sars S ce Seeger eeeee Corea a oo oee :=:=: BekStange oe eek 3 Re aae FRE"es SS > Pian anceeeamemna as SS Oe eeeA FRaRe ORE ee mE aSee Sa po See ae See Ug ee ae oe gy2 eeSee Sa thos oe eee ee Se ee Biss ceBe Ser ies ohe es anes SOS a aesoa Bp2aimee 2Se ee ce Re eer en ier irae! ee oo8= = pons Shee cane Soa SOR Seeee eaeSonn nee Soe SS: = ES SL eS NCADP nono eccerstteote tes aiatatatatahetstatctatatatate? eeeBopha ae _ eR#:aeae ge. = 5 eS Ba Se PS Prataratecnrersntcnnessneernanes Renconnnencnnen tt oan Seanmenen eS os es Se aeSeSone Soe Bi Sg oe 223 ae pennteteonanccniensannne Boome siciarnet Sas Reem aasetatetstatesnte® aiecasa sani eeeoe See Brea Moveons: koe . ieSsSK Mik Pee gra sae Stes Soe Re cicegeestenese ee teat Rec obra aaa £‘O

Sas OeSo RBIee Se”SS OR a c Me Sem S pees peeennmann aren tee inven : Se ons ae er a = Some aes SR ene : paige nn eo ones Ss 2S aae Real oR ce is g eee aap : :cnSes oRok geeks Renae ; : ER SS ORR SSeeaie te. Peete Wee Pee ee eee Le Re EE RSeso es Ss| es w= SESS BB a pen tend Boinnmnamenms nation -snonntintes S : eee : ; : R ve aaSa pa: oS Xt ome Sites encanta Sonics pie om Ss aaa os : Se ee Saks ee Seaaeahamn amen comin meee P : : : ONS ian, Se ae cote aay = : tgs SB Besant sae senna Dapeieses aie ton ei enema. eis ; Oe aS ee 4 Seis partes TR, eset Sa Brenan Ree cas coe SSS 3 eee 3 eS : Peete SS SiS a rane ae a ==

te. : a sek Pas ok a Si ee Pinan es hater. eee Rare ao ie ee Met ees SS SC v

¢no =Stme shy SaatSR eet aahr etnete ences Teele acecatrae seaenhance eancetbenre Re aes Be Ba eseghae Pes - an Sr*o" SNe ened oaeating SNES ean Die Mone rste toraeae cecrecaretetaletstster stan ah ierese cates LARS ee MRAM eS ctatatePetetctees etal cageay "Bes saaselstecereneen oo SS Ss OR a Soe esmees PO ROseceea IScee eee 3 SRR oe ee: ae oo . sy a :eeo a (-r 2

(fe $e og fee:See Saige scaaieSR a oo 3 Oa SRS EEsee SS as $i).~ae : SRky ae a eo oe ose ae Pe Bs Se eg eSaeS: iege 3: ee Serna. ame Soe ae Berman: eee =SRE . ::en ee 3SeSeo Ree Saarx sean ton. aoy vs PaN 3‘3S ies Be eae sens eeER a,aae oo|*a swPa = esa 8 Sg ae atone SH in See SY Sh ae ees es Nata Soa Soeee fe SMR as SO See ee ao eiatatnnetetatenns atarehet csi See Sao: 3eee CIR, Sapa eeRees ees —ooto im : a. aS ae pace passes Seas See RED ek Caeoeake ae 35a~Y Shee BR oe ac ee = oe ae Shean Pet a es Se cane oes3.~PS‘pa OR =: PRR Rares. BeasSoe BeeCronin sae _ Ree Ramet st SETS aStoe esRee ween, oe a SS Popee BEGETS RY a oe Peace Bones a Sete Perth SSS Sa ere RS ia Reece ekee Vv a Re Sesto RemanSaas SS RES pesSiege SaasRee Betas Ronse ertSsScSess Oo ters a 6RS ee Bi ASS eat oe Sa eee

os ROR RE eScect 2 Be: Re Pe ete aSSee 3 Se hsop ees Lees * Ss SS Sooo ome Seg Sheet i] ae SepeeSek ceRES eeaaSAS AEE

eee SeeRien See ce NRmae ao eRPena SS. ae ee Sema Rane go phan eaeoe ASRS eae Se eeaon mr) Saye SOR Berane ansPe ae ORR, SSE!Be Rte »EE SOO. Bits. Rt casas a aeaeee neneeee SR— Bassano tiaratise Sharma see3 RSE a Renae ETN CoMra aaeesae oO * oS ay ok tS aePeat agedis a Bes are CRO RES Bese phe oRRao ate RE Px tcete 2 RES: Spine ate cere soonest PD Sees Sener emma: SS ae see A Some ae ein 2 so. Mom PER Sg San vn he ee Soeow= ok Ree See paiement ais SRC RAY, Nace %coca Merete netasoe Ce as =. PERI s . Se 8Se oe Bao Bess. ane ee maeee Bs Semone SnSh: ReSEER ee Sade Sisst Sse ee pence ee esBacanaacace ee BS RE ES Set PereaPRRs ee : pears oell aS

Retire eee SsBa ae pes Sagenen ORs gee ee ees RS ES [2S pSa Re SesSSS ssSee %Sena ae —NG SRS es Stes eaeSeeons ee aeSeante. eS aEN SN: « . Seeceenes tine omens SokAeneas seroma ornfoe vee are nts SanRr LESS

Se ees Sac, SCR View aes ee en RaPe eee esWyle 8Se.. seem SS =o eeeoee Bos ee ee ose eaters taSoo Ceae eeST eke Fears . ee eeesangeet agRoEa eee TR ge eeBESTS ekeee>pe Gaur a Baseman Sara SNS esse Stee Bren age «3 Se genaseRete Secsones veraShatner Sa » Saas res taesees ateeNharass Bete 2“ay RSS. goes OR SESS

2 genes eh oe shew) aes Rarer ee Siete See reece Se cante, east pensions é ge eee S eee Seer BS OSes NS sir: aera Snag Menon Ronan Se se ntasetatnsd ScoSSE See Ss waremoe Naa Magee coe ha SasSena aes ayPE Shoe Sense ances SEee RK: ieeseestrnes SSOOS se Sea SeSheen LOBES nates eee SS pect cae aoesSN Eee ieee ~~ 2 Staeeae aS Pee Seas pete. so OU Bet eosRES Soot sees By SP Seperets RRS: SEE BR Sa ea ag a ees ;| oeeeBah hate ieertoe 8SeeSe Baers fee eeSeat eas aa

Pig see aa ae 3 Biase nes Signs ee a Scones sh See Ses ee ES BERR RS Sea Sak eae =} oe %tpeS :— ekehaeSoPeee BPS eS RRR eaE ee Be Se ee s Ries Seas SARgS eet SESS: ns te eo bene: oe Sele Bei... “Sieber Sheena season tos mor aaa Shean eas SSR ecu an Pee on oe Soyo Sine tee as Sake pars eee RS ae eae pases Setptedes ate SS er aereatacetstscetet Se: Bane mn Rotana a Bey ee Se SSS See ee “a

Bret taretetctenete eon a Se See sreattecn ane erates tonne ee eee eo et vege ont PS x eae on eens eae eee SES Rs eae See Gs agen Sent . Sec

ee = 5 ssiSCR bce ieee Ses APco Siena aac ae peaeees: a secianeett oe AS:meSRF aera eeA TEE es REET. A Sieh Qiae eratetenenetenetatetaters ee eran eetaraceterst te oS aes es Se Se aaa ehcp athe ESAS hen SRoneteates ote on Se} asst ama teat .

Saanees eiicnnnnn RES : oe MeeseSggthncinetenas. ce Sas See SSeS: oS capes sesesec eee,ceaah: eona Rens : ERR S See stonessae RCS Neeh, “Se Ronee Rees Sota gs eeBettas Se SeeSines Bereta Sa pam eee oe

SR SSoe ome siete Sachs ise Sheen assem oe %Soe Soeeee SSSa pecs 3 aeeeBea SeBee See ee SOS SRRSS SoeeeeeBea Soares oso CRS goesee 4 =oe

ee y 5 ees Resse ere eS Pere ae See ey Bs Gear xo Ses aaa ae error eee cee sa Rae sec ee e SS rs RRS ed Xs Loess 3 Rain satis Monenes Rig ames a Sen as tes AG filo SE nratetenetasete sO x: os ec eateean Nenana Porecctat Pacer vie = SS aes Re >’ SON a oa . Resi a ppeoreaean enema Sire ee soe.

oe SUSUR ee REOAE sasRRR me SR 3 ReeOO y Ree ee CERT Sa BRSBROS cece eee eaShs se Le Ss neces SRN: Sea ae StS ASE SA Sees Sas Sen sapeettae reece nate iene. oo SRE NS Pos Paterno Se. she. Ne Se See REELS OG SRO Te ees Sh a shane Sereeceeaca ond

ees SS oeees SESE SS Ses ee SSeaexes eRe SiSasidunteepentcc Sh eearreee = Bt Se anata, oie eRe SR eSSSS oR eoeaas genase Ea pas ae 3 ReeeeRey sa ky Neen SES aeSoak o Se Sat ~ Bae ORS es SS aeScenes erepetetete ts pores Se Sree SESSoa sa Bi SeSeite Booey See ses OEE aeRSet ee seman age poseSS Resay teSas name ee SRS eT Soe SORES Soy ise Se Sa SAPS Sere Se eee cae oes; bo Soa ee i GROSS hughes RN OS Oe Sey gee 3 Pn See Siageeseees Semana ae ees 2S Raa ENR Sie gota ees SORE Rs Pir ees = Ory ie eae es eae Sn a tek egestas Re Ser esos cae ae ee ogeSESS Coho ee OR SSD bea ; eS sehas eee Pen SR pene hn tence eens wining pease SSPea, Nae Sea igSato ao eeeaSoe RASA SRNar RO Saoeee ae LSS aN eerie seen ssc ane SSSSeae oes Seaton a PSR 5 Boe tsSte SEEK PRO ee etn ay oe 33 _ ~~. SS oo SOs Le eee yo oo Sa AR AR heats Stans spans Sa Se RRS in eae x eee Seti RRS SS SSE Seas 2 pes eSe-mRBaie theeaeoo aeRESee SesaeSe aeSoeoF ReBROS ee Sek Beem Sg esas Sete seas paecemneer ca Dato Sea Ren ea SoS ante SLES Soe

oS ete eee eeaeMie Sik, ee ce ee aieRoe EEBg A Bie ae Be 8 RE ge ee we SeSeoe aaS SeBok re iBe “ae BEES

re eae ae Sarees fees Dee eineart Pe. SR {ROR See Roa pn eae 2h Soe eee ae

So ORSRS, San Seeee Bronte SR eR RR SS en, SS SR Rasen eae Ree eeRNy aR eas Pee ETO. SOR, PR aoeSo SR ce eee “Y eeNO a See

%aBeata eeSSE aes Shae eS Benes ae See ss Sane Post SERoe Rhea ee a See tae i£5 Ses Ree weak os $ Sse a SOC. aR SeeANS Cieoes peat cdSEAR . .$328 oti ie _ Se SesRee ae :see 3 3 ee RES i ee ae ¥ : SSea me oe Ba sae =e gett : aesae ae Bceccn a : :Oe BekSacre te Se es ShyeaeeSees 5a: =fates : x a .3. .34Bs ;/

a >% eee PernED. sieSee aieerPe ee 1. 5 San oS > ee Pe; Sa xePhoto Se Sa : 3q ‘ e Soeoe BeSS Besese aa ee ate Seaee BesesSe53 23Se = $=ayai Boer SAE taeSoe tans a at go ae Ss psig ESSN Sgpea estes ee pane oo $Stic eaecee8aeSian BereSS Roce SRR , a .tase: aesitet . 8 oe Biewi tiste BeseRonen i: ag $aa oe Renee SeCS ee Sas Be RS 23 oe SN Setiaseine pisrnes ome xee Reaake aHae Sak Ss Ser oeSa % i=goes CEE:.agers 2: SS ee 73 Bs ce4 181 2 ee i aia Sets: tthe aN oa Ba La : Bs Rs exe ee ee ee eee cae RRS: Se eed pees So a: = :|eas :i oe 3ueee aes ae $pape Beer Rpnsectos een pcos, eaasia Ses : |=ce Sna9BS SS aaia mie oe 7 - sas tCSewows : am ie eee Se se See eS Res Ree paaiennn goons os $ ; Rien Severe Frene os3 SS ae= oe RRR TOR EES ome s= °iesean Ss aaa teay et} Giovan M4 e . y “aeoatoens emerson ‘ ae

poenonee eat etaie fete So slf|| ational G ,ington Madonna ofSenne H __ as ee ee tees . areca . et cs PMN ONT allery, Washi’ 132 umility seamen oS ee 2 — Humili iccolo, Mad am , Ca d’Oro, Veni his

re

ility, Ca d’ U, Venice Senie

3 Me tpt aesSee eeeeh AteeeSee ee Beds Pont pesesbiLey HesaeGeSones OS Ra te, ae Ari

P. Pe aWRT Ss inn i cn S seeSE OES Exebe SsRe Bate Pe Sen ata, Satta SOS

oe amet ees Soe BR Es: Se otsy oe ae1g ssPisses oe i. RS ia x < ek: Savana S BS & eek BOR oe: ae 3S Sane % BRE oy eos aa

Ps RA“ eee.peeee eeec: eS See Ci eis Sigs ae nae 32eres aoes. ee 2B. - ee. SS baie # Jesi: . ee gaa ie eee % nd fo 8 bears faa Sone PRS eS Beanie See Reo Bias Sn ee OR < ye Ms a 16 Mee Fes SRS 3 5 eS. eat. Re cnroe Se Os Ranta: oe Sere FROee Seip Ta oF aS Be. hs 2 $ ee Ge : oS af .* ere pias so > ee >So ae:pee Sonn es, aaSeto ee 4 Pe . txry 4é .oeff ee oS aPSRs sae Aen. Te gone: \ ae: anne hoe Bonen ro.é riObs ek ecg aesoe we as Bastieatatchat 3 St tint OR nt Repiea tae, Seeens=i

ies faa: uae oh:gre amet Seegeo eo Sper Bes BRS See ees SAN aegece ss, Ss se "RB ee:pasa Se BOS & 5Coon : :& eerie osPe met Sook Rae , re Echoes Ro es ess SO phate oS: R., rsBs ee oy eS ocrBe Boer erteeae .eee = Hee 3 Wace pcg eee ies eS bs fee 3 SRE sae hacia a ae sat Seana es. EER te Re Soe EERE ten, Biss es 3 | oe Fs Bea. ee eeareae: SES Bohne ae SE | RR oesced seeeeSeee parce Bs Se Braeepea Ses sats SRS Gis asee ee ee es = é- . eeRe cera Seige easBy Rae aseeBe oe ste”aie ce:sees: onBee ae se _ cnnene Bae eeseaseein nears adh Beg coil ae ce rr Se .eo 3 ee Somsaea Se Seoaaeane pera ee eg cSne = oe

ERS: Oe hiss 3. So, eS aie geneSo ty “Sas es Ne in a en LD GREE SONI” vac So Nias odpm > #/=0. roles)» + Oe a= se Caden ere n silat alate ehenaneretet otha otera’h aie anata dei ats ey ED Sooo Aan noo > ats WARS soo" otelelpreresete’ die cacacesate-etereteresesrtetettens Se eae

Se RES a RS ae es cele ShoSe eee oa SS Sas Stites Coa SPICES. Se SS aRRR orstehig eee Sama BRR OSESS Ss eS REE oni aexae Soo CREBea Sanne oeSS Soe ER RS I onsas ana lana ne ope a Sse SLoO ae So SSscaueee ssn eaae Bie eae Renae SEE CR ge SRS Gucemennaas Se sc SSlolenters ne cn cStameene cntee «AN. Roh8 RRR ReaNreenneB < ONSEN SS RRR ae», RR SeaSo SITSaes *—- Races Banton SaasPee bene dieheco Too asheastaesalate sess 2s: ee a RECORD. one ae ta Shgk As Oey eA NRoa METDen eee SOaaa Ayet: RS SOR te. SS SIS es BB a.uate 38Se oeSS BR SSSaSS BR aeaS SPR AASESS RNR 3% nomen Ete soem SS ae 33 BES BRS os2SPO Shee pe eea. Sek ORS RSE Eo ei ae cS Sea es Sean SEER a ae ee eR en Oh ee, ae as SE RRR I ROR Ra eR bamsemsmanenn scree neice ae eR ORE RY an SR Rn nt aS a ees SecSnSeSN.ane ne Spcerntceemen rs te 7 ae gS SESeeaeSERS Reheat Seti S22 rs 2. see aai Bee a Pass SeSS ae ee naaa iB Sa SRR RRS: SRR93. 0s ee: Beams See SS eae Sig SEGRE EA ai Geena nan aii, Rc asa fe Seana eS a ae

RRR SS SS A eae bo ee eee ee ema Ses SS ae coe i) eeeefee a eeeSe sg se a esRg a eei:fhrs ee”Ces See ae SS BERR Soethee Sites eae Sa| SOS cman a aeur RR recs ne aa Boratarssstaretatareteresecerenanstonecaterstesenngatetesetenstanetsterenr srcaeeteoh ase SEEEN. To SER SRD :STIS SP She See ore

[SORE Saas RRS ce etna B F< aa a ae Gee ae osSa‘See eeeRRO ate SEES Reece sae sana SSS AREER ecient ea.ae SoseRgpsesReSa Samana See tien oe Bi, eS CSc. Sn meee ae ae Sg es A eae eee eae aE RR aS son See Sa ES eee ee eaecea eo eee ea a Bre eee eee rent Seemann as ae see

See OsBo cotter ee Me RE eee RSnnn ee coe cece. serene ati RRS BengcaeSon SSSN ee. RR See, SS cee BeeRRR R RR tehaae neeeeent aRBe a BASSES SEER SESE ete aes |S" ae eGR ret araretoNrat ears ance rae tater Panter tetet eh cae Rass Seana ca, Soe BS SEA EE ee eo SRR i na ae Seren oon RE SEE Resecnasteinrneneseeee ene RR RRS SSSSEEGER RS = 9 Se CRR ae a RRR SO acoin PERE See RN SRR Races Bes ES cc”...LO aaaORS RRSae. Sey.Sea (So RRRSoe Saeco ora. Seances gSORO ee Se BrakRES SNeSea SRBS RE Re OOO SES SEE SRS cme encanta koe oe ee een See ieee

ee aeNoe Bo RE RR gsSoe aaa Cs, rs SEae Beee See eS meRR aee SeRRCe eecsceee SS esae BeSe ees os akicnica tonne octets ra ae ene eae aSR Bi SERRE RRS ce a RSS ern

.one, f,‘ >.?HA. ?°. P

SR 2ROME ERYRBIS PERSCS, RR 8s RN SOD SE RR SERnatn no ageeeie eke pommmmmemnntnemnR = - «Sale a ssc eatenaetea eRe ee esiS Roe eae OXSenay SONeae Re es peiiiie Sees By pgaee E SSE ec eee“gece ccna RS RENNES RRR eR Sontaneisene eeeSade :aaa Serene es eae es ea eae RRR Eagle ena ima. snnoesnesenanhnceatnnsnseetonganeataestecnge Cee Ruger coe SR Be sea So Seen, monn toate ARR Bee SARE ON aeRSS ten BS as, Sec iesi Soe. >) sate eee LSS ee Maes SA RE RRS Sa... SERRE SR RS at wine SSeS oo Sesh aeER Ber oS aa os ee | See: | ae eee sete Se 8s Ba Sra foeae Sram ca ec aah yenace Ree ee

eS eC eee Se RAR SN RES eNO Saat RoR. = ROR Ft aes sforgeatemecenesenenassnsteteratetenntetetetorers peer canes f Rennes stares MMR oo oc oratenwtnnntens epeanpereteneengeteeneeneanatennnnseerrntenteteeensaetees

Pe OS ee ey ye See: RE a Be ek Oc Ss Sc em A:

Po Seas Pe Bos | sche come 5 Siti ne oh aie Seasoe ee See ERR a:SSR NSEi oetS rar aemm ae ea a OReee SRSA SS,a Sa oan See ee ban Se See Sere ee enSSE Se - | RE RR ee & - >See eas SRN EE eee es 2 ae Soe. Loran ne sssseetestasaseceesessesanatstecametotesntepeteterereeereserssnteecetssese eee = SO ES ltl ne ro atadeseatatecesesnsennseeriestcesrersnerstereneeeeenersieesere BRON Nee ae ONS See EE RS ee Dt on Same See ES aerate aaeeeaeosesaeanane oanattanataeneneate a agape te ete eal siereeetaaees tnetonesseoeeanemaepereanaae Matetat yt ate oatehereainaiatatyfatnnatatesntptcteneSoretvroverveatptsteeece

Rete Sea aaa est RE ERR ERS Saree aN eee RSE RRR NRE. STS. Poss cieeratiosrcnoe nant te ROR, snes arsnncereeescosennnreteettennee aes

psa a eRST SooaREata RS Sapna aes RRR nea ranean ace eet. esnocenesssaatecerenesceneenceeetenceaneseeeeahes SSS ei aRMeare eeerere RN CRT SeRRsCO GRRE Tons Spe secrete ener a Resins ns sunnvan ae te a a RE aon a a! Spoatatasccatateteretesetchatetatetecetatetetetetetaatetetetatetptete’ctatatetatete’a gta’ dbpatenntatatcaate’ ahaha ota? oPat Tam SnSstaeutate eats atat ase Patina BEI Sonn Sais. MER SE Soe ene Neon se eS ee SR OR Sat SN SE. Se EO,Rice

ee SSE Setao Se seas Oa nc em en os Seenone caeSoSSSS Sra pee ae eeSS:Pe RRR ae Rms ec iNaaasteaBeg SS aeORR a RN Seca So Repeats eR, usenet: ROUEN OMIA. SeeRR oe eaten nn tne OS RR. Reg econo colOO eaateratena RRAeae cocoons Lo aea BEES TE Re ec. te So RS Reenn a “Emenee Baca aN ate Ns Ys a oan SOR Soa SRI. caro ernen ESSE RS ae = Saunas Se Sie ee ee Bees: See Ss ae oe SRDS ae RRR ORR 2 Scns eRe Bs DOR Seniesa no OR RN SR SR on ee Sa Re a OEE RES BS, AN ORS wes aiepeensennnen cetera Be SR BOP ry tenn Se SaaS. PO RR cs ae ee Rake os: Sg ea a AGRE Ba Se Bae + Sieeeremesenaannan = Sa = on

2BS see See eesyycnnneaareneanay Oe eeSeep Sepoe Pao es Rie eee Bee SasSeee SS ceeeSERN fe Site BS ohBeto. eaeeee sceees once SS Re CraSCR Sey ai ae bestiaee Be, Seam a rneseossece scion ercteeee

Se Spree ey RO ee a ee Se . ae See eS ea: Ses oS SRR SSS Strasse Ne aan Sante Rie a ny ME RN oncerscancoeage ns i I SS: SR Ree a Maa oro. o os ohoose so shonotsunntncescaysnatetnrestsnenenaens neeeosieisnsnteaenneeees

eee Bet NN Sh ee EEE RRR Oe SS oe? . no erearerepeesanatete Dincetatarene Serer EEE." o-oo ana"a Tsar cnaretanatatetotatetatetatstetatetatstetetatetetatetetcletetettetceteetatatctetestetetc etalon tet eies

Sena nc ane ee a I es SS isncsssiactonnensaenesennneeneneceeante Sg oS Scns Se 3 Oe RRR sesesescsesesensesestsenioenciass nares ei ia mae ea aCe Ieee iC Ci SCC ee nena See ee scenes ERROR RN TR ‘ eso siete emirate 2 cosets SE oats emotes Sas Paks oe eseee eas Paaeocarmere seee eee BEPC —_ papa eR BS ee etrheriee ee nee ark SaRAR neaemerrsosaae pees VERO. GOO OR RR Ss Sea oo a ee Rehiosss Ske pe Se eR PRR aSOR porn fea NCeBON NOLEN DOOR ORO REE” Ce ke 8ee B Saas Boome amen mnmmee eeee e eree eEEN Scoaenaunnn ne eee Sle Saat eee| ee PRO ‘ “BRET aires uae gh Mis he a eeTOSae SERIE ae onanssetesccststonsteretetats atstetstatatetetatetstetetetetotet se ° Patetatete . . 4 5nese , SOTO OOH INO PALL DOODO DOESLL NI ENN ME TN

ose eye, ’ .

as en a o> Ae enone iniae cs Sk Pen en ie Re ‘4 sratatatetntetotcet tees . ent Natatanc's Pasoresetatatotarg ial wr ateay en Se BORN rerhacotecpronrtntenctetanatentatrnetenstaretataoeeteten renietanatetetae beturorenatenecetoneeetstacorecezontepasatatatetatetatataratesstotatatetct partatmbetenerae

SRE SRN SERN RR SRE RE RR A Ra ee a Sa a Oa tS at aR AN SEAGER EOS ERR PR Oo oe SOOO oe wsatetacetatetatataatatahsteteratatata state te tateretenrteremeteccoetanenenceatet ota ieee pavamatel ceedavenanateppaswenes seetotetauacetst stata atatatntatatetatatePe cennasesse eee eee MAAR ee eres inne vt ae en SNR Nana ee nee eee oT

136. Fra Paolo da Modena, Madonna 137. Allegretto Nuzi, Madonna of d , ¢ Modena Humility, Gallery, San Severino of Humility, Gallery, .

RRR earnteSe te Ce LOOM, RSaeORE. RO ae RSnen EEan REO OO he Wal ». WORE ceoaie RIOR. KayaaeoeWo Pe Ne ae canes ste ee ps Re eM:Rn Se Re Se REE eo etn See, RR ieNN nee INI er 3 Fees anne rice: a. RaisRSS ees AN mie Sara oe Se SS BP RS. > ens Sen Se Pane Rae $ geen Res Se mamma f SS ae Wes sae eRe EX. Mose Ries Se OR SOOO LRES ae aes Sit pao oe ee So ns ke Br

iF ROR RO ere:nee DnesSina nae ae 9Nee pats (BOSE s Mpaei.. or ee , sree wae pag + ee es gee 8 weg bag a8 Seeeea RF RRR ae a DR Phe Re ROS REOa IO ‘i RO$522 DER ee: ToeSee RESeS Seeoy ie Pot aa

Se ate se. Si tsCePETE a Me es acai Soos wine ee Baw. al Satis Soman tas aaeakON oe gers eS Seana SRSR aeSo aaaoeSRR ag 33. RR eS OE tayRN hunni seine io Pee Ses RRR SE,BRAN SptESE ateFe ee aeeS SS, See Res oe RRReeSRR, eae ae Sonn ae asense ca SneRe aReeNs aaa RSS Ss ie es ORC RSBoge Se eee a3

- Ps oes eeaBes eta Se BerRE es a£55 PES ed RE Sa oSREE PREOR SS ES ronsLN SRS RS Dee MINaeSk Sn aae a See SRR RS Ne OS 8SaSee eS aSePoER ee REE ASS NTS REMAN nn EE DSRS OeCO ee SI etyRO 2 Gar a

a shy Geet gsRE asRR ESa NE oS Oe Seg eeoeSee SRO Og ae CR ES a VERE. > (eaeeme Rae See ee eee So CBE2 ee SF coed SeeCe eeBR See seasK Deon: pS > RRS OSSicea Soe ae: SRO aeROR ea BEER SRR eeheBah cee aa eee Ne ee RU heeeet SOR ao od be Be =Se See ergs en Maes, eRebe Ce ete memie, wees ee MaeUe pa Sep Roany Oat SS 2G 2F eeSree iS ac eng a eee ALOR BEcoAaCe ue!a 2eeeoak es Nee Sake YSa eae a E©Bee

:Seas Bo 2ao Saesare SORTS aaa NPR ee Ooms cnaBae SR aetna cgNS SR RT gr ae DoPEST ag as Pt oe Sea aes hers. Sakgrtc: eePBR es mew BOY me SAR Ning ae ee SOR SRN SE bal Bf Se aa ee enests apRe te EON EE PRR Neen. apc SOS SkSao SRR 3a,Ps eee ae aeRSS a eeemanate a ae aeSERS gio see ee en A aeeBOR ie ny SoToe neSLSSSIASaage eaee Baten ee Sar ABe Ro ; a Bo aN es Se a eeehe ee Be on Se Se UI ee enye Ra onaeeee wree a aece BR Re slags sn Saco2SIS ~ SOR A,ye ESeee eae k Se : Renome tome IRR SS NOOR aan ea Ce eee ) Be eeepSraeaten oS aecae eaMeee ER SRO See Ce Rn cn. > ERR CONC nen ee SRE Se Rg ae. ORE SO & Se ae a ei ah oe ene Ba eats SARS eae ae Be ie ee OS POE 2S ae, ee St ee eS S i earn’ =

eS ee eer Remake ea to gag SPO SR ne ie See ae

as.a SNC SI es ESS a eee Se aetatnnenncar ae esnee aaanares eaeNeate one ge Pe eeoeaeSsMUR ee, PRR ee oe eae a f: OeSs ON RN le Ee ce SRS RT RRC NS” Bee SRR ty. Se MhSoa Mae. REL eam eN Be ae Ae.AOE NR Oeae Rees =nolan. Pie ee : oe coe Speers Nesto ah,mae Rtas& eaereBee AS Sean RaeSe SURO RRRRRR I nd, SON Moxie eth Se NO ae OD, Ceee a} rete ane San weate oe«tspoe, Sn oe3SRR SRE ESSa EE eee 9ME = MRR BR I RR SS ee SE a ee RO eens Seas SSE Sees Sigs Saene 3etSees: ste Sag RRR MR Bee Sexa 2S Bos — 5 aBees Sea nee a. Spate I cen aE TSE oo aBE ra xsase x Basenotes? Pere ke Sy RaeRe as Br Reyte oeBe SOsae SRsas RE anak NayPa Se ts eaeaoeSpat Re ee3Oe 2 BS a0 Pee Soa aR a a gcc RRR oy RS: 2% Rs SN I ae 3 Bee Sy Rea aes ca SRS See eS ee . ee Bee SS Te Re EST The Sa aR SR Sy SRR ao oR ee RR Se OR nc RR SR Ste 2 SOROS oe ORD ROC Rey DR Te ao RRR CORR Se ca ES La OM LN SLOT is BS RES eR eR RS sa a RE

eS ees ee ees ee OR i BER Fen weSSeS:eee ct © on as Se SE rate Been Sa sahdiaen enc Oe Sone Minne One Se gesee eeeoe sO SR:RRS ea ne SasBE Soa 2S Se 5 SeaAES a Sue sioaire pecs RS Sessee's a SOR sve er! ae Se ROSo CELE isosRRR Be teagS sore St CS ee a ar. | 3 SS Re AIR, aM aa Sa CM ri ny eX nade da cea Mea ane ee MNS Meee ee a PERNA nee Sines PN ee NS SAR I Son one SP CRESS SA SR ee ee

er Damion se JO Seesdiame ages eg SicaigeeSS AOORR PierceGksOS OCSeth oe x aSeRG andSe Pees Saiees Pee esSo ey 2ee§ fe G 3) a Re Se a Oe 2S en oes oaBrees Pe Rn He Se SS Ps ee GgSRS aoees oe pe ORES Bet LE Scheenenons eee Sy ean om, ome eS,ea rae teh a bg =) Hs reORE. Aguee ata es Sear oe aONS aaee eSPe Soe ESTSSo: eeSER. a iRiSie BS Ute 2acaaoh ae = O RAPA I SIO EOEea CieSOS sro uaeOn SOR SSRe BO iOS TS IT. NN eR eoSaas SS SN NmRe AO RSNe, Mi eae SD ee RO 5 LOR REAS BERS se Pe ie ok a CR OR She RS RR RS Specs oR SS ed $ om) see geSoeet aesSRS mama oe nS Es on ote nce x," NE Be RRS OC Oe Caen D> Se SSR go eae ae xe enn ny i ROS Oe LS ee Sas = Sets ee ne POT Re ae Re ne es Noe SS MR PN oe Pond YSA eSTS ae Seas ation.abi SEARS Sa ease SOea RT ERR ee GE 5RES a SR SNe a ES See. Speen SaaS aii dit OC ARE CN Meal Sa, OS. ES RO ER Beas a =ee;e=

PeeSSR ot eS oe5ca SSSR Rag Mee eae%BS Eea: &eseeEe a Se ee spheeee SS as SE See A es Se SEN East axe hoeuy Soe Seesaeae % tae re RS. ea LSorBS So Se aS xSS Son©

ae REIS OES SE ONS : aeee> EO BosPR SasRe SOcaRE. nest MR Soke cn Sea Sectaoe Sa Sens OES See 5 ae>ne>... eaecongas ae a SearrN ate SE oe eae Seoeaea,nag Se Sees eee aes ANG: =. eo SEO SSRe aa pa re)

3 Gees eas PN BS oe it:Ey Ss eS ap Seas essee ae o> Ce pk Bs ksaaa sate ee Rensa ae Ee SEE SS es omRRS ates Bon gee rsteeae Ss UOOS VM sea Re RM UN RES SSR a: eeeoe eeSoar: eaSe SRS eo nePRN eeAPSea ae >>SR ee aer aeoo Pe x en QNS OS Bias PO5.LeRS a Ol OR Siegen aM io e. oe SPR RS Re oe rndee SM ceae ses = eMeatc ssc RoR erete: a Pe aaRa $k aeroFae: ces Oe Pe=.eM OR ee Pg RIN re ea OR Renn ae nance ieee 2SO 2S ae Bs Ne RO Ee iy ae Se Re RRR Rea pio ere eaeeek ee © SS Sa Saeka aeee NE Pee Fok Se mance Pas Sa POOR ey ee Teab ee, Ro BASRR oe SAR NEED onea ee See eePES. Seicache ieee = Vv \tee ENTS Sa a oa POR ER ee part ee See WES ee ERO ON Pe Oe Oe A a ae oR ARRESR SE AC :tsoS SS tees Ra SRE SNOT Ra NN eo aRELSES I an Oe te eR OS gS enEN, Ae SE ae | 3

eet. So ee i eee RonyceSOS eaee A Pose pg SeaeOS reaeSeeSeaes Barossa none shite sess Ss Shyon Se:aoe t Oe ae < Pinagige a SSP RORe RRoaNe REeeODD. a NR ee oS RRBic RRpak MERCI OOiene ZO aSRR

Se. 5 Sa Bg SO SSSRR aaaa‘ ae ee NS co ee seesSS SoRRS eS eax tikBic a Se Re S: gSSRO Bg aaesNg S683 See Se aie = fy BOSS PAS ROR AE, eNO oOeenH RS a Reas Se a Cae RE=es ee TOU ME Be Se aSSCRR eee otCeeDea e xaS aaa Fe ON Ritter pene SOR se aa SS" See Soe oeoC ea ahe a BaRX ee Sars Sat So Rae Sa See teste Renan Roe TSE REESoe A ERR a Seate See coeeo ee ee > aes Se ea aS SON eR RS Oe RE RR Oe RO sone SOR See he Be Bases Or eee RR NSay Teean Sp FesSe ree aoeaaes: WS DE Pinas. ae a sea oaRe ok ae Maaeae PONE ingsnn SOROe eiacate : Be go Seek a: a Bpee cs>,pee Sma Se ga I KOS RN SO Re tance Cs Seat gee Mpa ee RG See Y Seer ese ias ie a ign eaeiaee e 2 SS Se OS. ek he ea Se ae ot :

PERRO RRS Rp ae se Seae SE Rapenne tt ee RA ae we CR, SNE nn RE eeBS aeRe eeRMS ee ttogi oe Sa a Oo = |G} nk Be ee SRoPne NN oes Se RS ee SNnthe tN aesSeep REROM Oe RN SET sear SeBe. SRR iat ae Ss Senokot ERS SERS ON Res Reese wee Ses Scene eae SPSS APR es OoI ae rs”ei Sai

Pec ae eh Ge Sct ieee seg ies te ak ies aes ROR get Be et Saye Sa ec a | ed

pacts Roe oe, te tena BVI SAEs ae ae ae RR penta ps - Cs SON eg Oe etn wrote arin Naan Sama oe Pe OSS So a eae Sete pt neice, Sete SS aees ~

ie iS £StEN So ernOOO CSah aneaGet Rea coe OoOe eaeen aere NaRS SPae eetea SSAC tan ED PCM tite ae RO Se er . b.aSon EShos PEAS gs eae eerie ace aeAtae es TOS scare tSReece ianaIaPi stent pe SS > ensaaiatiagy RReS SD ESeen ORE, eee Se Sepeat eos So eamRn Petts nin RDoe EI Sake coeSs Roe hee Poe. Satisrore 25ROO ee RRS SS aMan SoeRete 5oes es SOR BPRS 9ANE RO OoPee ae iRe PNSo. ba, Se ON eas ee PO I,BnBe SRNR SN RRR Seen ee ee ae cage >SNS ee“. aWoes Aaa aeSia ae oS.saa Se ESE eS ae 3Bos 53 SER: Sea :SSR > aNi “Sa Zh es OS a A ee es hia wtens : : ; Seater : % SSP RA SR ae a phe EPS SI fy Sosa: Rovsen ss * y ° . EEZERUS ; eRe ns Ry et See Seen SS SMB cea oS LP ES SO > Sa EE Sa ae a ena 8 : : 2 Na ca ng ae ee By Oh Sane a £5 RO see ip > RR SRR a ; x = aye Soh eae ieee nae a a E ee Pie Be S Soe Ene SUR OOS nas tas : : peg ‘: Rees ee ae 33 © PPP ee cere oa a Rages we Rog x In sata * Sood ee ee See F SB RRS 5 penn STORS Sy eeERR OS SRS eae CESak SRPe : oS Se Se EES SS Ree aS A aga % Sees ie ee aS sv SoS SE Se se x aes SORE Ne ts tate > 2 ae Sees Fos Be SSoe eee oe Penn < Se Sar, BBEOeNR EnSe a See Poe Seesae & damn ¢ xo Seas Se Se ee pi: Rae :ae: aSR Se a5 c8)

te Eee ee ae Se ee a ot me Udit lal

P 3Fo 3 2BBP See aSo Rae os Sag % saoPagSee a Pie tiePe Oetat, SeeTe meee a oe geome * ad Pa ES&idPsXe po pee eae oe .moe 8 UO

eae es oe FFho Be2ah,” gePM Be OS se aKh =ER %2 Sn Sh: os a: Soa fey» 9332" Se ore ne aeS eer SS: >#%

Rae ae a SORE ane terete Depa gen Sean eta 2 ae \ Saas OK BD,Se SSee aEeS 74ae ae > Raeiienncaek einen took >< aSeem :es SLL >Sor : : -o> Re Sas > >: aes ee it ee a PO EN er RRR Se ee Ny pean ee & x Bae oe eee etiam sey Nee se ee Re > ee < Yu DRS ORR RS Migs SStancunssasceenpeN ne te cece Baoan Sanne ea Sete ape . 2 x . Bo See. Soe See oe a yo Sake wnt nienteae ss ooo anon OE Saaeetaterelentugasan ste atest tape aaatanchenoaeaen ene eM ais re . : . 2. Oe Beisa : OSe wo RE crSRS. emma EER ES *DAS, Reoan eeestas ee oetMSRSA RRO ae 7 espesapee ape innannMnrrcsere eegee eeeek Des RRSSSR CR RR Ree Saec 3 ae OR Se ee Se ctaispsatetenntt : OO. RRR eaten. SueIR : ae : IOS Ses Se: ge Ree: «kes :

3Re xara Se ae cont, See gee ST aoeETS VOTRE eS ies Pecos * PNR anna RODD neESE Me tkraasCen Beaten Poel an CR >ae TeSts eeRS eo Bexesese ees Chee RTT SSeS Be tector ge aSSS oeae: . aSeaSas ae, SRS Sa : Seariosteots at . ; tase eee tase ae DSS SESS” cS AS REE: Sone ay ; eae : i bay cme go 48 Bee: E A° ee es: Kh Se Rane Dane aeSento ee aees aON Brees *: roe %=orPa : OS Betas See:SSS Saceee aa i Sie, Re i eR RR . ° So . Sed SS ae AOS +, : Se ee ae a ee I ea RS onto aS RNS RR SE $5 eee ei eta aoe Re Neots ne ene x 2a ac ea BRB Ss Ra ae Ss BOK Mee Bae Mes : :SORE ee Rae eersc SakSA pena,nay on Oa eeeSe SS ar Rape i ote, aS SR Bea SeeSae a aL

SS ce i, ge, See Se Se || eters Soe ges Bee Fey>CO teioe Biers, So LL Sr Nn . RR oo) leed Ye Rae See SeRRA Re rtee Seer ae sage SANn ig Sg ee seit Ns Se ete pathees Se «Sek ae, cee i Ns ae Sree eee Pa Be RRO BFes* RS Bo pats neers GeO ct5,sare =ae$ “Rk et es 3 es= ‘Soe : Pe 7 ae Ree eS ee oe 32:Ropes Sa Te.Inge ape ng 2S Ss : SSS : Se: pet ee Bi .eRe :: Snr BE ‘& EREte fo i ccs SS ie.te osea. Ngo x oe Neaoe XE ODBORE Oa Racer 5S aeSRR Ra ok oe sRan sae es : ee Shed 3: ‘ioe, cane, Je cate “SS Roe 3 Bo oo b eee ae Berk ae ea SR a eR, ie io) ee Sebie RMR ocSS ETS hte. eee.ARM GO XY “Se Bie Res oFie “a 3eeu xae PP ee aay Re Ses Rione SRO a Re ARIS 2 aeegae ee$Vv ns : Se ee a BOO OF ee 4 SS Ro RRND” a Sexaee eePa OePs eeetd a, He : tcc*. eee ie “SERS Pere fae. oe ey Xn, LEPieSE, aesaeSke SieCaan seasBec 33 Pee RR ae Becta” = yy SNe & ie. SoS en Koss SSDa x %*‘Sa3B; hs, ona co Gama a RES ow Rg Ba be RSS Be BAe Nhe ac Oa a ES aes Ses agOR, ESN ST Berti: ca iS S

i. * Fen oe he fo Se, ae ie Sea | ee “a> “ RI Sips" MEN c e's tile ore etotaae sO Ses ip erect sate’ orator Se NaS CONAN con MeN RRL x «Re canoe Most be ee SMe ee eR Bae Vee Se Fee

Ve ieRS . ae eee one Pee fae ates aeee eeSy SR V3 Sna ea ~+neBo Se Oa>> SO ON. Si :ae£SSeS SEE ie ee Re pee ASES ee aoe”. oan tyne %ae ‘8ov reme.. een ,ies ree ee :oS OSB58 aes: RRR Bh Mvrata as nae 2h PRE eRe Re Sa.eera

ee ae eee ieee ae SOREN Se ee eee : : : PD He” a

Sater:: ats MS SeeEs “ Rome en ~~: ..: Pao a amie =rose ae - Ye SPEND SateANSE NP Saatataa Nn=ond : aaa ree, eoeptieorecs: ee Dae Pca" erBee ae

BERR ess ,Sose = Mieco EE c= eames iS. Fe “ie sh =.oesce Seat:Ae sg4RRR: *Be aesce :a ESaBOOS. Seescadet ee eae BAS seiMom Cartoon cs oeiit SS rata *SE Se oseSaree Be aig | a & ? ee ee SSE: ea Se SRS p kc See x | pois ait ee a Sa CRT ee TTD ; eo Lo Sa 5 < ae Se | a és es a “Bimmer ae ES Sir as eens SaaS. ase - 2S Se Se Soe Se ae

: :. eB Sea oF Ped ee. a oe v oS «2 Riaaemaeeaee pera ieoe.. May.‘see Sah 35S”xBas ioe é. = 4ae“Se ez¥sous es. EO. oi eos>eee ai : Begs esaBsbh ¥eae” Mgt 4 .3ees eee Sa mane me ee eS So eS rie < “Ske eae SB, Br ae ae ee fee ee ae ;> ie ae i 3 Pak ss: Be Sai SS ee ae oo a a a es OO ae A on ee ee ee ge Ree eS > i Ne Ph hey eB HRS ‘SS 3oe HeDecode ee ’et: oe a oe5 “es. Rasen P see aes ee cae Seona.oes Pee SaeeSSR Sees RR SS SOa OBOE ts SSBS: RRS Bee eee Se Ge xa S oo t&3oN nee se a .LS Rees ae RR: Sinn ng SRO OKooaeSabis Soe :‘ : SeaORE ns tae : gee > See >S ee Cee : Sipasas TS SS oer: oF ae‘ oe Teas ET Ri ceiseaeAarsSS s $= ofaagSee . :aeFec = Seocietes a Ss be Be Sen 3 He PetSee ce is srs se Se aiaeePRS PesetegeE>eee Be: cers oe Se. Sete Jah Pe ig Be % PBS es ae8 =} ; = 09 ae ee ok ee .ae one seaeSees nieBe eeSetanta sa pice Sens. Sie ee Rae x xe ee ieee es Sg it Re eeeSaas ee ye achat scone re, sooeheeke > R-3 S ae SBN." Pr oePa Se Se ner Sasso sare gy a = ee aes a - oe Se > sme See neporce% Benes . SE be y, 33 oe fo ed %, Se 3 Bi. Be: 2 < 3

pee ae am, ce See 2OS SeeSo 3 >xe a aSRST PRR —s es eeeea4 SSSR SE SR,RS ae Seen a =ees ee 3 ¥ ee =& :.; Sat SatBRS RAeee eeLe hae Stee aes nrRR Be SSSe Re Bae Siena oS Sa oe SASS ba Se eeeSe See ts Bien ee oe yee SS a a heine St Ses -W%)

Maes ne eee Se“Seti i, SS EB oS. Bee SESre SR ES eR pce aoe sk sno : ese on Sete Ha e ..ig So Se aeSame Seed iSeti eae"ise SechsBae ite aeen nh eeefag Sh:aea ee 3Brohey ec. eeae seae— > SeLommel Seow. : $ ee ee SS OR PO ane OR Oe. eT Ss ote systannesteupenncentcestooer reese neteatnennonmenne rene eee eRe oS SS RRR eS o SRY? SESE pect

oh: . ae f ee Gee ee Feel oS : a ae EP POS. ie Se Sa 5 a CS BRE o

: ee Pee ay pe eee. te Bae ee aS sve, AS

ES eee na Se. aa Be oe Se aE OI Be. Sn.“ epee neat” ahs ab Se OE SO ES NS Tatas ae See apm ae Sie a3

Soe eeas perc ie ghen SB Se eemens, RE OK BESay BeBoe Somer 3 ete: Be e Ege ee : Fees 5 PoaSee S a‘sr a. Pon ed aeeee 4>be BeBeier coe peta geeSee: te Eg Pa Bees ees % ee , See Sete Sapna ks SRE Soma essoa ae Ps Site. a ee c =)& oo Be OSfeae ees ae nae Re NN A anne RY AS a °gt! RePPgWORE &es ae:week Ps aes

=Fe 2ET. Ses eos “Phe SOSee. a poSM a aa SN gee RN ee aaa. es Sok iat reae. har SS: Psa Re, > > Sees Coe: ec aa IO aie REcee Ro SR RRRo ie a,3art = pease 3cs aeSeepee SeYa Rs hc, eee aoe.--eege: & irons. SER BS SR osiresies

oS geey eyasceSes : eatsee an) Pe aaa Seer NSS = = SSE RE 2ae” ee > &. Sa % Base oe Ses Be Sis. 3 Bae ei se (eh Se Se EE Os Sage ea Rses PN 2 Bes? ee Se = cee ¥, #: ae oes eeeTake es;SeSoe Seacrest Steen seo nee Sak a = : |5 peer -. Bess Sees eemM ee Se oS aesoe oe~ 5ODO eg OOO Gee ae ail $ pare: Rees So SRS ess ati AES SR eS PREP Ro eeoyOe No eee % ig Ph See eeSc lebia eeSoe sesRtas ee%:aa a an one la 2ee i Rearean Baek cere aR PE SNcn LOE ROR Rice ets os RS: % ios SaBs feet < Graig: pe Bas ethan SE 5ERE ionnonenauti ys SHO eeRST Raat -: 3 :array |Raa. eeBo :Oo es Brg" ae Se” “anu Se a Se Stee ty SS Sb comes SES Pe RO bit eee coped : : ae ‘ so ee : 7 > eee ae re ae Bee Se de OS Rae BOT ORRES POS SD OT, Saas a : ; ae: a, ee RS. : pager Paes oS ESE ee, eee nape ROS Kathie : wines Sate SS Ces o So pce oe ees ee a ot SS cae Sea om pees ens ree ati a Be ae pe: : : | . os Se RS Ee S 3 Sg ae & esa ae f peas 26 ee ik i Staicne's « : ss eS Bee i : :

ee ie ies tas | Sa yee Ses 3

pera: eee2 ORS ARES SaSkSeca eROR en RE 66 ORE ANG Re Pee ae re aWe x Se c Pigs Se a ee BPmomma. os MOR GURU ae oat PEseaeSeek ge DEE coc Mee RNeeRRO eRaaOse Se Soe eae: 2SRR aa peeeetor «OSCSS 4, «aDen aaeaaeeS Sa i OO I : $ Os ys

PS yee - ERS Rooeoe msBase, sae ee a a Ri | $ re ee ; Sea Cains ° Seen 4 bonsane See aot ~ See hay, eeRE xa . ~ Sse 2 ye RRS ae BSeed Se 5 P Scena y ete ee .eae a iOS “ROSE SS eeeSsBane 3SeSena,oe RR aii cesanaaioe~ eee Se: OE, Ss EI TR TOT Since ae nen eon eo ne Be ae oo 2 in oo RS a a8 ORO sn ON CR ESO EO ae ssesanntten es tA FRE chat sosinnnr onaneaue soa HO NgN DOE RTESRDN Scene Ran eON ip NtE OOO :

Se SR ee ee a

Seas eypeeSeSeeS : nena pockets an RSMO, ee Bie seSRE pee, Rarer nn Sn Sov Le 2 vy Beste Se eee tes Se : 5: ee Se Be a Cerna eateni See ntaalaR S Shoe RRRLN PPI any Reames Se aa TS “ rats: SRN SARapes orempeters eeeeeTe Soe. Se>.ROE oe OR ae etRS) heRene Se SAP ESae ae | :

° SS DA>INNIID Nip Death Ree a 3he Se ene SS PREP Se Sid Bs as ee See S See: Ee : Ses. as oy , LS ae Bee a> eee ae eas : RGSS cae ae BO a a=ak Po eit,emcee. peat neeefae} 2=sl S BS os pam aesee 2eeRSa. ere ae, ee eegenie SoS Repe ea :pac SeeSe —gQieeere Bsee | Soe tee 3 cae meeSaseaeSe iesoesoR, ee rg ORR aR ei 3h Ree 4ees. con

ACRE Seay Shearn. oc aeso! i ee 1}ok“he ~Beate teat Cae Re PRR.EEE Sore yaa Peet ssaSe rashCx. Sane Cae So aS Ba Sennbo. dn eeMae naam 3A SS RR me See ae ae oe

=

See : .ee:So . Sena he4% Pons SRS ate SR ge Re Bs See % oy Se os4+ aet ie yeee S34RR eSa: pesmi Bey 2 RRS se oe : os. Bi es aeSa oskt 3 Za> :TERR - Ae Oe oS Se... Sa ; 3Saxe ee. ON nani eS.tnNy, SO ase SRR :arere &\ sm Seas s “$ Se 2 $ ’3 ;ean) ie aeRae TAPS =aae nets EsSe. oa SS ae : SS i. a ee \Rs HR2Ss~.

see:Os > BRAT weet Oe Se he a. ae. Sein tay eileen ne Scie... Samana SR Bs x.ee oan eeoy>eR : $A “Satan seeESS eR Ss aeSaba . cae ae: eee : Bar odee 3e =, SSE, EX.BroePO ieBeSON Soo sheSea RrOe= Sioeeecntee &Be—_—

CHSige = eeeee RiaOS herePen 2 Rx ah Sacer Sesa ,™ Sees % ;3;rae 5 : : oo a Rao sss Sb o>in sae Sos Bo” aaa Seine earn SRS RSSt eS Ee EIOS ie mnatotera pane hcSoxoe ¥srceeastes SRR OR eS oe ca E: Be Ma 4ees-.& =

See :SS sé Sapte ak, 33aRe at :$.aeSe ey Bee 3Re skere es Rete ERae eoeine SdSRY ase oe. Ree *2oes aaa %os SOS Se I xRRS Soe et:reIee ea) = $e: Be >4ee a"3 :aey ee a 3*ae eee ee SS SRS ie sricieteet Site See SO a er i: Se ces es eee ee ae 3 Se ae $ Sg el Sg Rea ae sae 3 Sos el ee SES By oes Se a 4 * SE © &a SEta a eas seen Rk eee eat Se wit os ee : ees ie) \Seeeameemnrseae 3 ees ae SS, eee ee $ , ee Bocce Se Rowe ce Se See See ee RS “See $ come NRA see ECR 35 en ee ai % ; ie ; $ BSH ; Saeae uence TER Reeaeae "3 kes%, paigs sis 5Be Syee 2 Soe OE23 aaa Shas Regan Pea&5S°

: Re Soe. eae: os £5 Ss Se See 3 ee See

: Sr Pog Seen = Be ey ea Be mes es SRS Unigene Soccoeccssaet Ree : a mass UO , Pm oe we Ane “ ‘ ( : 3 Sata ernie oe S28 % . Be See ” TRON nathan, si eee es : 3 = oe

: Lies et eee Regeee te SOR Po Raa aRs esepia Soese nee ‘ Bee ay.3= See oS SO. Pe eS Sachets i ‘eo ee ee % Sg bee FP a ORS baer ences eo San Rt gen Bi rs) ee 3 merase ¥Shag: Sh aa Boe a oo tea“ieee Re: See Oe ont SBcSod NS (awe OS. ae Soe esRsae Lala. *SSS Tae os SR Sse SERS: ee ene can Rs.ROO One Sa os Bites oe SS scents ER oe. caaie BROBb ee ak eeesaa SM = See se Be RE eee RR Shiai ; Rescate, Bt 2 sa Go ts anc aan Sse ees SsFS ssa a Sor a a Somme gies, > sr eee ae ee Te Sas Soin Sis ie eeBierce SS eae Se Pee “age Seao eB) :Roget HR Be PRS SPSS ae ee : Se a eRe ; ORR RR BSH RERCR yh coe Sem er Dee aD Sen ae Seana ai Slee SE RR 223 TR Se a eg

tae EP Sen cc ne 5 ess ee Bak Bis, aes oo beens natarent ee ee>nisin RS St > SSStats 6 RRR ea anaes Bese Sk onees : io a ome arama eal esse ties Setatenatssste tagovetannwisieriennsnigteoeery cin iete Seo: RE>nteacmsentene See ea 3 re ,is, esCSE RS |e fo) Etna eenotte Sea eae ares” wines . on RRR LS diene tee ine nee SO ee >awatatetaPatat ae Ba cn ee SR Ree ES eae SO eta Mes, BS BS : oS = PS Re eee Shona eee Se eo a Ta ea See ae Sena ppaar Sh. : Bs m ei = Bs RS RR ER RS RS ese ag a a RE SRR SES te. ¥ eee “ie © Shik oo aap cactiSE aece RRO SCY bkena et eaten oeie: a pie eeepc “SS SSs*——— sees ae 6: Ss =o PSE ELSE Sie: Roane ee Saree eee Sess fe % ae OUD mee LLC. a 2ER od Pic RR Mier gaan Sa aaa ae iels ai»se % $cSanne SereBe

PR ie SES et i an aa a ‘ # Se : * = eee eS PRUE. tee stneietnnn cawnvarnet ae seein, % =% —? RO eiCosae: eeaeRS ar Ree ERO MRI enePRELIM eennOe OS =en. Sees ;Sere esaPRE ss: ae >‘ i LOR Rm Re gee Bh Re SO oes eer Se =: ae EES Re SR SBS>ke Sei eer 8 oo et EOS es 3IES .BS ¥ zes ee Sona ESTES RPS Sea See aasaac eben canna eee a ore 3es 4i % 3 s_ %EES Rmeieree i oe cr RSA aRomens Ee eeose ea aaes : aaa ves 53ba

=: |So Rw oS s Bonen Se BaPatasaeh tates ciated PO Aatic Oe Sienna ee 1,ossPe SSS ae= oa Bx ES ban Riseoce see se Snax ein nenn eee ;Sonne ; ea Neg: oeOe oa Re deexe Sate = st Sek ares Siete ecterceatinatene Deen reenter: Y*RP See RS eeBic paaeee, aeRS oa :=£y os | PR :Sans ‘taee Seite tana statin ntsc scone een Sa es:engeal :tetas, BS Ss Peo = ae “Oe eeeeierratatatet anette RRR Oe POL Se RO RE B : “3 “oe

1 EI EN is Sone

5 abetes eas Ce Leeues BS2G 5 ee ang ReCGR. ; woesmy Ce ae a ee os PS Nine oe“SF Mien ssRE apeSooeNeES SSSor awe CLO RAO RISeeeee oeacei“cee ik a3IE cee et 3

3SenwNn oewae ES eS PRUE PREP CRRA eNO “ eSRE Reka SRS 3ND aneane nr pa te SRsBet sires. bsie Be? ReveOh paca es eeas ee On a encian RAASAM RN ae eesiEO “ On inSs, Ie Sa Sa eee See Ses a ssh. ut ee $ 5 SS aes REO Rogen eeEPR aOR CREO Sar) ae One aeLTS RSaeSR SOR Re NES MORE hg ee ae Bi aeFS Paha SERRE SeadOR ae BR uoSee eee SHE ee ee OESele pecan anaes, BEES ae Se seeee aren Se ® Sic | ee et es 5% eaeSeen Sie33aeeS LRRRR an RN SER i IRR aeRNY eaSega Se Sosa 3“ee ea Gane een, eee ne i Estacion aa aeSuathe See Ste ae Te es BS NS RRB Sessguths RR Oe WCE ROBE ee a RS =

Se . 32 Sda SE ¥aeeeeee ~ ieSPP es oan egress pases aaa ee iAN ore psigRRR sd tt oe . 3s LS oe . ~eewee oe Pe. yr.93Teeter : *: = Les 2 Sa : ‘aRe | ae a. eran SRS po *ek neiahadietatas ae2re wae & : bt Eeeeeeee eeoage caeEE ei Be ee aeaoe er RcBie SAGA OREN ASSseee ERE ee aR Faeee2“SE Ee: ee i Reenter CeEES, Se gee Se SRS eee 3oa BEER EDL» I aa8eReke Os Bee eee eee > QO. Be oS SaSeamer eS eae RRS 2 Fe Bee SESE saa BS ie ocean ayoMRSS See SRaeRE ee ie Soe Se + _ See SS NaNO. RRS SEES 3aan ees ayt RES Roses Pes Meee 8$5 333 Ox. SOAS cB) bck agS :: Seer doesn arama See aeBRACE See RES «> ens 2< aSea Son ae Sa «Rinem BENNO, Wein dian an nent. soonest tats Sia aiidaSw we Seo RNA Seo ee ;WO nas RRS: 4bora : 2 ae

ae, Reece es nesain ee te a SoS eeaan pa 2Pate Bs 3 Se bgtFPi = Sooner oeiyees ong SesOT C oe: Beer oe ene Seresisstiudtienreneyprentn Sesetxt es te See ee : #: paaieee peSe mene Dasma ae canee aneSee Se Bs ReSS eS aes So B.. ERR, ea Sees Re ee Re SRR seen ae etn” cake. ; ‘ Se , . — Sees R Sec Esato Sa Es pe SR Rea RE aRare ee sey Seea Beate ai, oe Rates Ne aR RR. < eee Reman Sues seme ne ie ae LN em 2aOR Cine Oe be Sent ee ESS a pihinp eee Se a»cocoa Soar :cpm SR BRS ICE oes 7EBS OSE €:aee a< Ses j= ha 2eee SS oes See Sita. Lak 2ot he RS Se ae: Pe rye 8SiofaS = ie oe «RR ee ae sah Se BS, See y, Pens Pes eS SO a mY xs$: 2.fs:OR See eee ES Seas SO i ae ae ¥ Mee Pang rs) Re eeeine Sugeest setae eepene ae ee an iteepee ont saoon BSS aahsancien crc enna iaecaee sees ° See ee - ire ee Bae Bees ee Sos RRS aee Sak aeSS Pe Re. ee es aesSBRS 2eeeEER tena Sanaa ne 2 238 ;seem ROS snose ba se|aeSRR, ae ES aaa Re Settee ancie tenon oy 33 sce Sas x =:ae peer ES ees 8 > Renee oe -ee, %: OR ReetAN, es ee,TM i * Ra nian ROR: RR EER MER oy .Rs RS: osSeong 3 “ : eaten Serena terSian arene! Path iene SPORE SN ai,eta eteanaewm Race = ees aeResae eee > SES oe > S He Soeneeensennsey nace Os Sohanasiacnee cre, mineee Sof teeeS ee PR niet >akties Se PERS SCSSS EEK RRRSapa OR soaeenusnnsaatee ann pennant a NN wteset Be:ws = =e ; Ce pe ee es as eipease Ph intiss x pe oa sesSesSSSee4 Ss x Bee ey Re os CE RS we

RRR ge ean Ric See eeoes $ ras ea SS oti See eeeees Bintan hres ee eerie, Naren = eae SeSs Seer BORN. SeeSt aeons eames OO SieSe RSRR ee oS OER SeiEo ie tase Se eee ce |Ser sei RRS re SeRe Taase nea, Se ao = ‘es : pera %Sah Recoecn creo aie Peata. Pinar Cane oR Sonia > on aN oe an RENO RS pte SPSS | $3 ee a Se See. Seinen eaeoe Se= s.‘se oe é 5 Si Beatin ee CSS, B Sy eae $3 aw pera ae et 8 i, at es or

steer ee ee Sera pss | Sena See St Se eneigeeatatingee nsec : i ey 23% eS AS POLS See FSS ERE AE SIS $x Posey ee SS Se 23 7 hate Shinshu ne Ree et S23 LES

Cae thes Bees: fF ES PERS NITE fe ERIN ee BS a3 Sees RRR GeSaks Co OR SersCS aes Oa ws$kS; ,ik$35 YS RN ZI SeotSOR, : ee PR 2 3SST NREL i Se:Mig SE, Soro See ti. oeSa eh ee She Bee Seeitansneee Sie PAS SSL SE BSE . Se ee ee we o. RF BS Sees WEES Pees: Spee RR: Se oe Lee SRe Someone S eee ene >,ernie 23 3

3 as $43 5oe le SE ReRE S sear REGS OE nk BRee OSORR a SSS ean icine eceee ge at eR, ee AINE Bete eegS aaa eae a! any ae eer Ee Riess ee fees ee Re s=iioe bgt Se So Ft See? Pie eee E> sees ee aes ape , Sean Rae 2 Be Sees & jo Sa na, ee te ROR OF OSS eee | SC Bes, $8 SR ee he OES fF Fe iat Se SE as ES Se : Re = SS 3s “te > FOO eeeee FE aeares Eee ce isaSeee Se Bec SSPs 2 3 do $ SRR a en ae ect ai Siaereenneog % Rat SRee FE ae a rn, Gi ee Secs Se ers ime steeeef st GR $y 2.go ee ee Si ee” nO SS Ee SP Snes te oe Se RePs Sars waoeeae eae Teemeieme som oe : serachShears, chnnen eee Re eR AN + Me a ae NeSarSarees eee Garam Gris hae

Bann Sees SFE ; Ba Na. Se oe aR cae ee SE 2 : SR Stee RR Sg pesec :

eng, SR $3? tks BS SE aa Se a eseae SeonBoe b> ae eee eee eeeoteeeae Sa RN A Sree mete 3k Ye OR De OR Se Se es et “4Riis er eee ha ee 3S : oo eR ee We ies Re F ae peers cs areata oe, go ee ae SE BOY Seite Ss SRG ee eee ee Se ee ORR ee 3 $ rit ¥' ne, EE” Sh Sty. SRNR aE nnn oN, abe 3S : Goes SS ee See SOO Re SSopgoce eases x bk as ; , ie . x Som Peat pCR Ma Wo) emer eee eI RY ree pare ¢ : ~ ,3 aL fheSBR OR ek me APOE RAES Epia? #‘oa PR |Lets 28 EN &oe Fp a te SRN a ae Ee ie Ni 2 38 Re ‘SEMA se PBS POLO! PRIETO ITE es eae Lee ORE So es bs . 3 OS fon E;, b trabercensiceheataraammaaasoneo eae CR 5 oa Seag 2 y*S re OR,he Oeoo en PO Pe . Selene ~TE aH D “22 WOR eons Bes perce :Eterna seers Be oe bt GE MPR OO CS Ee, Ee Oe:KoS& er * SF ayesn F>| bOe &Ce Sr lp |2Se SS SS ic eeeeee, a2 es o: Seo. Fas Koy Foe BS SORES Bia a Re aee: $2ES SRS ~ae os Se 7eeanh aot FPA “3 5RON ee 3eae oeeae + AR = oePs2Se ed og, peg¢: 3Ee * Witton. os mw

i Ne ey ce See eS Se ae So) aeisaunsnncenncenon eH Fee i A ON OS

pecs cneties Shenair SD Saee: Sens Seaman. oR Svea ae ee ie Becomes Wi Bea ORts«yO aPIER nae URS: 2Sy Pe og Ee ERENT orsee 7 Bart Pa::Bes ebake. €28 :a sine, ieSOS xs Cea RR a so ag Soe hieNG hoe Rone ee en ee ee eee gee SY Beaieennes 2 0% 3 2POPE Bae beCRS OSS BS reeeSarees SS Some PERS : emo es eeoY

BESO:aSa 2a :MSR? CR MES, BP2ees aeSie PRESTR SOR‘ ERR OS ‘3 Soe .Boy ORESaeEr ee % Rx Pree Bh Se aoe» ::Be 0s5eng aRE” vcS S oe aes ~Sana Sees ‘isa} oaSSRNY : en : tS8 oN. KRIS e Bek ~ StaLS>*% sok tagesSee BN RS # essZ5 < SRE Soap oerSe ating e:“ee.20 ROR aks $s rR

PRON S. MRM BS RR RRA eh, YO 8 PS oS

BS 7 ono Pee Noe Noe By) SS 2 oF 3 ee eee yt sed gees Ree DS.) ae Bie. eran ER Ne Sr. > es ae Pe SSeS ge f

153. French, ca. 1410, Madonna of Humility, 154. Giovanni da Bologna, Madonna of

Walters Art Gallery, Baltimore, Ms 232 Humility, Academy, Venice

SEP Se ee > ee RP IOC oO “Ee So SSS ae a heieitinghe anager tecteonetee enon snteeeeneene ogee teeter neers soinetnae Mieaegtenmten teen eee aE

BXPOS Se $3 “aeoaFr Soe oe $ * Se oe : ~oom we meoan buaeun nn cnmemnnnc ne ae Stith Manan ese inka oP AS cae SS BP | *Settee SO Ateens ee muses pnutnenentanek ee tne saatamen one eeeee RE aeon Re mu ee ease hy Sica see

Bas 2SSGENO ee om: Set a Sie aSeaE Sa sate eS AR Shishananeeee esanacetira eRe eemea oe Bes FSOS ores SS eaters a 3aa “i ee SSE acrea eam ce : s 2. 5£358 eS eens eas reeesaosa eetnee aN Oeaaaea at t TORS SSska aRn oat aeeeR eS

¥ #¢ Bs SS $ [BS a, be = t2 em, : Montaoae meee teher ern aR Re ee eR NT Bc ta Pia Sats a a a 3 PS=se%ee2SSameera ERE —s*, ibeen Reenonce Se RR BO ARON RTO OTTE OECie Leements EN TNStiga RR Re SPINS‘ 3y Se one : Pr, ae..nnn moscas on nes eIntn atNT Se SN oe.css CO Ia Ee aR NT reruns iaSaaS neeee :% inna taye atc pam saetcesceaetene aes : s ™ Sane ee CRN SOO a eae EERE NRE Co LO a ae Se x | # x RecN ncn a a Demme tea te : ‘s ~ Se oe sis ag a Sas Sick th econo e manana ee Sa Pass 2S 28a oS aaa Merete ecntaonaaee e ee > ’ > mes ees nn SE. oO. 7 OR a a eR SE. aS sai Se BY Sess oe ee am, es . RRR eRe Ee TO a ae Rigen iene = ye < :aepa oeg Cae as Shere Senne Ee » Sak te Se snarcarceaai aire a Feeae I REig Rntie Soeeames ene ee RE See” ES. PERE eesm : 5%Pe aes Barrera Si. ees piacere saeeeR

OS : ie ea SS RRR SoS aw Re eee . < Rote ne CRN ES Sk SC ER 3 OR SO Ra aR SESS ps Mapes Se Bante eee me ercrcrcacenemeane mrs 2 % sah aaa eR sougadese cian aeance eonea annem a

2k See MERRIER 8s ooo n ces oeteiege aces opti atte ‘ - iis coins SRD oi nk 3 ae maa ni 2S a RR SSiiss eee eae nie x ee Soccer, REE > cenenene Pabst eae ite ececas eSeeeLE EEE 2S ae See = 7S“Bios Ra ethene, at ehes ca asecon ii te . saanicdestenineenseniner neeIOC BSS aeADM RS SERS. SESSR Ran RENEE se nin Se RS RRRRS CRU

SS eee caine SS Sa: te See as ae ea oa . z ine ccesatenielenenaeet ae MM oa SEMA eee aer aie cpatebeanenton anconanmnenaregsnnnpanegon cenenecagnnesatesntnsatenepegeteeetetaienepeneteteregenateeteterateraseyeysietete oe Sg Saeceratetas st RRs? alee Se Se EEO ERD, 2 Sees aretetenete Nites c tere eters taresetetatetetetsea?ctseatete Seas eat Ratatat sts hate” i ecancis eS AMER oP ceases esc ensta ta atalsSonatatsatatetstsctstatetatshetate stetrtetatatetatetatet atch stehitatetetet tatetetatetetctrtetetet tetgeehenetel staat ate

‘onl Me ltt ttt CT Nh

Seer Me Ee Be i BSeSOM EAMES, eT:RN eaattig ee BP . 2 ae ae RR cee ee eR RE ER eS : See oo eas Sion : < : SEES $; x Sar e ee ge eS a ot Sea Be Bose Me nce nncnannontianrate reas epee eae £ Siemeee «2 Seber ot tess Bags Esponens cs Sen SRR eS bite eae Se Ss eae pinetantnnarnt ogee orem ema scan ene y

bs eae oS ees Say * Papa.) = Wenge an ae eI Paes nN Se RE SN OR ee RRM neni a ego ne Bi Yee tere eeREET RE RE jeeTS3 eR eeOA. po RRC Geese, Sesame. ay carne eeSee eyEeSSS Se ae ro. Se CR RNR Sesate eaten nie na Str aa ee ed Be negeaa a Cais. tSRR aeeiyREN aeRa eySeite, coherent RSS : - Rr: ea Deiicnee onSe eaeSuen Ne eIcussocsesnseone Ce De is: as Re eS AE EN ee See ie Sita oa eS Be 2. : :aesrid Sianeton> ssa CES ae ieSee NSaES RD Sie eae geome Sanne IYie5ee‘ 9eepetecsiecencatiaent =, Sie nee tae cae * 3paces panne neonate Neots ReCrNae “ Beh ha es eesRasen ee ona a ee :3a ‘ Yo So Se Sen eee«rae ae a “Ss ie Rios oaareSe eee, ke Serene ete NC “34 ants Li ee cr eR tS Pace meneame Semen sae| Rohit Raunt mmm BS, P28 Ss. Fe ee a. aaa. ee RER EN teae OSegreemeen Od... ta SR oc Ree SRE MRSS |senna Rae agag aN amos Rea ... Sas eh RS Soe cS wees OHS eee Ce eat, * Bite i Ree Wes gees ge pees rss teatiecennemsaccsatrn

Be . Se ee eS oS pee ee ie ere ee

(Se : SSS Sess Pes Ee ee eS. Ee i yt ee Sek, Sete of fe S ‘ Re a aes ee. EA yogisaes} RRR eT Ot.Me SN ae Sse spe ie oa a Pte i“33ey eee eeBe Saline ee aee ae ates, Seseeten ag Se ae ee FS eae Be RP cs 2 i a ~ a ee Sa seats 4 2 ey Se Se ee ae”. > nn oe eS ee SEE ENE Rn on en a aR BO. Se A RR ORR a

BS. tae Bae ons tine ae: sOSes es akg ba aacnet Rr setesneesseeete ates aeBe eRfyaORO eo aooaeCiemnoensnS ee hg ee RM Sa SS oe “2 Say oS Semaine Same co ae$Pomme “Sites cnc ESCO NEI eS SS Resonate

Bs at? sin.” Eats i ane ee SS. ee ge Sees ee se ye Ecce ot 7 cai, sae * eee SS : .“34 woatieeeeareseeees. LOS eee cea. mee Sas : Seoad. se a2 ee aes cigsta & Be Oeoe Scene eee Sere:cee ye See FRESO SS°gw Samana some Senet if pieces Se Sy, =3S. ROR a ee StS 2 Seok SEaera — oo SS Se.)SOR Acuna: RO a aR - ZSe. Seams t. eSen sea {aSESE SeiteneS ie -coe DER ors” ais: aSee caroge ee KAS hyekLOE OE a eG BS : *.

SR SE Cs aM BSS sea nag, Ne et aaa eae SNe RR eae $. ob ete ee ce :% at eo fe a 8 ee Bes en oS eee Se aee ates

= ices depres S Bian ek oF em: oe Ce te ee Re Soe kee

::. So. ae ee SSoe ERoa, RReeOe ae gem Manama een een RRSee taina meal ea ¥ 3MEN iguana ects A ee eiaOO ae ee, fe ReBest Reaeeee of ‘ee SER Seo ae er Po ae een fo Re ee Se aa =; ae SOE co ee A, Sate en7EO sane aaore MO SSae egote Pain setres : .% : :PSE GS Ma SOS SKS aoe wkao taeSs oecee Pee ee Nee oe ey Se #oS: aM 8Sth Bas esaeOk c PA, Res RneS,Se ene xseSoe SeMS piece Bee : RR me me

5See * Se a: $RR ee aeSeen RR Reeraate * ENRS SeOE tSSeat, ge Ps es Ss SE Alig i oi aes ae " ’ s;2 Be Rie Bice NR RSaon: "at >ee 2 &>, & BN er Oe heee sei BSS SEES : oa nh RA RR eC oan a Setrent tenis Sau Sie a Rao: HH A aE Re 3 BS Renee.

ee ‘‘ae OO ieee. 0. PLR OY DROOERE TgLoe Oe ee ae 3 pe ae ees Penne OS ae Aee See! SO RE. a>aii ee et Sacco. Stee oe Sty: |SAGES BR ESE ee bee oe Rai aia ad Semi Soe cape OO a Ne ew es 232 ~ “S a aan. eae ae Soe tigie cease RRS eR OR ete SE Ne Pega sy > oR . se . 3 Somme as Se Re: Rae ace Ree Sen eae RR SR SS Be | og SRS an Se .RE 2 PBR BS ‘ EPs apie ae BORN RL a BG Samat ee eee em ca aN PRPS Bs a ‘Rises peat (oa ieee, eons : OE BEEN: : Pere ys rags pian: Soe oc ON a te ReaD SR ROE, ae. Stes one SRE ROS Sans oe A RE EO i EE ees Bae eS Tt 2OT eae mm oc RSS ON nf“4 ne BRScee g ReSe fr aeRe= panes eee eeosGee. Seas BENG oe Pp Bees Seer ER ee s, IE:fee Fs &: es Ne: SG oe. E Seebe ReReng RRee a aes a “SRR, Reo See M ONS IORRR NERO AERTS OMRRERBRR SRR Soe Tags | SERRE Tae ee. ans a - Soe PR cagerscssananunercaaa ee aE OS ROE ent memS. Ri,

Se ee eeeeeesah Bik ERPaheR RSSeen: RE> aan aeas,ARS Be Soak pe BRRASS ES Me ERS SS See eos CEN £3 Soe RR SS SSS es eeRa Sa Se SRR. Sea Rates ueeaed oe aSARs RAN SENEOS feeNSeC ee oeIRR BES RSeeRR kgSe.“game SS See ea

NS PS oe 2% eePER be $5 Ses ons | RSas:RS AR aSoy ae aSee RReee RSSee aN EE BES Sa cae aR PEON POEM A ETBRR SUGER S ages Scorers

SSS SSS ont ee Stet (ies ay eS aonSSeeCS eos Seeee. a eeOe Gee, Gamecaae ee reeSER 3 coteee S PORE Ce ee. Ge SieOe Sa Sek ee wg pees Si Eas ieer oe et} acs.SRR RESOR Ree.Soe Meme, Sg UA Bs&ema een PERS bitionee oo saan oe eS kee SaaS res Si aaa, ar SS RRRaRS Se Bas ion” Sheena tos.

iain apes eoSees oSa US ORBacaprctcnsscsstsmrongtn ad SS cee a Het Cae Soc. as! oS St,ta aeRS oeFeSees meet ee bentSer Be serene os SSSEEN SR > acaXR 2 oe esA a SRE Msnatomeeatatenctenecate tn atten eit teoF See wy ae a a a

ONE RGE eeee: reese ER Renee SeeSPe es BF Se eee poms: yl eas ers =See PRS >.BRC maraRB 3 Sash See Bot SeaiSke. BA eR Re, aSs eoae SP ic OSDaeBERS agar Pata ee ke Oe es BES SaSs B aa Sea See «oe EE Si Beeg Boe Bees . Ba ae oe CGERR aSo Ses: SS DORE RR OE REaS ee cod RRae aS ee Oo aS Eco”. So, OO” SOR Bite een OSE 2 RRR SRE RENE SSeS Se ee Ree RS ae dae > nee ceenanS > i ee oes ; 5” Seer 2k b Senna. = cas ce Oe SS See Se eats Oe | Se ee og PR: BREE 3 Seta s sae aS Rees Sa Pr Re oe ee

aaaean. en os eSCSREES» RSs ok pes ge > See occas > SSS RRR NRMeN RE RANE NSN SOS Na RNENEE | SRR RR R ENR : RastBiss. Sens thewgees: or ae re tae ¢EeRe esooececeiettote cntnotionieun mereSKS. teint anne nent eeeNNER 2 eR MB eo DED

RRS SRS Baas eoAShae eee SS oe aS pace a SSaeaSS aRSie ic casera nse aoan SRSeek * oR SORE SERS Settee shad BR SS OS SRN Be See OOS. EN RN St kd RIO: Ree a eReaeNoe ae Co Pict £2. ea oc ER Sy Say .. oem eemnaaneenamnans enti Ss BR. OS SO aR aaa Patpeteraters SNe noe aN PRS Ae - a n, . eee Se oe SERRA RRA ee etatatarereatatotetccetctdtatchetstatatetntatetereta tata an Gh ammeter 4 raseatet >.” SSSetheseic ean ae ar

een, ene Sa at ea a Soe ae See | SRR Seea epee nan ae cecathBe. ae Smee: Rosone Soe: 3 Ba oe aesgrmemacs as SetSee gSok ea3 pieneee SS SRS Sk a Soo aESey > . :. Seensees Ee te Sars Beet Nahata ci Sea ti 2Sek Se Sos et SeaSERS eae 3 2S R RS oe iaC a RSae ee Seistesismeeteeeng Sc3

peneaeositisoseS,Sfp BS PG SSS RS 2” Sa aadSS e SER So“See ReaeSS SEES PE SEIS Stems ae A. 2 RES See 3S 2. SSSs SSBOR See ensa SoS. Se So NA SoSe Bains alee peciee SapamSS Soars ating ee % Seem NRO aoeRs ieaeSega & eS.SR Sas ee aGR Ss i ied Se Soepeecber, Pee, Besee ee>ck em i De eas Se ga geen adSai Se ot ;Soh Seeteria a ee nes Be Stsaeeee ahSES. Re ee aSega a See aa ae

et ee 2 feee ee ee ee ee ee | ec oes

oS ok ee a $ Sia RAR RO RE RRR ORS ae S r Sees Ror Pipes. Bisse Re

Pains Sen ae, $e RRS ESR A SSS a ERR ea BO Reknecqoetiihe. Seabee Se citar es ReReS SABRI aie SORES MN De cot :ANA RMN Yo eR3esNae RE

Ree Be fio ee 2 eaPe ¥: Roe REeae % 4 SiOe eens See Bogen Smee a CaaS? ss porie recreate Meroe eae wore wis spascrctah at ath etn Sh a ea a “ASA erento Stone oe RE BE RE SR hia ates see ae a se a Se Satan SR ee See Sones ono Patras Same od ago RES See eames Sse ae B.S, seems Sarat RE SS ee eas Seer ce eee seoeeSpiace ee Bers es ee. Te ee % Meteora eaeSee on Se Sea cs a eS er eS eee SeSs Daten ee kes LOE BRS Se iSees Ghee cane careers a Pat, Fp“hoes are ee... oS SSR iaeas ees Be See fae: : $B eSeer Sigs SS:“i SeSs ok oe geeteseeBe Saa eg Sete See aoe Ss Bo es oe, ee ee ae Sas cee 2 Se wees £3 ee FF Sheet See Bees Soe as Sie et SES Bes pa. Se Soe ae see RE SR Rees tos soe See Sa ish eee Bie ses SES Oh i OEE LOD sian, Le : wees 25 - RRB ss bes > Sate PIS Oe. SO ee x3 op wreteteleten ares Se aan e- > 3 rotors gietcebtesetscsty's petetera tet abs BON SNS ”, . meee iy oe ae et "5 Se ee Sipe, aaa ae ae

ee oS age i Suneaae ee: See eee ae Sees %, Sas « See SERS aes Bagiaes bie Saat. Seca Reese co tae eee ear ees ; eee ea PFEo ee ee ge Oe RP ee me eleg eesfee Ss PO SS ems IREaoeFis EE:SoeeSae SSS RSS Sienna : SE ERgg Se Seige a Rare Shs en See SeeBoa eS Scere “i eee ties See Le Besera SeSem ee aRMR 3 x ieee eae a SER SRES gee eee taeae cee ee eeeames ae ee Ree SeeatsRR ee $22 Renae 9 ae Set aPORES REFS sees iSete pees3 meme efkee caeBoa a 3 EER i ea iOSA Bec SR BesSo . pomaear oo biBee SeeDS eeSORTA BS Sena SRS: ee De SE SRS ee eee eR aee SE tes SS Se RR on i a : ee ee PRR < S caee e Gif. Re Be. SsoS eee: Be xt Sa RE RR ae oem: | Seasfe geege Sos Seroc cues a SS inet ae BR ee SoS Bo te Se BRR aa Ss ae » SSS Fae ie ares es a a . e 8 8 ee oe eee Fey Res Sage een Ros Se eR is ase Seem =e 5 ee poe Gorse see Se ESSER Sp RR. EDee sD3eyBS ae >ee ee Ss ae oot tanee sors on Onn oe . SOMES Seg Se, Bee ct Sate” foci=SS sec gEOStSSao Ree RCgona ORSaass : t Seen eaiaetense SSESSE ae nan dipeteren ian SRR, “3eaetna ee eos : =eStats Sncern ee eed woSeSepnFeeee oe SS Ranta soatatataeet: SP, eR, Ni Se so3 SE oe Se ae on SS SSI? 28, Soe

: Sa Bc Sse Rees Bair oan sete 2 bas - ORES s Bie 4 Smee ae 3 =. Bat 2 Se See Bien eee ee et ae we sf ee Reta. 3 i$3 seRE reePRS RRA See Seerommnmsaes.. geeeeeee se es a SERS ceeperenereresesntes ee SS es SESEsense” Mo SS seoeaeaes See NSESees Se BiosRES tas eee NeSSS % %.oe 3 oo”RS iis See SES SS RR Se Se soeae a Rees SSesRae neeeee: SeonSecase ae330° ee$= aeSRR” bie I See a oe f b.se . ae F Sees mere;teBeSR Sc So SS Sos Set oS ape Rermmers c choe Siee ANCA a.eao>Sn BeSe asecseae SS eeeeatoekeceee See ESoe2Paoes. Sas were Soe: Sa eae ae Sener Roseaogamer Be SisGYD Se ee Soa ead aeaeR % .ee aay. Wee “sane — —.in eeei : Soe ee, Aa me < Rane. ae Se SOROS OC Seas eas Soe SRI.3ae. ies Be SORess os -f- oo Seaea eaeco S

ee AN ie eA OR REO FG en A eee 5 ee ee ee Bt iw go i es 5. apna Se: Gee tae SS sna ea as Pi: Se Bogert Ve Soest. ss a ee Se RS a ene Soa. ae

ae CS RRS See eas Ses Ries nS ae iesaow- a&See re ietee 5G2eee? cobs fe beeeSe5 meee Se ee SaSie ae es eaecee saratae eS Seen ee ed ae... a 3 Sees ce

iS woo wk ee He He, 2 Sheer ES ee fe

(oeLlfe} eee ‘oFeePleSRe... ee ee EeFli

ee See Y bz o. Et A : $ €BiSBE: Sa eR Re Ser: caus> Be Shree ee eae acae 2 RESSoe cl Pg 28 casx >ateames ome 2 aox3te. Sea: eS: a z2 me, sos = oes : eae Se" RR a SRC. &*ae :=Be = SS Se perme. SS “3 ee sae. Sc “Si aSe peatacctepenecs Daan SeSe Se F.Cae RRea. SRR Rg ; z eeSaSR SS23 Bema 3Bad Se GeStes €: ote :oaawne post Lanes ea Baca seeae. eeenaaa ge eS Ea oe

SS. ae peacces: f3 3 omen > eee fie aesSe eee ee ere cog! wsSee OR aa if 2 Rs Se SR = Sime i eaBee ;:& Seg Sie: Se"oeaes See. Pe age Basfo semua ReSaige 3 : Sa Se eeecea Soe 3. ee 23 e Se satnesens eee amen Ea Se SeRS a oe oe 1 .. .ee ae = :. Be ERS asa: SS sie dered Re ae SS eae osae eoSe 2 ee RRRBene RRRSat tireAeae 3 oeeS eeee3ets pe of a4 Laeee>PRS ae ee aea #Siemens &? ee ee Sa esSR 95 RO SEAR RRR RRS 4z Sg - gre

> a ee eee = 3 SRepesseees a e ae nad ee ey he Been 5. briectae dane SS 3! ; See ae eee SOS = =

= 33 Be oh Se ae ack ae a > Sees Spee BES: ye pe (ee eee eee e

Se Sa Se ee . Sic Se Cy ae Seheae wom ee So ee ae Se oe em See BRR Se prt 7 oie a Se SS Be ay i Leng % oh ane seein bos See 3 iat Soe ey te x : sole mie x oes Sa x ES =e Rg eee S Bi bo: SCR Ree : sn Sancanpaneap RRS oan NS an : : eeeesSm >fee: aS Nae = oo Pa ee ie 4Re 4 a: seek < Sele ae Sehr eesere |eS 7 | SEE ES&ORAS EI Pos ey cota ete: beeae,Bes. Ses+.¢SR ESekEePoSee oeiouememaenes Shianusn een Poms Ss = = ae aes. ; % % & $3 eS ye Ss Sahoo See ee pa a b OS RRO. oe m wens te aa Soe Sata: ciecise-sntoamntane ees s eRe ee sue BS Ba *; = = a4

eRe Ss ye et = ? Be SS ae ae sea ke eee, See 3 ac Rac : sageactentetenenetee honomonnca sense” Sap Oe cS ‘os ee 2$ sien? cae ae

oe 3 sat Z : | S : Res Sa: Rae Sa COS SSR oe Besos So

:: vfin : ao ce ere 5 RR eR i age So. ae ose Ruueatin encne suena ES aS 2 aoe | ee eee 3 4 ee Es Sake e CSR eS ata: OR See Risers niereeeeeeeets westerns mMoantentenceentees recente: St SE ete sine 3 Ne Fe. SSS ae senate: ‘ Rectan tea OLR Se SS OS tom Fs Beer RBs Rees ssasnamnaes see Boas ee eee oe en bg bi ER >aes ee ase Wisasceeasans eS: aaa Se: Hig Rin. ae Re ane ees Pan ae ia oeBL hci RR nt ahr sureRameree ta eens ome ce32k. Sees pirates sponse sna CER SRS RRSeea we MEH BoB | | See ee 2. =4

eo eS . , ee Ce i a Oe Re Pe SS sm Rahs Sore NE SS ee CT Oe Ree cee TS ii geno y

= os of = : a . , ai Seek os Moone eae Cemereoncne Bice mstene ata Riek = mae \ isc ee wetter 2 RM ee oe s tsa : es Spe RS es i 4 : : Bia Be

RAI SRE PROP IOI .ijeee ;ton : itsTe ae

BK. seep PRR RE wos gts enna cane mn Caen SSS HER ae ee ee ee ee nae Sa seat te Saat spree SS Rohe eee Rca e Ree ae eee ee— as PG aan ROGER aeRRSs he SNE htSS oar eS Sc pices | tk*Sah synea SoS eee ae nnn RR Pre Ss setecr dyete RR Wann anos Oe Saw ney Sinise cupsRpt SERRE oo ieeesac Se StanUE tan cose Bese Bi .. ane ee ee CO RRS Sere ene SSCS ek Soe See Sonera Sonne oe ne Rrternetearereeens Dotan nn tanennat patent meres aan Sgn. enone Snir OOS Se LEE Soa BLS SSR RRE SE gots ee as RAS Ogee apie ae pene nies So caratnanaihanme cae tn a nung amine RAE RR a cage aac SRS:iea eer rome NO NAD rene IR Seer aa naaeennonennnnonts RErmnnicsasinoiath ORC ON SSeS.

es:RIES a2. Soap RRRpooaateae ae peeeesooosaa aii cna omc SSS RE OCRCRESS TNL > RAS OSG . Ses Soe See BRP ERR ee et NAAN

165. Paolo di Giovanni Fei, Presentation of gi National Gallery, Washing

ty ese ne ON. PSRS OM niet eae SRR Sena BSE POS

Ee eae ORE REBa saeee eee NT eS: Shei.ges 3 es ere See a Sse Sees mSSE a ee res ES a . Be eee, 3 - FRR Ee Se S34ie mnieoe RTS m2 SR ge Gta. Speeseae e apt S LER RRR OE aNsennieieiratercsgemenennce S362 See ees ON ee mseee eeFerg POAge:RAY PSB ee os TeRa zaoeeenaee AS BootRoe ATS etek:S iseSees SS Re Pe

ease sens ssttieiinicne Sian amaittan ip tet Sap ok Ss Nees RS ee See ore oS Bate See SS. Sees eS ag ie eae ee ee eS

sharon ai seagate cas ence Baer SeeBe es aS SeySas" nS REO eS Gentes eanoe S Pega oes *Sas SE Rg ee RRR RR Sih Seige ct antamencnrme rt ekacer eeears caceso ae rat "RS See eo roe 3s eeSy < >. SeaN = ae SRos ST SERRE SS wsietinatestertemtenerersrateseterscnen tee sae AcReme proctor eee Caesars oS eS Lge Sees Sots 8 Se ReRaa RR eeS55 yeSSI 3Pe Se a Bienen oases eae eearaatatet et reeaP oti eaah. Sate paigeectaete ins ae SSSRes , Bet.SRS Papen. Seteee Gennes se Sona es ESOS SOR PESsk” apeee SEBS

Bee See eae a SesSah REPa Seea aeesSee ae Be aisSeCa BotSK Soper wage Sa ees as ee SEER nesss eeteRee REO Sa SSean ume BRA Bee Cireo eisSoe oSAekee aSSee proms te ore aay a=aaaSe SEAS cay Seen sae siionnmnaseeenepenenens RORT Po carey ROOST STOOLS. oeRane neers cea SOIR ER concn Sis: Met cowoe. So 33 SS hae keene oe soa eatenoe RRS SEES eR ha oseit ves Rg Rie Sins cane Shae aeee Soe ee a oa on.Set ae ones ‘Sa a,Sew Ce neat aeasd ~aiGipson oe o en. Vg xeeSey ae et aRaes Sener cette eatean’ mre Serene Peheease ana.Satatenetahatehstehetstghehatetete® Sooe er ea er atatenatete et eater coer nnn Se SS cSa? 2 See,OO Boe SheOf: ee —s ? sesatesateseserctenenetenecenetsre tote SRR ate oer re SN CE ON caharaPatatetatats atte oPolate’s Pee ey. Le eects Mentenaneetiait one Sate Rance tee cnn CaaS Por stake Sets! tatets! ste a aie Be DF RSSe > ee ieee Moe Ses < $ oe bee

one senescence snare nchat ota raret eee eae” s Soin ae Thae SS eeetioss ee See te a ne stanacar stuns stenenens tate at obs POOR en a etatetatatyistatere Sha ERE y ;RON ein, UP:Senge .Sse a Soe,BS a AS Bae Bopcieananonnnnan ano 7+ ptcshtennt Se Bee eee serrate: oe Sha SSSoS aaa Se as xara siastern SS Pe Se RR MAA ; $4 63 ices poteBerroa aatetonne eet eareeareat rennet SS Se So BR! Rae eee ONS yan cg Fes aSRA aaeOR SN SS Seperate Cae eee Raeeeos ER eece Be Se 2h nes eS aN asSessaenr OR SPE ;eae 33eheers: RR SS Re RS, Ss 5> Bike soso Soa eee Sine NS es Sanson SRN oa Cacao eo SHLEL SESa Essrss :wangeenncnnraten ie mms . 38 . “< : >>.See Seco otgots Biden acer ea eee dn SS, ae pgs > Notte Sets Ceonenemeeemnnenaaieney. 0 “Ry nena “se . Sete 2 ¥ : Seer eatsciageteniannet Soka SePatla? aisha at aerate Stn comes PrayBe ¢ po oiceininncnasnanoonentionnnee SA 2Seemann > Puan Sox nnn Stee 2, See iad ooo monet SipieategstesternSees? teens See “ys Sai cae neg ; ¥ar ; wae cee eo Bes BicAcncerecensceterne Rinne ee ont : A Reotsoiaetarennent teme ck hah ae *< a aoe aes ae &cause pinoutgteatanancani tate vameencn annette SR Binoe men See oe.>aSee NERSER ease Reaannetteeoe Bae sea eeeee See tates oe, askSioH Ss So SaaS aenan ; * .-san Ry antngneenn retest cnetpnt trey: Nene i edeEe Bocce aBe a Rhian saavad sstaaaunnniaannnnan oocannaen aes Boe Shonen ow =.5 Geet BLS a recreate eee SS Oe so ar teraaarecennneenesatonannerttit oeee:“Ser esSEeeepetten testament Soretsar RRS OR. SRN Bs crac ono Ree oe aw Ok oy 4 Soa Betas iosnpnpcnnnnnces Prac nar Bi sseeatentrinsteretrnnety eS 0 Sie ama aa ee $ erase eestor See. Ss :

es ionmgareamnntonsate a ee es eat OReerBe SS eerste ae ROP OR, Re Sanam al Shaan sans 2 etn a ae et:tatatata Rae tae) seis acmmnemmcur ee. > See ratehatenatynatetasehareatPetehah aera atteRg eet oy . 4 apees oes eeSe on SS atates teehee 4 we a . reRRR taterstatstutstctctctatesststats® . * 28 c ree -8 >oe Sa Sa fg seamen me

aBeSERS cay ‘ Leona RR a a ae Bias saaeeSE SRR Se SO Se so, Boressncncicce 3 : Res ote cocoons ay siuieaseaeeme $ pamsnns ninenmeno ad SeeSe ericharanrantaeeaneanneaenneias I Ta0Se ie a os, Fae : Se Seems Gen etananieets : SoS oo Ra oars pea COME ein eee eae Seer oe ceSry tne oxoan| Ry cee Sees:ees :ek Sorbenaenteneeneeeitieg SOP RES pentane Pencishatoe BiSono rEsca ae -cca ceaes et Sines a 5 See oe. Stee 5 eee : SI weenie Saat eo. 3 =o =e z to, ReaSe ieee RN 4«mi . “2. eosRN 1 SRR cree2 ets iaaSe Sitermcncnnne tS Deen ae xs 3 $SRR Ss Soek SERS x * SSF : BRSgeen Re SSS SRR aetPRN SO Se eeeas

Bas Soe irre sai xer3a See Seow sie. mmeaa Rome eas ees coe Bt Seocsncmenemn 3 OSoct, Rey Semen ss * ¥ —nae SSrcccn Moos sre ga Seseoe “ae * x~ Ripa ne sacar SPORTtneamem none of them before 1350. Like-

® The other two are in the chapel of the Monte, Bologna (attributed by Van Marle, Crucifixion and in the narthex. Cf. Rolffs, tbid., p. 403, and Kurth, op.cit., to a much Geschichte der Malerei Neapels, Leipzig, 1900, earlier painter, Vitale). Cf. also the Madonnas

p- 41, and Alinari photo. 33442. by Giovanni da Bologna in the Academy,

- The panel bears the Aquinas coat of arms. Venice (Fig. 154), and in the Brera in Milan 10 The technique of raising into relief some (reproduced by E. Modigliani, in the Burlingof the ornament, the fleur-de-lys stamped into ton Magazine, XIX, 1911, p. 22).

the gold border, the angels, as well as the style A Madonna by Vitale da Bologna in the as a whole, indicate as the source of this Poldi-Pezzoli Museum in Milan (Vavala, in painting Simone’s panel of St. Louis. Rivista d’arte, Ser. 2, 1, 1929, p. 474, fig. 18) Similar to this Madonna in S. Domenico shows the Virgin seated on the ground beside Maggiore are the paintings in S. Pietro a the Child, with whom she is playing. This Maiella (according to Rolffs, a later copy of painting is related by its style, its playful it) and in S. Chiara (cut down; Van Marle, character, and by such domestic details as the

op.cit., V, fig. 211). A painting in S, Lorenzo low wall and the flasks, to the Sienese Madon(Rolffs, op.cit., fig. 41) shows the motif of the nas mentioned in note 7.

. Child taken over into a half-length representa- 12 Niccolé Semitecolo, 1367, Padua, Bibliotion of the Madonna. A Madonna of Humility teca Capitolare. A Veronese Madonna, forof the latter part of the century in the Mu- merly in the Cannon collection, now in the seum of Fine Arts, Moscow (attributed to Museum of Princeton University, shows wider Roberto Oderisi in Burlington Magazine, 11, divergences. F. J. Mather (Art tn America, September, 1927, p. 133), the composition of XXIV, 1936, p. 52) mentions, without definitely which differs considerably from the Neapoli- approving, the view of J. P. Richter (The tan group, is interesting because of the ap- Cannon Collection of Italian Paintings, Princepearance of the Pieta in the pinacle (cf. below, ton, 1936, p. 11) that the panel was painted

Pp. 145). by “Altichiero II,” presumably before the * All the Bolognese Madonnas are relatively middle of the century; but the earliest possible

late in date. Cf. Andrea da Bologna, 1372, date for the painting seems to me to be ca. Gallery, Pausola; Simone dei Crocefissi in S. 1365. Martino, Bologna (Van Marle, op.cit., 1v, p. 18 Paolo da Modena, 1372, Modena Gallery 404, as Vitale); Lippo Dalmasio, in the Pinaco- (cf. P. Bortolotti in Atti e memorie delle RR.

teca in Bologna (photo. Croci no. 3120), in Deputaziont di Storia Patria per le provincie the Gallery at Pistoia, in the Misericordia, Modenest e Parmensi, vu, 1874, pp. 583ff.). Bologna (tbtd, fig. 231), and in S. Giovanni in

135

. THE MADONNA OF HUMILITY wise, the Venetian Madonnas, three of which—in the Thyssen collection, in S. Anastasia, Verona, and in the National Gallery, London (Fig. 135)*7—~may have been

painted as early as ca. 1355-1365. The early date of these Madonnas, as well as the popularity of the subject in Venice,** might suggest the possibility of a Venetian origin of the type; but this must be rejected because of the wholly Sienese character of the composition, and because of the absence in Venice~an unprogressive center at this period, still clinging to Byzantine style—of those sources and analogous motifs which, as we shall see, are all found in Tuscany. The Marches have sometimes been considered the region where the composition originated because of the number and homogeneity of the examples painted there. The earliest Marchigian Madonna of Humility is the panel in S. Domenico, Fabriano,” dated 1359, some fifteen years later than our earliest Sienese examples. It was painted by Francescuccio Ghissi, whose style depends, in general and in this specific _ work, upon Allegretto Nuzi. There is an almost identical Madonna of Humility by Nuzi in the Gallery of San Severino, dated 1366 (Fig. 137), and he must have painted | an earlier example—before 13%9—which served as Ghissi’s model. This assumed Ma-

donna by Nuzi, made certainly before 1359, was with almost equal certainty not The panel bears the inscription: LA NosTRA XVIII, 1930, Pp. 54). The London Madonna, DONNA D. UMILITA F[RATER] PAULUS DE MUTINA though certainly Venetian, is given to Tom-

FECIT. ORD[INIS] P[RAE] DIC[ATORUM]. maso da Modena by the catalogue of the 44 Giovanni di Niccold, Ca d’Oro, Venice National Gallery (1929, p. 366) and by Betty (Fig. 132), and National Gallery, Washington. Kurth, op.cit.; L. Coletti, in L’Arte, n.s. u, 18 In Pistoia there flourished a cult of the 1981, Pp. 131, attributes it to Giovanni da Madonna of Humility, centered on the Ma- Bologna. donna now in the church of the Madonna dell’- 8 Later Venetian examples of the type are Umilita (cf. note 53). This Madonna, some- in the Thyssen collection (reproduced in times incorrectly attributed to Giovanni di Dedalo, x1, 1931, p. 1371, and there attributed Bartolommeo Cristiani (Tolomei, Guida di by Van Marle to Caterino); in the Worcester Pistoia, Pistoia, 1921, pp. 81, 91, 95), was Art Museum (signed by Caterino); S. Maria executed by a Pistoiese painter ca. 1370. Of a Mare, Torre di Palme (Van Marle, Develop-

about the same date, and also of local origin, ment, Iv, fig. 44); and Walters Art Gallery, : are the Madonnas in S. Bartolommeo in Pan- Baltimore (Berenson, Venetian Painting in | tano (first altar, right) and in the cloisters in America, New York, 1916, p. 3). The late S. Domenico. Illuminating is the appearance fourteenth century Madonna in the National of this very Sienese composition in Pistoia, a Gallery, London (no. 4250) and Caterino’s town usually dominated by Florentine style. Madonna of Humility in the Walters Art 16 Reproduced in Dedalo, X1, 1931, p. 1370, Gallery, Baltimore, differ considerably from and there attributed by Van Marle to Paolo this group of Venetian paintings. Cf. also the | Veneziano. It is close in style to Paolo’s Coro- Madonnas by Giovanni da Bologna mentioned

nation of the Virgin in the Frick collection in note 11. |

dated 1358. 1° Van Marle, op.cit., v, fig. 106. G. G. King 17’'The Madonnas in S. Anastasia and in the (op.cit., p. 469) discusses the curtain and the

National Gallery were attributed to Lorenzo marble parapet in this work without recogVeneziano (active from ca. 1357 to 1372) by nizing that they were painted in several cenE. Sandberg Vavala (La pitttura veronese, turies later. Verona, 1926, fig. 39, and Art in America,

186

ORIGIN AND DEVELOPMENT

painted before about 1350, for his first dated work is of 1354,”° and none of his paintings can be placed much before this. The fact that the Madonna of Humility appeared in the Marches first in the work of Nuzi is very significant, for he was the first painter of this region who assimilated

. Tuscan style. His art was based upon the Florentines, particularly Bernardo Daddi and Maso di Banco. A comparison of the San Severino panel, however, with his other Madonnas reveals how he has largely abandoned in that work his typically rugged form in the attempt to achieve a characteristically Sienese rhythmical line and languorous sentiment (Fig. 137). The soft, partly transparent drapery of the seminude Child is Sienese, and he has adopted even the Sienese motif of a loose fold hanging down free from the Child’s body, which appears in both the Berlin and Palermo panels. The fact that a master otherwise so completely dependent on Florence adopted a Sienese composition is good proof of the renown of the Sienese prototype, especially when there were Florentine paintings of the subject which he might have imitated. The earliest extant examples of the Madonna of Humility in Florence were painted in the immediate circle of Bernardo Daddi—the most “Sienese” painter of his generation. The first, the Madonna by the so-called Assistant of Daddi, is on the back of the

central panel of the Parry altarpiece, dated 1348 (Fig. 139);7 the composition was merely laid in and has suffered serious damage, so that only the configuration of the : larger forms can be seen today. It was copied closely, however, by Daddi’s follower, Puccio di Simone, in the altarpiece now in the Florentine Academy. This painting also has been partly destroyed; the faces have been repainted, and this probably accounts for certain differences from the Parry panel, in which the Madonna looks at the Child, and the Child at the spectator. This Daddesque composition of the Madonna of Humility is the only early one in all Italy which differs radically from Simone’s. Fundamentally Giottesque, it replaces the intimacy of the Simonesque version with a statuesque monumentality. The Virgin is seated more erectly and turned farther toward frontality. The undulating Sienese contours have given way to a bolder construction of mass and space. Symptomatic of the change is the omission of the free-hanging fold of the Child’s drapery. The Child is not actually suckling and his body is not drawn so close to the Virgin, so that even 20 See his St. Anthony in the altarpiece in Madonna in the museum at Ancona by Carlo the National Gallery, Washington, dated 1354 da Camerino, and, by the same painter, Ma-

(Offner, Corpus, v, pl. 37). donnas in the Cleveland Museum (ibid., fig.

Ghissi’s representations of the Madonna of 105), in the Walters Art Gallery, Baltimore, Humility, in addition to the example in S. and in the Worcester collection, Chicago (in-. Domenico, Fabriano (1359) mentioned above, correctly attributed by L. Venturi, Pitture are in S. Andrea, Montegiorgio (1374; Van italiane in America, Milan, 1931, pl. 104, to Marle, op.cit., v, fig. 107); in the Fornari col- Jacobello del Fiore). lection, Fabriano (1395; tbid., fig. 108); in "1 Offner, Corpus, sec. m1, vol. mm, pl. XIX, S. Agostino, Ascoli Piceno (tbid., fig. 110); in and v, p. 117 (where Offner attributes the S. Domenico, Fermo (zbid., fig. 109); and in painting to a collaborator of Daddi whom he the Vatican Gallery (ibid., fig. 111). Early calls the Assistant of Daddi). fifteenth century Marchigian examples are the

137

| | THE MADONNA OF HUMILITY though he looks out at the spectator, he remains quiet and reposeful, without the dynamic contrapposto of the Simonesque motif.

Since the Parry Madonna was made at the end of the career of Daddi and the Assistant of Daddi—both painters apparently died in the plague—it is not impossible that one of these masters painted a Madonna of Humility earlier. This seems quite unlikely, however, because the subject was represented only once by the later followers of Daddi, and this work, in Dijon, actually draws away from Daddi toward Simone’s composition.”

It is interesting that the most numerous and most essential modifications of the Madonna of Humility during the course of the later fourteenth century were made in Siena, where the image originated, and in Florence, where it was soon adopted. These changes demonstrate once again the exceptional vitality of the two schools. In Siena the most important innovation was made during the second quarter of the century. At that time, as we have seen, the interior or domestic version was introduced,

very probably by the Lorenzetti (Fig. 143). In Florence, where the Madonna of Humility appears to have been introduced early in 1348, the major changes occurred a few years later, and they conform to that artistic and religious trend that we have described in preceding chapters. The beautiful Madonna designed by Orcagna and completed by Jacopo di Cione, now in the National Gallery, Washington (Fig. 140), derives from the Parry Madonna, but in it there is a greater “distance” between the Virgin and Child and between them and the spectator. The Child is moved still farther from the Virgin’s breast; he now lies so low in her lap that only one of his _ extended arms and hands can reach it. This composition was copied many times,” and it is the one which appeared most frequently in Florence in the later Trecento.* Some painters of this period, moreover, formalized the image still further by representing the Child seated erect on the Virgin’s knee.** Around 1390-1400, however, painters of the school of Agnolo Gaddi

22 Tbid., sec. ut, vol. v, pl. 31. Bonnat, Bayonne, may be described as midway

28 Panels in: the Tolentino sale, American between the Dijon and Cione compositions. Art Galleries, Dec. 8-11, 1926, no. 764 (Gio- 24"There are a few Florentine examples of vanni del Biondo); Academy, Florence (cen- this period which do represent the suckling tral panel of a triptych; in the wings Michael Infant, but he is placed entirely in profile. CE. and Gabriel, Anthony and Paul); Academy, Florence Academy no. 3156, Orcagnesque; and Florence, storeroom, no. 3161 (by a follower P. Weiner collection, Leningrad (reproduced of Spinello Aretino); Museum, Avignon (by in Starye-Gody, 1908, p. 712; attributed by Niccold di Pietro Gerini); church in Cevoli, Van Marle, op.cit., 1v, p. 367, and by Kurth,

near Pisa (close to Lorenzo di Niccolo); op.cit., to the school of Bernardo Daddi,

Galerie Pardo, Paris (Orcagnesque; photo. whereas it is, in my opinion, a partly repainted Reali, 218); two Orcagnesque panels of un- work of the end of the fourteenth century). known whereabouts (reproduced in Dedalo, 25 Madonnas in the Municipio, Chianciano; XI, 1931, pp. 1308 and 1310); Museum of Art, formerly in the Chiesa collection, Milan; no. Philadelphia (Orcagnesque); and in the fif- 7689 in the gallery at Strasbourg (much reteenth century, Masolino, Alte Pinakothek, painted); no. 345 in the Museum at Miinster;

Munich. panel by a follower of the Cioni in the PalAn Orcagnesque Madonna in the Musée lazzo Davanzati, Florence, no. 6113 (N); col138

, ORIGIN AND DEVELOPMENT (Fig. 142) reversed the tendencies of the preceding development in Florence. As in other instances that we have cited,” they reverted to the compositions of the second

quarter of the century, in this case to the Madonna of Simone Martini. , Though Orcagna’s painting in Washington and other similar variants of the Madonna of Humility (Fig. 138)* exemplify the new trend of Florentine painting in the third quarter of the century, they do not modify the essential meaning of the image. During this period, however, another version of the Madonna was introduced that involved a radical departure from the original type. In it the seated Virgin 1s raised high in the gold field above the ground plane (Fig. 145).” Her cushion, often elevated with her, was occasionally placed on a small bank of clouds. As in the Coronation, she becomes less accessible than earlier to the attendant saints or the spectator, who look up at her from below. This new composition may in fact have been influenced by the legend of the Virgin in the sun revealed to Augustus by the sibyl. Before the appearance of the “celestial version” of the Madonna of Humility, however, the Virgin was usually shown standing or half-length in representations of this legend. In any event the Virgin in our “celestial version” is less a Madonna of Humility than

a remote and visionary apparition. .

This “celestial version’”’ of the Madonna of Humility persisted in the early Quattro- | cento,”® and it is the ancestor of later Renaissance compositions such as Raphael’s

Madonna di Foligno or Titian’s Ancona and Vatican Madonnas. In all these later works, however, the small band of clouds under the Virgin was enlarged to a prominent cloudbank, providing a plane, however permeable, beneath her, and giving the design a certain naturalistic plausibility. The Quattrocento adopted also the true Madonna of Humility. Up to 1450 it was almost as popular as in the preceding century, and it appeared also in sculpture." The Quattrocento tended on the whole to lection Dard of the Dijon Museum (ca. 1400); 28 See above, p. 41. collection Baron Lazzaroni, Paris (ca. 1400). 20 See the panel by a follower of Nardo di 26 Madonnas in: Berlin, Kaiser-Friedrich Cione in the Academy, Florence (Fig. 145); Museum (Fig. 142), Museo Nazionale, Flor- the panel by a follower of Gerini in the Muence, and Walters Art Gallery, Baltimore, all seum of Chateauroux; the altarpiece by Mariby the “Master of the Straus Madonna”; three otto di Nardo in the Academy, Florence; Cionpanels of unknown whereabouts (reproduced esque panel, Academy, Florence (Meiss, Art by Berenson in Dedalo, x1, 1931, pp. 1308- Bulletin, xvi, 1936, fig. 193). 1310). Also, though somewhat less closely re- 8° See, for example, Lorenzo Monaco, Pina-

lated, no. 62 in the Parry collection. The coteca, Siena.

reversion of these works to the Simonesque 81 "The marble Madonna of Humility in the composition exemplifies the neo-Gothic aspect National Gallery, Washington, attributed tenof Florentine painting around the turn of the tatively to Quercia by C. Seymour, Jr., and H.

century. Swarzenski (Gazette des beaux-arts, xxx, 1946,

Unique in the school of Florence from ca. pp. 120ff.), is probably the earliest example 1350 to ca. 1380 (except the Madonna della of the image in Italian sculpture, but not, as Pura) is an Orcagnesque Madonna formerly the authors say, the earliest example in sculpin the collection of L. Douglas, for it is a very ture anywhere. See the northern examples, close imitation of the Simonesque composi- earlier and contemporary, mentioned in notes

tion, and shows also the twelve stars. 43 and 45. , 27 See above, p. 40.

139

, THE MADONNA OF RUMILITY monumentalize and to ennoble the representation. Whereas in the fourteenth century the Virgin sits on a cushion on the ground, and the setting, when any is shown, is a simple domestic one, in the fifteenth century she is often raised on a dais above the floor, a rich brocade is spread behind her,*? and elaborate stone architecture rises in the background.® The Child, furthermore, is rarely shown suckling. A number of Quattrocento representations, however, contain a reference of a different kind. In a Madonna of Humility in the National Gallery, Washington—a com-

| pletely repainted work probably executed originally by Masaccio or upon his design— in several Madonnas from the circle of Donatello,** and in a Madonna by Domenico di Bartolo (Fig. 141), the Virgin is represented with bare feet. Thus to the Virgin’s humility these works add poverty, the great Franciscan virtue.

Although both the creation and the major part of the later development of the Madonna of Humility were due to Tuscan painters, one important innovation was apparently made outside this region, in northern Italy and probably in Venice. In Giovanni da Bologna’s Madonna in the Venice Academy, as well as in Caterino’s Madonna in the Worcester Museum, painted around 1380 or 1385, the usual bare floor has been transformed into a flowered field or garden (Fig. 154). This “garden type,” idyllic and colorful, was especially congenial to the period around 1400. The garden was sometimes given a semicircular shape that conveyed a cosmological meaning. In Giovanni da Bologna’s panel in Venice (Fig. 154) its curvature is similar to that of the arc of heaven in the same painter’s representation of the celestial type in the Brera. The garden was often identified, on the other hand, with the hortus conclusus of the Song of Songs, as in the French miniature cited below (Fig. 153), or Stefano’s panel in the Verona Gallery. Though the garden type was developed chiefly in northern Italy, it was adopted also by other centers, such as Siena.* Only a slight change was needed to transform it, in the fifteenth century, into the representation of

the Madonna in the rose garden.** ,

During the third quarter of the fourteenth century Simone Martini’s composition

of the Madonna of Humility was taken up in the three regions of Europe where painters were most attentive to Italian Trecento style and iconography. We meet with it in Bohemia in the panel in Sts. Peter and Paul on the Wyschehrad, Prague.* It was 32 Fra Angelico, National Gallery, Wash- (L’énigme des primitifs frangats, Ghent, 1923, ington; Gentile da Fabriano, Museo Civico, pp. 98ff.) that the composition of the Virgin Pisa; school of Angelico, Henckel collection, seated in a garden is not German in origin,

Wiesbaden. but French, whereas actually it appeared first 83 Fra Angelico, Pinacoteca, Turin. in Italy. Furthermore, Maeterlinck tried to

84 Donatello, Klasstker der Kunst, pp. 91-93. prove his thesis by dating around 1350 a Ma85 Madonnas by Andrea di Bartolo in the donna in the Louvre, which, though possibly

Brooklyn Museum, in the Goodhart collec- based upon an -earlier work, was actually tion, New York, and the two reproduced in painted in the middle of the fifteenth century. International Studio, January, 1931, p. 30. 87 Cf. B. Kurth, op.cit., fig. 11. In the early

| 8¢These late Trecento and early Quattro- fifteenth century the Madonna of Humility

cento Italian Madonnas of the “garden type” (but no longer the Simonesque composition) invalidate the argument of L. Maeterlinck appears in the school of Cologne (panel for-

140

ORIGIN AND DEVELOPMENT

introduced into Spain by the most Simonesque of the Catalan painters, Jaime Serra (Fig. 148).** Furthermore, Spain, which at this period became almost as dependent upon Tuscany as were some north or south Italian centers, took up even Bernardo Daddi’s composition of the Madonna,” though in Italy itself this composition seems to have had no influence outside Florence. The first example of the Madonna of Humility in France is, so far as I know, a miniature in a Book of Hours in the Morgan Library, made about 1360 (Fig. 147). The miniature was painted in the outlying region of Metz‘ and is rather poor in style, so that it probably derives, not directly from an Italian composition, but from an earlier French example made in a more progressive French center. Inasmuch as the style shows some resemblance to Pucelle and his followers in Paris, it seems possible that the Madonna of Humility was introduced in France by these painters, who were the first to assimilate Italian (Sienese) style and iconography. It is a notable fact that the Madonna in Morgan ms 88, like the early examples in Bohemia and Catalonia, follows the Simonesque version common throughout Italy, not the composition of Simone’s fresco at Avignon. This Avignon fresco, though prominently exhibited in what is usually regarded as the great center for the dissemination of Italian style, seems to have had no influence in France whatever. The Madonna in Morgan ms 88 differs in a number of ways from the usual Italian composition. The Child is, remarkably enough, entirely nude. The Virgin places one hand on her breast, as in many northern Nativities and in the Daddesque Madonna of Humility at Dijon. The crescent moon shows a man’s face, common in northern, espe-

cially German, representations of the Apocalyptic Woman and the Virgin on the moon. Furthermore, the floor or ground plane under the Madonna is missing, and the merly in the Weber collection, reproduced by Miss King, op.cit., pp. 489-490, inclines to Worringer, Anfange der Tafelmaleret, fig. 95), the belief that the Madonna of Humility was and in Germany may be found also the “gar- created simultaneously in Spain and Italy.

| den type” (panel by the school of Lochner This would seem highly improbable because

in the Alte Pinakothek, Munich). of the very great similarities of the Italian

38 The earliest Spanish example is probably and Spanish examples (these compose a type the Madonna by Jaime Serra at Palau (Fig. as fixed as the Hodegetria, as Miss King her148), not the painting in the Ramon collec- self observes). She also suggests the possibility tion, Saragossa, as B. Kurth, op.cit., claims. that the Italian examples depend upon the It was made ca. 1360-1375. Later Spanish ex- Spanish, a view that is not tenable because amples, all following closely this Palau compo- of the chronological facts, the formal qualities Sition, are in the following places: S. Salvador, of the type (see the second half of this chap-

Valencia (reproduced in Museum, vil, p. 290); ter), and the fact that the first Spanish MaPrivate collection, Madrid (ibid., p. 281); | donnas appear only in the works of painters Muntadas collection, Barceloria; Museo de la whose style and iconography were derived to Ciudadela, Barcelona (from Torroella de a very great extent from Italy. Montgri, reproduced in Post, op.cit., 11, fig. 39 Panel in the Obreria del Cabildo, Cor169); no. 44 of the Bosch collection, Prado dova (Post, op.ctt., 1, p. 308 and fig. 359).

(tbid., p. 272); Plandiura collection, Barce- #0'The Book of Hours is for the use of

lona (tbid.); Valencia, Museo Diocesano no. Metz. MS gi in the Walters Art Gallery shows

15 (tbid., p. 274). a similar style. 141

THE MADONNA OF HUMILITY

cushion has been replaced, apparently through a misunderstanding, by large folds of the Madonna’s mantle.** Many of these peculiarities reappear in a miniature in a Book of Hours of unknown whereabouts, painted in the same region but a little later in

date.*? :

In the late fourteenth and early fifteenth centuries, when French painting was in its most Italianate phase, the Madonna of Humility attained a certain currency there. Some of these later French Madonnas resemble closely the Simonesque type,** but the majority introduce modifications of the original version, and show a wide variety of composition (Fig. 151).44 The most remarkable variant is a Madonna in a Book of Hours in the British Museum, Yates ‘Thompson Ms 37, painted by a follower of Jacquemart de Hesdin (Fig. 150). This extraordinary miniature is a close copy of Ambrogio Lorenzetti’s Madonna in the large Maesta at Massa Marittima (Fig. 149), ora Madonna of Humility by this painter in which he used a similar grouping of the Madonna and Child. The Yates Thompson miniature, or possibly an original by Ambrogio, was copied ca. 1410 in Brit. Mus. Harley Ms 2952, fol. 71v, a manuscript which shows strong Italian tendencies and which contains three Humility Madonnas of different

types (fols. 71v, 86v, 115). The reproduction of Ambrogio’s great Madonna in a miniature a few centimeters high is a striking example of the enthusiasm of French illuminators of this period for the plastic and monumental qualities of Italian art, for Italian panel and fresco painting rather than for Italian illumination. To the latter they were relatively indifferent.

In the early fifteenth century French painters took up the “garden type” (Fig. 153),“° which had been evolved in north Italy around 1380 (Fig. 154). This type, as well as earlier versions of the Madonna of Humility, appeared around the same time also in the Netherlands.** Similarly, painters working in France probably adopted

. 41 The Madonna is adored by a lady whose Jacquemart de Hesdin; Paris, Bibl. Nat. lat. prayer, written on the, background beside her, 1161, fol. 1g30v, by the Boucicaut Master (Fig. is: “Glorieuse vierge pucelle q de la tres douce 151); the Royal Library, The Hague, ms 76. memelle e latas to tres chiers efans Fait ma G. 3., fol. 298v, a poor manuscript of ca. 1400cocience si belle que la moe arme ne chancelles 1410, probably northeast French in origin; the

iour de mo trespacement.” Bedford Hours, Brit. Mus. Add. 18850, fol. 25; 42 Cf. the Catalogue of Manuscripts .. offered Victoria and Albert Museum Ms 8. 12. 02-1647,

for sale by J. and J. Letghton, London, n.d. fol. 126, a hitherto unrecognized manuscript (ca. 1915), no. 321, with reproduction of the by the shop of the Rohan Master.

Madonna of Humility. *s Walters Art Gallery Ms 232, made ca.

#8 See the Madonna in a Book of Hours for- 1405-1410 by a follower of the Boucicaut merly in the Chester Beatty collection, by a Master. ‘The Virgin, wearing a crown, is seated

follower of the Boucicaut Master; the Ma- in a garden, identified with the hortus con-

donna in Brit. Mus. Harley Ms 2952, fol. 115, clusus. A very similar Madonna, but with St. ca. 1410; a wood statuette in the Louvre, no. Joseph and without the enclosure (a Holy 153, late fourteenth century, which is an al- Family, then), appears in Morgan Ms 359, fol.

most exact translation into sculpture of giv, painted by a follower of the Boucicaut

Simone’s composition. Master. Cf. also Brit. Mus. Cotton Domitian _ *4 Paris, Bibl. Nat. lat. g24, fol. 241 (Lero- =A _ xvii, fol. 75, ca. 1430.

quais, Les livres d’heures de la Bibl. Nat., pl. ‘6For the Madonna of Humility in the 22), made ca. 1400 by a painter influenced by Netherlands cf. The Hague, Royal Library, 142

ORIGIN AND DEVELOPMENT

the “celestial type” (Fig. 145), though I can cite no examples; in any event, the compo-

sition was known in the Netherlands (Fig. 146).** Finally the Master of Flémalle developed the “domestic type” (Fig. 143), basing his Madonna in the National Gallery, London (Fig. 144) and in the Hermitage either upon intermediate French or Flemish examples or directly upon Italian models. This master showed a continuous interest in lowly posture. The Virgin in his Mérode Annunciation is seated on the floor, and the Madonna from his circle in the Kaiser-Friedrich Museum is, as we have seen, seated on the flowering ground. This interest distinguishes him from his pupil, Roger van der Weyden, and from Jan van Eyck. Neither Jan nor Roger nor indeed any fifteenth century master in Italy employed the ‘‘domestic type’ of the Madonna of Humility.** Furthermore, though Jan represented the Madonna in a garden, she is standing (Antwerp), and the Virgin in Annunciations by both Roger and Jan is raised

to a kneeling position. |

The Italian, French, Bohemian, and Spanish examples of the Simonesque type of.

the Madonna of Humility form a uniquely homogeneous group in the art of the fourteenth century. There is not even in any single Italian school a series of paintings of one subject which resemble each other so closely as do these Madonnas. ‘This resemblance and this wide diffusion is partly accounted for by the fact that the compo-

sition was created by Simone Martini, whose style exerted a far greater influence throughout Italy and Europe than did that of any other painter.*® It seems clear, howMS 133.D.14., fol. 11v, ca. 1415-1420; Walters the related, but more formal, Madonna known MS 172, Ca. 1435; and Walters MS 211, Ca. 1425; in a number of copies; cf. Friedlander, Altand in Flemish sculpture cf. the tomb relief niederlandische Maleret, 1, p. 135.

of Gerard Parent, Ste..Wandru, Mons, early M. Davies, in the Catalogue of the Early fifteenth century, and a Madonna of the same Netherlandish School, National Gallery, Lonperiod, no. 185 in the Mayer van den Bergh don, 1945, p. 17, doubts my classification of

Museum in Antwerp. Flémalle’s panel in London as a Madonna of

For the garden type in the Netherlands cf. Humility because, as he says, “the Virgin does Walters Ms 215, ca. 1410; The Hague, Royal not appear to be sitting on the ground.” But Library Ms 74. G.34, fol. 15, ca. 1425; Walters in almost all the representations of the MaMS 170, Ca. 1420-1425; Walters Ms 246, ca. 1435; donna of Humility, as in the painting in Victoria and Albert Museum, Ms 8.12.02 London, the Virgin is elevated a little above (1691), fol. 61v, ca. 1435-1440, probably Eng- the ground by a cushion or some other low lish but under strong Flemish influence; panel seat, implied when not clearly visible. related to the Master of Flémalle, Kaiser-Fried- *?The wide diffusion of the composition. rich Museum, Berlin. The “garden type” and its prevalence in Venice might suggest the _ usually omits the sun, stars, and moon, but possibility.of a Byzantine origin (cf. Kurth, occasionally (The Hague, Royal Library, ms op.cit.).. There are, however, no Humility 131.6.3, fol. 14, ca. 1430—cf. Byvanck, La Madonnas in Byzantine art, and even of the miniature hollandaise, 1, pl. 6) the Virgin in a Maria lactans there are only a few examples garden wears a crown of stars, and the moon before the fifteenth century. Several of these,

appears in the grass! furthermore, seem to be dependent on western

47 Morgan Library ms 46, fol. 85v; Walters prototypes. Ihe composition in every other

Art Gallery Ms 166, fol. 61v, both Flemish, ca. respect is un-Byzantine; I refer particularly to

1425-1430. the seminude Child, the Virgin seated on the *8 Except perhaps Roger in the instance of ground, the sentimental relationship between

143

THE MADONNA OF HUMILITY ever, that Simone’s authority alone could scarcely in itself have led to so large and so unusually faithful a series of imitations. Religious and devotional interests must have played a part. A large proportion of the surviving Madonnas was made for Dominican churches. In Naples, for instance, three are in S. Domenico, only one in Franciscan

S. Chiara. In the Marches three are connected with the Dominicans, one with the Augustinians, but none with the Franciscans. Of the numerous early Italian examples of the Madonna with the heavenly symbols, only two (Palermo and S. Chiara, Naples) can be traced to the Franciscans, but nine are Dominican, and one, the panel in Modena (Fig. 136) was painted by a member of this order." Clearly then the image was

fostered especially by the Preaching Friars.“ It seems possible, too, that Simone the figures and the spectator, and the numer-. S. Francesco, Assisi. The motif of Pietro’s Maous other aspects to be discussed in the latter donna, which she claims the painter found in

part of this chapter. Umbria, and which she believes is explained 5° These facts controvert the thesis of G. G. by a hymn of St. Ephrem Syrus, appeared alKing (op.ctt.) that the image was created in ready in Pietro’s Madonna at Montichiello, the circle of the Spirituals. Her arguments in his earliest extant work made some time support of this thesis, are, as I understand before his activity in Umbria, and was inthem: (1) examples of the Madonna of Hu- spired by the similar emotional and dramatic mility are most frequently found in the cen- compositions of Giovanni Pisano (Madonnas ters of the Spiritual Franciscans; (2) within in the Duomo, Pisa, and the Arena Chapel). these regions the paintings appear ‘‘a little _ 51 There was an altar dedicated to the Mamore often in the churches of the Franciscans”; donna of Humility in S. M. Novella, Florence, (3) the character of the type is prepared in the in 1361 (J. Wood Brown, The Dominican

Arab and Armenian Gospels of the Infancy, Church, ctt., p. 124). probably familiar to the Spirituals from the Some Madonnas were painted for confralate thirteenth century on; and the apocalyp- ternities: the panel in the Palermo Museum tic aspect of the type may be referred to the for the Disciplinati, and the painting by interest of this sect in the Apocalypse. Miss Giovanni da Bologna in the Venice Academy King has considered only that version of the for the Scuola di S. Giovanni Evangelista (cf. Madonna of Humility in which the stars, sun, the identification, in the Madonna of Humiland moon are present, but even this version ity, of the Virgin with the Woman described shows no special connection with the Spir- in the Apocalypse of St. John). Though most ituals, As for the Arab and Armenian Gospels of the confraternities worshipped the Virgin of the Infancy, and the writings of St. Ephrem in various phases (the most common being Syrus, they contain neither any specific points Madonna di Misertcordia), few, if any, were of reference to the Madonna of Humility, nor under the advocacy of Madonna d’Umilita (cf. any general content which is not familiar in G. M. Monti, Le Confraternita medtevalt much better-known contemporary (i.e. thir- dell’alta e media Italia, Venice, 1927). The teenth-fourteenth century) writings, especially “humble Madonna’ was occasionally made the famous Meditationes vitae Christi. It is advocate of ecclesiastical groups of other kinds, notable, too, that whereas the Apocalypse held as in the instance of the Monastery at Long-

a central position in the thought of the champs near Paris, founded in 1255 for the Spirituals, Joachim de Flore’s Expositio, the Clarissans by Isabelle of France, sister of St. chief source of this interest, identifies the Louis (cf. G. Duchesne, Histoire de l’abbaye Woman in the twelfth chapter not with the royale de Longchamps, Paris, 1906). Not long

Virgin Mary, but with the Church. after its establishment as “l’abbaye de I’hu-

To the Spiritual Franciscans and to these milité de la Sainte Vierge Marie” it was resources Miss ¥ ag refers other compositions proved for its refusal to admit poor girls. also, such as Pietro Lorenzetti’s Madonna in

144

MEANING OF THE IMAGE

Martini’s original Madonna was the center of a cult.*? It may have been painted to celebrate an important occurrence, or, after its creation, it may have exhibited miraculous powers, which became known throughout Italy.** The whereabouts of this famous Madonna, however, remains yet to be discovered.

THE MEANING OF THE IMAGE The Simonesque type of the Madonna of Humility belongs to that group of compositions commonly called devotional images.** These images, which appeared first in the

late thirteenth and early fourteenth centuries, embody in the most distinctive and novel way those tendencies apparent in all the art of this period to establish a direct, sympathetic, and intimate emotional relationship between the spectator and the sacred figures. They usually show only a few figures, who are outwardly quiet and inactive but involved in a very emotional—usually pathetic—relationship, such as that of the Virgin who holds an arm of her dead son, or St. John resting his head on Christ's

bosom. The very name of our type, the Madonna of Humility, indicates that the Virgin is represented in a particular mental state and proves its connection with a devo-

tional picture such as the “Pietas Christi” or “Man of Sorrows.” But it is to the ‘“Vesperbild” that the Madonna of Humility is most closely related. ‘The two are complementary or polar themes, presenting Christ in the lap of the Virgin at the beginning and end of his life on earth. One of them epitomizes the joys of the Virgin, the other her sorrows. And in the cycles of the Seven Sorrows and the Seven Joys there appear the Lamentation, a scene that closely resembles the Vesperbild, and the Nativity, a source, as we shall see, of the Madonna of Humility. These two devotional pictures emerged, moreover, around the same time and in the same circles—Simone Martini and the Lorenzetti—and in Italy they have a common form, since in both the Virgin is seated on the ground.” In a sense both compositions are transformations of 52 Inasmuch as the Humility Madonna so _of the church of S. Maria foris-portae. In 1490,

often shows the Virgin nursing the Child, it according to Fr. Tolomei, loc.cit. (who boris worth noting that the cult of Marta lactans rows from C. Bracciolini, Trattato delle grazie | was widespread in the fourteenth century. della Madonna dell’Umilita, Florence, 1580) Sacchetti, in Novella 60, says of Florence: “fu veduta questa immagine spargere sudore, “non é cappella che non mostri aver del latte o vero liquore dalla sua testa.” In 1509, followdella Vergine Maria.” He adds that such ing this miracle, a more magnificent church claims are deceptions, for the milk of the for the Madonna was begun by Ventura (cf. Virgin could not possibly be exhibited every- G. Vasari, Vite, ed. Milanesi, Iv, pp. 165-166, where in the world. On the possible connec- and A. Chiappelli, Pistota, Florence, 1923, tion in Spain between the Madonna of Hu- pp. 283ff.), and to this church, called the mility and relics of the milk see Leandro de “Madonna dell’Umilita,” Ammanati transSaralegui, in Museum (Barcelona), vil, pp. ferred the painting in 1579.

288-289. ’¢For a discussion and definition of the 68 "The Madonna of Humility painted ca. “Andachtsbild” see E. Panofsky, in Festschrift

1370 by a Pistoiese master (cf. note 15) and fiir Max J. Friedlinder, Leipzig, 1927, pp. now on the high altar of the Madonna dell’- 264ff. See also above, pp. 123-124. Umilita in Pistoia was famous for a miracle. 58 These comments do not apply to the VesIt was originally on the wall of the campanile perbild in northern sculpture, but to the cor-

145

THE MADONNA OF HUMILITY

the traditional representation of the Madonna and Child, and though the creation of the Madonna of Humility did not involve so startling a substitution or inversion as the Vesperbild, it was nonetheless a radical innovation. Of the many aspects of the Madonna of Humility, let us consider first the representation of the nursing Child. The Maria lactans is not at all new to Christian art.” It was known from the early Christian period on, and became quite common in the

, later thirteenth century in the north and in Italy."’ But these late thirteenth century representations, and even the Italian examples of the early fourteenth century,” show the Child seated or held erectly, and thus do not convey the warm and intimate sentiment of the Madonna of Humility. The intimacy between the Virgin and Child in the Madonna of Humility effects a like intimacy between these figures and the spectator, and this is greatly enhanced by the behavior of the Child. Though nursing, he turns to look directly outward, and the Virgin in most examples does likewise. Now this direct, sympathetic contact between figures and spectator, a kind of relationship which was evolved in the later thirteenth and fourteenth centuries, was developed more extensively in Siena than _ anywhere else in Italy or Europe. Already in the thirteenth century the Sienese showed an interest in this sympathetic address, in the Madonnas, with their wistfully inclined heads and appealing look, and even in historical scenes, which the Sienese tended to transform into devotional pictures also.’® In this we find, then, further evidence for the attribution of the original Madonna of Humility to a painter of the Sienese school. The turn of the head and glance of the Infant out toward the spectator, while his body faces the Virgin and he presses her breast into his mouth, results in a combination of movements that is one of the remarkable innovations of early Trecento Italian art. The Child, like Christ in contemporary paintings of the Way to Calvary, is presented at a moment when he is involved in two opposed interests and movements. And _responding representation in Trecento paint- this type, however, there are Romanesque ing. See my discussion of the latter in Art representations in which the Child draws the

Bulletin, xxvii, 1946, pp. 8-10. breast toward his mouth or into it. Cf. Dijon

5¢ On the history of the Madonna del Latte Ms 641, fol. 21v (C. Oursel, La miniature du cf. L. Tramoyeres Blasco, La Virgen de la XII s. a Citeaux, Dijon, 1926, pl. 33); S. Anleche en el arte, in Museum, 1, 1913, pp. 79f.; drea, Barletta (A. K. Porter, Romanesque N. Baldoria, in Atti del Reale Istituto Veneto Sculpture of the Pilgrimage Roads, p. 252);

di Sctenze, ser. 6, vol. v1, 1888, p. 777. Liege, Musée de L’Institut Archéologique

57 Earlier, in the Romanesque period, the (Helbig, L’Art Mosan, Brussels, 1906, 1, pl. 6).

Maria lactans was much less frequently repre- “For example, Magdalen Master, Yale sented, and the form of the representation was University; Florentine early fourteenth cenoften quite different. Nursing was often re- tury, Academy, Florence; follower of Duccio, ferred to (rather than actually shown) by the Yale University (Van Marle, op.cit., u, fig. extension of one hand of the Child toward the 95). Virgin’s breast. (Cf. the Madonna from Anzy- 5® Cf. the angel leading Peter from prison in le-Duc, now in the Museum at Paray-le-Monial, the altarpiece of St. Peter, Siena Gallery, as and the “Vierge de la rue de St. Gengoulf,” early as ca. 1280. Metz, both twelfth century.) In addition to

146

MEANING OF THE IMAGE

these movements, turning in divergent directions in space, are organically integrated in such a way that they suggest a sudden, temporary shift of interest, responsive to an individual will.

The only example of a similar motif for the Child in all western art before the fourteenth century is in the earliest known representation of the Madonna, the second century painting of the Vision of Isaiah in the catacomb of Priscilla.* In this painting (Fig. 156), which is dependent upon late antique art, the Child shows a similar though more highly developed contrapposto, and even the gesture of the bent, upraised arm is alike. This is a striking example of the affinities between the principles of antique art and those that began to manifest themselves in the Italian Trecento. And it 1s not surprising that the motif should have been developed in the Renaissance, as in the Madonna della Casa Litta in the Hermitage. This posture of the Child in the Madonna of Humility is not to be found in any of the extant Madonnas by Simone himself. But whereas its appearance in Venice or any other Italian school beyond Tuscany in the second quarter of the century would be quite unexpected, it was known in Siena even outside the Madonna of Humility. It appears in the half-length Madonna in S. Francesco, Siena, by Ambrogio Lorenzetti (Fig. 155), as well as in later paintings of the Sienese school or tradition.“ Ambrogio’s Madonna was painted around the time of the creation of the Madonna of Humility. It may even have been made before it, for the dynamic motif of the Child, more highly developed in Ambrogio’s panel than in the Madonna of Humility, is also more deeply Lorenzettian than Simonesque in character.

Though the Madonna of Humility has been described above as a transformed Madonna and Child, the process of its formation seems to have resembled that of other devotional pictures—the isolation of a group of figures appearing in an historical scene. The scene in this instance was the Nativity. During the first third of the Trecento the successive representations of the Nativity in Florence show an increasingly affectionate

and intimate relationship between the Virgin and Child. In Giotto’s fresco in the Arena Chapel the reclining Virgin turns and reaches for the Child. In the Giottesque fresco in the lower church of St. Francis, Assisi (as also in Taddeo Gaddi’s fresco in the Baroncelli Chapel and his panel in Dijon), she holds him before her. And finally, in paintings by Bernardo Daddi (1333)** and Taddeo Gaddi (1334; Fig. 159), the 60 J. Wilpert, Die Malereten der Katakom- in S. Giovenale, Orvieto, dated 1399, a hithben Roms, Freiburg i/B, 1903, p. 187. Wil- erto unrecognized work of Pietro di Puccio pert, unlike De Rossi and some other scholars, (reproduced in Van Marle, op.ctt., v, fig. 73); believes that the Virgin is not actually giving fresco by a follower of Nardo di Cione in 8S. her breast to the Child. All that concerns us, Ambrogio, Florence; Madonnas by Barnaba however, is that the Child is reaching for it. da Modena in S. Matteo, Tortosa, in the Gal-

¢1 Madonna by a follower of Bartolo di lery of Pisa, and in Lavagnola. In sculpture, Fredi, Perkins collection, Assisi; Madon- cf., for example, Madonna on S. M. della na in the tradition of Simone Martini, S. Spina, Pisa. Lorenzo, Naples; standing Madonna, under ¢2'Triptych in the Bigallo, Florence, which Sienese influence, in S. Pietro, Tuscania; fresco was copied by a pupil of Daddi in the triptych,

147

THE MADONNA OF HUMILITY

Infant nurses at her breast. This representation, which has no counterpart in Sienese painting,“ may well have been influenced by northern Nativities (Fig. 157), as well as by the description of this scene in the Meditationes vitae Christi, probably written by Giovanni da S. Gimignano between ca. 1290 and ca. 1310: ‘“Whan tyme of that blissed byrthe was come / that is to say the Sonday at mydnyt / goddis sone of heuene as he was conceyued in his moder wombe by the holy goost with

outen seede of man / so goynge out of that wombe with outen trauaille or sorwe / sodeynely was vppon hey at his moder feete. And anon sche / deuoutly enclynande / with souereyne joye toke hym in hir armes and swetely clippyng and kessynge leyde him in hir barme / and with a fulle pap / as sche was taut of the holy goost / wisshe hym al about with hir swete mylk. .. .’”’* The group of the Virgin nursing the Child in Daddi’s and Taddeo Gaddi’s Nativities shows the very closest resemblance to the Madonna of Humility.** Considered in isolation, it is, indeed, the composition, save for the absence of the turn of the Child’s head. Though this form of the Nativity was undoubtedly the main source of the Madonna of Humility, the composition may have been influenced also by the analogous figure of Eve, the antitype of the Virgin, nursing her child after the expulsion from the Garden (Fig. 160). | The fact that the Virgin seated on the ground nursing her Child could, in the early Trecento, be isolated from the Nativity in order to serve alone as an image of the Madonna and Child, presupposes certain general tendencies in the art of the time.

Though for many centuries, in Byzantine art at least, the Virgin was seated on a mattress on the ground in the historical scene of the Nativity, she was never, until the appearance of our type, placed so lowly in the Madonna and Child. In the thirteenth century not only the Madonna but even the Virtue Humility usually sat enthroned Kaiser-Friedrich Museum, Berlin, no. 1064. Bible of the end of the Dugento, reproduced Cf. also the panel by a pupil of Taddeo Gaddi by Warner, A Descriptive Catalogue of the (Catalogue of the Somzée Sale, Berlin, May Illuminated Manuscripts in the library of C.

26, 1904, no. 296). W. Dyson Perrins, Oxford, 1920, pl. 53).

68 While no examples of the Nativity by 6 Quoted from the early fifteenth century Simone Martini or either of the Lorenzetti English translation (a very free translation in have come down to us, those intimations of some places) by N. Love, The Mirrour of the their compositions that we can gain from later Blessed Life of Jesus Christ, published by the paintings under their influence (such as the Roxburghe Club, Oxford, 1908, p. 46. Nativity by “Ugolino Lorenzetti” in the Fogg 6° The similarity is so great that one might Museum) reveal nothing comparable to the suppose the reverse, that the group in the

Nativity by Daddi or the Madonna of Hu- Nativity was inspired by the Madonna of mility. The Sienese Nativities, up to ca. 1360 Humility, were it not for the existence of at least, usually show the Virgin seated along- successive stages in the development of the

side the crib, in which the Child lies. motif within the Nativity, and for the fact ¢¢ This northern representation of the Vir- that the representation of the Virgin seated gin nursing the Child in the Nativity appeared on the ground appeared in the Nativity long

already in the late thirteenth century in before it did in the Madonna of Humility. Bologna (cf. the miniature in a Bolognese

148

MEANING OF THE IMAGE

like a queen.” Theologians had asserted, to be sure, that the root of “humilitas” was “humus.” “Humilis dicitur quasi humo acclinis,” they said, but this image of closeness to the earth did not appear in the arts until the Italian Trecento. It remained for the Italian painters of this period to enact the virtue in the Madonna of Humility, just as Giotto enacted the virtues in the Arena Chapel, endowing each with appropriate behavior and emotional expressiveness. The Madonna of Humility is not the only Trecento representation of the Virgin in which, for-the first time, she is shown in contact with the ground. Instances of a seated, kneeling, or reclining Virgin are so numerous that they compose the most common innovation in Tuscan late Dugento and early Trecento painting. She is frequently seated on the ground in the Crucifixion,” the Adoration of the Magi," and the Annunciation’'—a moment when she particularly manifested her humility.” She kneels in the Nativity,”* the Annunciation,” and the Coronation.”* She lies pros¢7 For examples of this representation, cf. her mattress while the Magi adore the Child K. Kiinstle, Ikonographie der christlichen (panel by the School of Giotto in the MetroKunst, Freiburg i/B, 1928, pp. 158-160. politan Museum; here the Annunciation to 68 See Isidore of Seville, Etymologiarum, the Shepherds is also shown). This combinaLib. x (cf. Migne, Pat. lat., vol. 82, col. 379), tion of the various moments in one scene or Thomas Aquinas (quoting Isidore), Summa occurred already in the Dugento, for example theologica, u, 11, q. 161, a. 1. Jacopo Passavanti in a panel in the Stoclet collection, Brussels.

(Specchio di vera penitenza, ed. Lenardon, 71 Cf. the two panels of the Virgin Annunp. 296) tells of the entry of S. Ilario into a ciate in the Feron-Stoclet collection and the gathering of the pope and bishops. They were Annunciation in Berlin (by the master of the all seated on “alte sedie,” but none rose nor Straus Madonna), all by followers of Simone made room for the saint, so he sat on the Martini; and the Annunciation by Bartolomfloor, saying “Domini est terra.” Immediately meo Bulgarini in the Johnson collection. The the ground rose, elevating him to the level of motif appears also in the school of Bernardo

the ecclesiastics. Daddi (for example, the triptych in Dijon), «2 Karly examples are a Ducciesque Cruci- and in Taddeo Gaddi’s fresco in S. Croce.

fixion of unknown whereabouts (reproduced 7 The reply of the Virgin to the angel in Dedalo, x1, 1930, p. 267) and the relief on Gabriel “ecce ancilla domini” (Luke, 1, 38) the third pier at Orvieto. Cf. also a Daddesque and her hymn to the Lord shortly thereafter triptych of 1334 in the Fogg Museum and a (Luke, 1, 48-52) were often selected by mediaeCrucifixion by a follower of Simone, Boston, val writers as examples of humility (cf. Museum of Fine Arts. In Crucifixions painted Origen, Homilia VIII in Lucam, in Die in small initials in manuscripts, where the griechischen christlichen Schriftsteller der ers-

space was very limited, the Virgin and St. ten Jahrhunderte, herausgegeben von der John are sometimes crouching at the ground Kirchenvater Commisston der preuss. Ak. der

line already in the thirteenth century. Wiss., Berlin, 1x, 1930, pp. 58-60, Dante, Pur- | 70 Cf. Barna, Collegiata, S. Gimignano; gatorto, x, and Thomas Aquinas, loc.cit.).

Baronzio, altarpiece of 1345 in Urbino; Rim- The Annunciation, moreover, is represented

inese panels (the motif is especially common in the spandrels above several of the Ma- :

in this region) in the Parry collection and the donnas. The angel Gabriel appears at the National Gallery, Washington. In these paint- right of the Virgin in the Cleveland panel.

ings, in accordance with the interest of the 78 Pacino di Buonaguida, Tree of Life, Trecento in spatial and narrative continuity, Academy, Florence; Taddeo Gaddi, Academy, the setting of the Adoration of the Magi has Florence; Bernardo Daddi, Uffizi. The reprebecome exactly the same as the Nativity, and sentation of the Virgin kneeling in the Nativthe two scenes are sometimes so closely identi- ity, known to Italian art in the early Trecento, fied that the Virgin can be shown lying on as these examples show, became quite com-

149

| THE MADONNA OF HUMILITY trate on the ground in the Crucifixion.”* Similarly other sacred figures are for the first time shown seated on the ground, as St. John in the Crucifixion,” or kneeling, as the apostles in the Ascension,” the angel Gabriel in the Annunciation,” the Magdalen at the foot of the cross.°° Most of these motifs originate in Tuscany, some of them in Siena and in the work of Simone Martini. These new motifs imply a certain development of tridimensional space, particularly with respect to a receding horizontal ground plane; for the body, in contact with the

ground, measures a greater space inward on it than do the feet, especially when the figure is placed oblique to the picture plane. And while each of these postures has a special significance in the context of the historical scene in which it appears, they all are the expression of a new attitude toward sacred history and the transcendental

realm. For the sacred figures, inhabiting a more natural world, behave in a more familiar human way. They tend to feel and act like the spectator." This relationship mon—in fact the usual form—from about larly popular in Emilia and north Italy. P. 1400 on, partly because of the great influence Durrieu’s claim of a French origin for the of a vision of St. Bridget (of 1370), as H. kneeling Virgin in the Coronation (Mémoires Cornell, Iconography of the Nativity of Christ, de l’Academie des Inscriptions et Belles-LetUppsala, 1924, has shown. Nativities based on tres, 1911, pp. 381ff.) cannot be accepted, inasSt. Bridget’s vision may be found earlier than much as the earliest French instances (Brussels the first example (of ca. 1400) cited by Cor- MS 11060/1 and compositions by the Limburgs nell, for two paintings of this type by Niccold and the Boucicaut Master) date from the late di Tommaso were made around 1375-1385 fourteenth and early fifteenth centuries, and (panel in the Vatican Gallery, which Cornell are clearly dependent upon Italian prototypes.

knew but attributed to a fifteenth century .16 This motif is most frequent in Siena. See painter, Sano di Pietro; and one in the Phila- Simone Martini, Antwerp; Ambrogio Loren-

delphia Museum). zetti, Fogg Museum (Fig. 126); Barna, Col-

t The kneeling Virgin in the Annunciation legiata, San Gimignano (Fig. g2). An early seems to have been introduced by Giotto in example outside Siena is the Cavallinesque the Arena Chapel fresco. There are one or Crucifixion in S, M. di Donna Regina, Naples. two examples of the Virgin kneeling in the 77 One of the earliest extant examples is the Annunciation in mediaeval art before Giotto, fresco in S. Maria in Vescovio, of the late but these (like the pre-Trecento examples of thirteenth century (reproduced in Bollettino other seated or kneeling figures discussed d’arte, XXVIII, 1934, p. 93). See also the third above) are sporadic, and the motif was not pier at Orvieto.

commonly used before the Trecento. 78 Appeared first, it seems, in Giotto’s fresco

78 Cf. a Giottesque Coronation in the col- in the Arena Chapel. lection of Lord Rothermere, London; a Bolo- 7° Appeared first in the Arena Chapel and gnese miniature of the end of the Dugento: in Duccio’s Maesta (Annunciation of the Death Choral vir, S. Domenico, Gubbio, fol. 77 (re- of the Virgin). All the new Italian figure produced in Bollettino d’arte, vin, 1929, p. motifs discussed above were, like the Madonna 540; panel no. 125 in the Museum, Valencia, of Humility itself, taken up by Spanish and by a late follower of Duccio (Meiss, in Journal north European art in the second half of the of the Walters Art Gallery, rv, 1941, fig. 22); fourteenth century. Vitale, altarpiece in S. Salvatore, Bologna, *° Cf. school of Guido da Siena, pinnacle probably 1353; Vitale (?), panel in the Feron- with the Crucifixion, Jarves collection, New

: Stoclet collection, Brussels; Barnaba da Mo- Haven; Giotto, fresco in the Arena Chapel.

dena, panel in the National Gallery, London; 61 Indications of this change are to be found Turone (1360). Museo Civico, Verona. The also in contemporary legends, such as the one motif would seem, then, to have been particu- concerning Jean Firman, a Franciscan, who

150

MEANING OF THE IMAGE

with the beholder is implied by the appearance of the devotional pictures discussed

_ above, and it makes possible later, in the second half of the fifteenth century, the impersonation of a sacred person by a contemporary—Quattrocento—one. The attitudes and emotions expressed by these new postures involve the movement of the entire body, not only, as earlier, one part, the head or a hand. These attitudes seem, furthermore, to center in most cases within a certain limited range. This 1s par-

ticularly true of the Virgin, who shows an unceremonial forthrightness, simplicity, and even homeliness, values arising among the Tuscan townspeople in the new republican communes.” Similarly, in the Madonna of Humility she sits on the ground nursing her Child “in public,” more like a simple housewife or a poor peasant than the Queen of Heaven (Fig. 161)." The representation of the Madonna suckling her Child had a special significance in late mediaeval art and thought. Since it showed that situation in which the Virgin was most concretely and intimately the mother of Christ, it set forth that character and power which arose from her motherhood, i.e. her role as Maria mediatrix, compassionate intercessor for humanity before the impartial justice of Christ or God the Father."* Thus, in chapter 39 of the Speculum humanae salvationis (written ca. 1324), when Christ intercedes before God the Father by showing his wounds, the Virgin intercedes by exhibiting her breasts—a reference to that moment which is portrayed in the Madonna del Latte and the Madonna dell’Umilita. Furthermore, the representation of the Virgin suckling Christ sets forth nct only her authority to intervene and protect, but also her inclination to do so. For the act of nursing signified moral qualities, such as benevolence and mercifulness. It had this meaning in the representation of the virtue Charity as a female figure with children at her breast (Fig. 110). In the Middle Ages the Virgin was believed to be the mother and nurse not only of Christ but of all mankind."* She was the Mater omnium, as the Madonna of Humility wanted to see the Virgin, not as she was in it vulgar, the representation of the Virgin heaven, majestic and splendid, but in the poor showing her breast to Christ. — and humble condition in which she lived on ** Cf. also other representations of peasant earth. The Virgin answered his prayer and women, such as the one in the Ms of Aristotle’s appeared to him thus (P. Sausseret, Les ap- Economics (Brussels, 11201, fol. 359v) by the paritions et révélations de la trés Sainte Vierge, atelier of Jean Bondol, which seems to derive

Paris, 1854, 11, p. 33). from representations of Adam and Eve after

*3 It is noteworthy that Francisco Pacheco, the expulsion from the Garden (Fig. 160). representing the aristocratic and classicistic * A specific reference to the Virgin as intertendency in Spain ca. 1600, condemns, as an cessor, particularly at the Last Judgment, is example of lack of “decoro,” a representation given in the Marchigian Madonna of Humility of the Virgin seated on the ground with bare in Cleveland. To the right of the Virgin is feet (cf. Arte de la pintura, end ed., Madrid, introduced St. Michael, holding the sword and 1866, vol. 1, book 1, p. 249). Similarly, Mo- the scales. For a discussion of Marta mediatrix lanus, De historia sacrorum, Louvain, 1570 and advocata, cf. P. Perdrizet, La Vierge de book 1, chap. xxxr (in Migne, Cursus theo- Miséricorde, Paris, 1908, passim. logiae, xxvii) feels called upon to defend, * Anselm: “Ad te (virginem) nutricem nosagainst those contemporaries who considered tram” (Maxima bibltotheca veterum patrum, 151

THE MADONNA OF HUMILITY

in S. Domenico, Naples is labeled, and consequently also the nutrix omnium. Mediae-

val writers frequently referred to the Virgin as the nurse of the faithful, and in numerous miraculous appearances she gave to various people some of her milk, often three drops, symbolizing the Trinity. One of the beneficiaries was St. Bernard, who in a Majorcan panel of the fourteenth century is shown kneeling before the Virgin— a statue of the Madonna del Latte come to life, according to the legend—and drinking her milk (Fig. 158)." If the representation of the Virgin nursing the Child signifies her mercy, then her _ lowly posture expresses her solicitude for all souls, even the sinful, in the love of whom

she manifested her deepest humility.". Though Mary was always considered the humblest of beings, this quality of her nature was emphasized especially during the

late thirteenth and fourteenth centuries by writers such as Jacopone da Todi (“l'umilta profonda che nel tuo cor abonda’”’**), Petrarch (“Vergine umana e nemico d’orgoglio”),** and Giovanni da San Gimignano, who, in the description of that very scene which inspired the Madonna of Humility wrote: “Potuistis etiam attendere in

, utroque profundissimam humilitatem in hac ipsa Nativitate.”’”° Humility was an essential Christian virtue. Although in formal classifications it did not receive a place among the three theological and four cardinal virtues, being usually XXVII, 44a); Jacopo da Voragine: “Maria dat the contemplation of an image of the Virgin nobis lac pietatis et misericordiae” (Mariale, suckling the Child. As recompense for her Venice, 1497, p. 33); Richard of St. Victor: devoutness, the Virgin with the nursing Child “Beata virgo et peccatoribus reconciliationis appeared to her one day (in 1368?) and the

et piis gratiae lac fundit’ (Migne, Pat. lat., Infant allowed a few drops of milk to fall

vol. 196, col. 475a). See also the following upon Paula’s lips (Sausseret, op.cit., 11, p. 46). invocation to the Madonna, quoted from the The image before which Paula prayed may Saitero della Beata Vergine Maria, a vulgari- well have been a Madonna of Humility. In zation by a late Trecento Sienese of a Latin this connection we should recall the miracupsalter attributed to Bonaventura: ‘‘Porgine lous image of the Madonna in Pistoia (cf. note una goccia delle grazie delle tue mamme, e 53), which was believed to have poured forth con abundante latte di tua soavita reficia li “sudore, o vero liquore dalla sua santa testa,” nostri cuori” (Scelta di curiosita letterarie, an occurrence which would seem to be a dis-

vol. 126, 1872, p. 10). placement and transformation, in the interest 8¢ See for similar representations, Brit. Mus. of propriety, of the issuance of milk from the Egerton Ms 2781, fol. 24v (English[?}], middle Virgin’s breast; the latter, indeed, was said to

of the fourteenth century), and the late fif- have occurred in a number of instances, noteenth century Marchigian painting in the tably the famous Madonna in Saint-Vorle de Palazzo Comunale, Chieti, where streams of Chatillon-sur-Seine (Sausseret, op.cit., 1, p. .

milk are shown passing from the Virgin’s 202).

breasts into the mouths of souls in Purgatory. st “Fic ostendit Domina Nostra suam veram For mediaeval legends of similar miracles cf. humilitatem, quia amat peccatores eisque Mussafia, Studien zu den mittelalterlichen misericordissima est” (Sermon of St. Humility Marienlegenden, in Sitzungsberichte der K. [Tt 1310] in Acta sanctorum, May, V, p. 217). Akademie der Wissenschaften, Wien, philo- ** Lauda u, 16. Cf. also H. v. d. Gabelentz, soph.-hist. Klasse, vol. 115, pp. 6, 16, 18, 31, Die kirchliche Kunst im italienischen Mittel32, $7, 51, 77, 91; vol. 119, pp. 5, 26; vol. 139, alter, Strasbourg, 1907, p. 176.

pp. 9, 12. Illuminating is the legend of the * Canzone XxIx, 118. blessed Paula of Florence, who lived in a cell * Meditationes vitae Christi, in Opera at Camalduli. Her greatest happiness lay in omnia S. Bonaventurae, Paris, 1871, x11, p. 519.

152

MEANING OF THE IMAGE

attached to temperance, it was, on the other hand, believed to be the primary condition for the attainment of the other virtues, the “‘spiritualis aedificii fundamentum” as Thomas Aquinas says.** And in a tree of virtues which appears in moral treatises

} from the twelfth century on, humility was placed at the bottom, as the radix virtutum (Fig. 162).°? Now just as humility is the root from which the tree of virtues grows and by which it is nourished, so is the Virgin the condition of the incarnation of Christ,

the radix sancta, as she is sometimes called.” She appears as such in a painting by Simone dei Crocefissi in the gallery at Ferrara (Fig. 163). And these two conceptions, of the Virgin as the radix sancta and of humility as the radix virtutum, are not only

analogous, but also interdependent, for Mary could become the mother of Christ just because of her humility.” In accordance with a principle of polarity that was pervasive in Christian thought, humility implied sublimity. These two qualities were combined in the Beatitudes, and we find them united everywhere in mediaeval literature—in Richard of St. Victor (“quanto humilior, tanto sublimior”),*° in Dante (‘‘Vergine madre, figlia del tuo figlio, umile e alta pit: che creatura’’),°* in Jacopo Passavanti, whose image “Quanto Maria pit umile sedeva, tanto maggiore grazia riceveva” might well have been suggested by one of our paintings. One of Petrarch’s verses is more reminiscent of the “celestial type’”’ of the Madonna of Humility: ‘““Vergine santa . . . che per vera ed altissima umilitate salisti al ciel... .”°* Thus a common mediaeval symbol of humility was the dove, a gentle bird that appeared “humbly” in the meadows and yet could fly high in the sky. This “polar thinking” produced one of the most remarkable aspects of the Madonna of Humility, the almost paradoxical combination of the humble image of the mother nursing her Child with the awesome Woman described in the twelfth chapter of the Apocalypse: “And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars... .”

* Op.cit., , 1, Q. 161, A. V. parallels closely the process of formation of

2 Cf. the treatise (called to my attention by the Madonna of Humility. Professor Erwin Panofsky) De fructtbus carnis %° Paradiso, XXXII. _ et sptritus, apud Migne, Pat. lat., vol. 176, *7 Canzone XXIX, 40-43. For Passavanti see col. 998 (attributed to Hugh of St. Victor). the Specchio, ctt., p. 296.

* Sermon of St. Humility in Acta sanc- Thus humility was sometimes represented

torum, May, Vv, p. 216. : in the fifteenth century as a figure with bowed * Luke, 1, 48-52. St. Augustine: ‘‘Facta est head but with, at the same time, wings at-

certe humilitas Mariae scala coelestis per quam tached to the shoulders, breast, and legs (Gerdescendit Deus ad terras” (Migne, op.cit., vol. man Ms of the fifteenth century, Rome, Bibl. 39, cok 2133). Also St. Bernard, tbid., vol. 183, Casanatense, Cod. 1404, fol. 11v, cf. F, Saxl, in cols. 61-2, and St. Bridget, Revelationes (ed. Festschrift fiir Julius Schlosser, Vienna, 1927,

Antwerp, 1626, 11, p. 389). p. 118; and a second figure of this type [also

* Apud Migne, op.cit., vol. 196, col. 1330. in an early fifteenth century German mMs— Also tbid., vol. 176, col. 998. Cf. also Luke, 1, Rome, Vat. pal. lat. 1726, fol. 48v] bearing a

: 58: “deposuit (Deus) potentes de. sede et scroll on which is inscribed “Qui se humiliat exaltavit humiles,” a graphic phrase which exaltabitur”’). 153

THE MADONNA OF HUMILITY

The Virgin is Regina coeli as well as Nostra domina de humilitate, and thus “Regina humilitatis.”’ All these ideas set forth in the Trecento image of the Madonna of Humility, and even the specific symbols by which they are expressed, had already been brought together into a kind of constellation in thirteenth century thought. In his first sermon on the Annunciation, Bonaventura, discussing the mystery of the incarnation and the twelve metaphors by which it may be apprehended, says: “Notandum igitur, quod incarnationis mysterium sic est duodecim metaphoris designatum, quae a terra humilitatis® incipiunt et in sole sapientiae divinae sistunt . .. . Unde, quia hae duodecim metaphorae beatem Virginem et eius Prolem insinuant, convenienter de ipsa dicitur illud apocalypsis: mulier amicta sole, scilicet ornata Divinitatis claritate;” lunam,

temporalium mutabilitatem, habens sub pedibus;*” et in capite habens coronam duodecim stellarum’™ propter dictum mysterium duodecim metaphoris desig-

natum... .”"?0 ,

The Woman of the twelfth chapter of the Apocalypse was usually believed to be a metaphor of the Church, but Bonaventura, like several other mediaeval writers, con-

nects her with the Virgin.’” In the arts, on the other hand, the Woman was very 68 The earth was a common mediaeval sym- Salzer, Die Sinnbilder und Betworte Mariens bol of the Virgin’s humility (cf. also Albertus in der deutschen Literatur und lateinischen Magnus, De laudibus B. Mariae, Liber Octa- Hymnenpoesie des Mittelalters, Linz, 1893, pp.

vus, c. 1). See also note 66. 481ff. The sun, moon, and stars were brought

: °° The sun, which appears less frequently in into connection with the Virgin also in in-

the Madonna of Humility than the other sym- numerable poetic similes, some of them probbols, is represented by rays projecting from ably influenced by the Apocalypse (see Salzer, the Virgin’s body or. by a gilt disc, either op.cit., pp. 377, 391, 399). Especially relevant,

behind her, on her drapery (a specialty of because they are Italian and approximately the Venetian examples) or beside her (Marchi- contemporary with the creation of the Ma-

gian panel, Cleveland). donna of Humility, are the phrases in the

100 See the Madonna by Giovanni del Biondo laudarii (cf., for example, Il laudario det in the Vatican Gallery, with the moon at the Battuti di Modena, ed. by G. Bertoni in Zeitfeet of the Virgin, and below the moon, a schrift fiir romanische Philologie, xx, 1909)

decomposed human corpse (Fig. 52). and the apostrophe of Petrarch, Simone’s 201 The twelve stars were sometimes held to friend, to the Virgin: prefigure the twelve apostles (cf., for example, Vergine bella, che di sol vestita, Speculum humanae salvationis, chap. 36, and Coronata di stelle, al sommo sole... .

Albertus Magnus, Opera omnia, Paris, 1899, (Canzone xxix, 1)

vol. 38, p. 653). In each of the twelve stars in Post, op.cit., 1, p. 232, assumes that the the Marchigian panel in the Museum at celestial symbols refer to the immaculate conCleveland is a small bust of an apostle. In the ception of the Virgin. While they have this

Speculum (chap. 36), the Apocalyptic Woman meaning in representations of the Immaculata prefigures the Coronation of the Virgin; and in the late sixteenth and seventeenth centuries,

in the Madonna of Humility two angels are there is no evidence of it in the Madonna of sometimes shown lowering a crown onto the Humility, neither in the inscriptions on the

Virgin's head. paintings nor in their distribution, for the 102 Bonaventura, Opera omnia (Quaracchi Dominicans, who were opposed to the idea of ed.), 1X, p. 659. the virgin birth of Mary, would not have

| 154

108 Cf. Beissel, Geschichte der Verehrung favored an image that advanced it. The idea Maria in Deutschland, pp. 260, 347, and A. is not mentioned, moreover, by those late

MEANING OF THE IMAGE

seldom identified with the Virgin until the fourteenth century, and the first large group of monuments which exhibits this identification is the Madonna of Humility.** It is interesting, moreover, that the identification occurred when there existed between the two a similarity not only of content, but also of form. For the woman in a number of English and French Apocalypses of the thirteenth century is shown seated

with one leg raised higher than the other, like the Virgin in the Madonna of Humility and in the Nativities discussed above (Fig. 164).** Curiously enough, among the surviving paintings only one Florentine Madonna of Humility’ and no Sienese shows the attributes of the Apocalyptic Woman. Though these attributes are often not represented in the Madonnas of other Italian schools, Tuscany alone seems to have consistently avoided identification of the Virgin with the Woman of the Apocalypse. The absence of the heavenly symbols in one of the very earliest Madonnas—the Simonesque painting in Berlin—suggests the possibility that

} the composition of the Madonna seated on the ground nursing the Child was created first, and the identification with the Apocalyptic Woman was made a little later, out-

side Siena and Tuscany. On the other hand, the very early Madonnas in Palermo (1346), and in S. Domenico, Naples (shortly after 1345), widely separated but wholly mediaeval theologians such as Bonaventura Historia no. 33) shows the Woman seated on who connect the Virgin with the Apocalyptic the ground only after the angel has taken her Woman. It is significant, too, that the earliest child and she has fled to the wilderness; and Italian Immaculata pictures (Crivelli, Lon- she is not accompanied by the stars, sun, and don; Signorelli, Cortona; Piero di Cosimo, moon. The Woman is represented again in Uffizi) do not show any resemblance to the the same miniature, this time with the celestial Madonna of Humility, and most of them do symbols, but then she is standing (as usual in

not include the apocalyptic symbols. the Spanish Beatus mss, cf. Madrid Academia

10¢ For the identification of the Virgin with no. 33, Paris, Bibl. Nat. nouv. acq. lat. 1366; the Woman of the Apocalypse outside the in Berlin, Staatsbibliothek theol. lat. 561 she Madonna of Humility, see the thirteenth cen- is seated on a kind of throne), so that neither tury glass window in St. Elizabeth, Marburg figure combines all the elements which appear (Beissel, op.cit., p. 349), fourteenth century in the English and French Apocalypses menGerman sculptures in the church of the Cister- tioned above. cians, Doberan, and in the Erfurt Museum The Byzantine composition of the Apoca(Pinder, Deutsche Plastik, 1, p. 106), and a lyptic Woman, as reflected in the Hortus panel by Giovanni del Biondo in the Vatican deliciarum (the miniature illustrating the Gallery (Fig. 52). All of these represent the twelfth chapter of the Apocalypse contains

standing Virgin. Greek inscriptions) and in later Russian min105 Paris, Bibl. Nat. fr. 403; Cambridge, iatures (cf. G. Buslaev, Collection of MiniaTrinity College r. 16.2; Oxford, Bodl. Douce tures from Illuminated Apocalypses, taken 180; Oxford, Bodl. Auct. d. 4,17; Cambrai, no. from Russian Mss. of the XVI-XIX Centurtes

422; Dyson Perrins collection no. 10. (Russian), St. Petersburg, 1884, pls. 67, 85, King (op.cit.), who favors a Spanish origin 103, 146, 156) shows a standing woman.

of the Madonna of Humility, refers to the 106 Orcagnesque panel formerly in the colBeatus ms from las Huelgas in the Morgan lection of Langton Douglas. The Madonna of Library as a possible source of the type. This Humility in the Museo di S. Croce and the relationship seems, however, very improbable, one by Fra Angelico in the Rijksmuseum, because for one thing the Morgan ms (and Amsterdam, also show a number of stars in other examples of the Beatus, such as the tenth the Virgin’s halo. century ms Madrid, Real Academia de la 155

THE MADONNA OF HUMILITY | Simonesque, show the stars and the moon, so it seems likely that the assumed Madonna of Humility by Simone Martini represented the fully developed form. __ The Simonesque form of the Madonna of Humility illuminates in a remarkable way the humanistic character of early Trecento art, so profoundly different from that of the third quarter of the century. It clarifies also the historical position of this earlier art, its progressive qualities and its relationship with preceding arts. Although both of the figures which are combined in the Madonna of Humility, the seated Woman of the Apocalypse and the Virgin nursing the Child in the Nativity, existed in the north in the thirteenth century, they were fused into a single image only by Italian painters early in the fourteenth century. And the Madonna of Humility, based upon these two north European figures, exhibits at the same time one form—the spatial contrapposto of the Child—which is not mediaeval but which shows resemblances with antique art.’ On the other hand, the representation in a rather formal image of a sacred person seated humbly on the ground is foreign to the Middle Ages and without analogy in antiquity;? it is new, and in a sense ‘‘modern.”’

107 Even the northern fifteenth century tempt this contrapposto. paintings of the Madonna of Humility (Mas- 108 Even the concept “humilitas” did not, in ter of Flémalle) or the Maria Lactans (Jan Greco-Roman antiquity, signify a virtue; it van Eyck, Roger van der Weyden) do not at- meant lowliness, baseness, or meanness.

156

BOCCACCIO | I N FirsT consideration the secular literature of the third quarter of the fourteenth

, O century, apart from the chronicles, seems to disclose a different state of mind than the painting. We have already, to be sure, observed certain similarities: a growing piety and melancholy, especially in the writing of Franco Sacchetti and his brother Giannozzo.t Among the numerous poems on death and the gruesome decay of the flesh, one by Antonio Pucci was, like several paintings, directly descriptive of the plague.” But this period is most memorable for the composition of the Decameron and for the beginning in Florence, again with Boccaccio, of an intensive study of ancient language and literature. It is true that one would not expect in contemporary religious painting the sparkling humor or the irony of the Decameron, which was often directed at the Church. But there is nothing in it either that remotely resembles Boccaccio’s free inquiring intelligence and his fascination with the diversity of life and morals in the world around him. Tuscan painters and sculptors of this period were, furthermore, conspicuously indifferent to ancient art; their styles are fundamentally dissimilar from it, and there is not, so far as I know, a single instance of assimilation of its qualities of form. No painting of the time exhibits an organic conception of the figure, a spatial movement and a contrapposto so reminiscent of ancient art as Ambrogio Lorenzetti's Madonna in S. Francesco (Fig. 155). There is nothing comparable to the statuesque serenity of the senatorial apostles of Cavallini, which made so deep an impression on

Giotto. Though we know there were ancient sculptures in Florence in the third quarter of the century—Benvenuto da Imola saw a marble Venus attributed, like most

ancient statues at this period, to Polyclitus*—we do not hear that any Florentine artist of the time was delighted by it as Ambrogio had been earlier by a statue of Lysippus in Siena. In no painting of the period is there anything like Ambrogio’s knowing approximation to ancient statuary in his figures of Peace and Security in the Town Hall at Siena. I do not recall during our period, either, a record of a commission similar to Ambrogio’s for a series of stories from Roman history.* Not until the late 1 On Franco Sacchetti, see De Sanctis, Storia larly in Padua, where the influence of Petrarch della letteratura ttaltana, Naples, 1893, 1, pp. was great, developments were somewhat dif357-363. On Giannozzo, see Sapegno, Storia ferent. A cycle of murals based on Petrarch’s letteraria d’Italia, Il trecento, p. 490. See also De viris tllustribus, and like later Paduan art,

chap. 1, notes 1 and 2. antiquarian in character, was painted in the 2 See Sapegno, op.cit., pp. 412-413. Carrara palace in Padua (see J. v. Schlosser in

§ See his commentary on Canto x of Purga- Jahrbuch der Kunsthistorischen Sammlungen, tory (Comentum, Florence, 1887, 111, p. 280). XVI, 1895, pp. 189ff., and a forthcoming article * Outside of Tuscany, however, and particu- by T. Mommsen). Around 1375, at the very

157

BOCCACCIO

fourteenth or early fifteenth century do such connections with ancient art reappear. _ Between the two historical moments the painters of the third quarter, or even second half, of the fourteenth century were attracted rather by the Byzantine and Romanesque art of the Dugento, and by Simone Martini and northern Gothic styles related to his. In these respects it is evident that the historical evolution of the arts of painting and literature did not exhibit a close chronological conformity. Because of motives, conditions, and accidents peculiar to each, related impulses appeared at somewhat different times, as they not infrequently do. But there are other aspects of the life and work of Boccaccio, the one major literary figure of the period in either Florence or Siena, that

are more suggestive of the character of contemporary painting and of a similar response to the events of the time.

II Boccaccio was born in Paris in 1312, the natural son of a merchant of Certaldo who

had become an associate of the Bardi Company in Florence.’ Boccaccio’s father brought him to Florence at a very early age, and when he was around ten or fifteen sent him off to work in a commercial house at Naples. A few years later Boccaccio obtained permission from his father to study law; and while he pursued this work for several years, he devoted himself increasingly to literature. He moved in the gay, cosmopolitan circles of the court of King Robert, and won the love of Maria d’Aquino,

a natural daughter of the king. Around 1340 he was called back to Florence by his father, who suffered severe financial reverses shortly afterward when the Bardi Company went bankrupt. Soon Boccaccio felt the pinch of poverty, and he was never free of it for the rest of his life. Petrarch, who had become a good friend, invited Boccaccio to come to live with him, hoping thus to relieve his troubles.* We know very little of Boccaccio’s life during the "forties, but he was in Florence in 1349, in time to witness the desolation following the Black Death, and from 1350 to his death in 1375 he took an active part in the political and cultural life of the city. While in Naples and during the first six or seven years after his departure Boccaccio composed in prose and verse a series of romances: Filocolo, Filostrato, Teseide, Ameto, Amorosa visione, Fiammetta, Ninfale fiesolano. Some were directly inspired by his

relationship with Maria d’Aquino. They all deal with love and a spirited, buoyant, or idyllic life. Though inevitably they include disappointments and rejections, their end of our period, Giovanni Dondi, a mem- 1902, Pp. 44-45). ber of Petrarch’s circle, showed an interest in ° The chronology of Boccaccio’s early life is . pagan as well as Christian monuments in controversial. I follow the recent summary by Rome. He reported their measurements, col- Sapegno, op.cit., 1942, pp. 278ff. lected inscriptions, and wrote of a celebrated 6 See Francesco Corazzini, Le lettere edite e sculptor resident in Rome (name not given) inedite di Messer Giovanni Boccaccio, Florwho was studying ancient art (see Prince ence, 1877, p. 132. D'Essling and E. Miintz, Pétrarque, Paris, 158

! BOCCACCIO characters are not disenchanted, despite occasional avowals to the contrary. The earlier of these works are passionately subjective; the later ones show a greater detachment from his own experience and a growing insight into the rich diversity of human life. This development culminates in the Decameron, written between 1348 and 1353, immediately after the Black Death. For Petrarch the plague had been a great personal calamity: Laura and four of his

closest friends died in it. Shocked and saddened, he turned with strengthened conviction to religion.” Boccaccio, on the other hand, gave no immediate sign of a deep disturbance. Although the Black Death is vividly described in the Proemio of the Decameron, it is only a dramatic pretext for the formation of the group of story-tellers and their escape from Florence to an isolated villa. There is no trace of guilt, a persistent sadness, or asceticism in the entire work. In the Corbaccto, however, written in 1354-1355 immediately after the Decameron, we are presented with a startling change of mood. This gloomy vision of an arid wilderness and of bestial people was composed, Boccaccio says, after he had been enjoined by a spirit from purgatory to disseminate the truth about women and passion. It is a

bitter exposure, written with an insistent moral and didactic intent. He turns upon love, the central theme and value of all his earlier work, to degrade it; its motives become ignoble and its physical aspects revolting. Beneath this rancorous and truculent rejection there lingers, however, a sensuality that the author’s growing asceticism has not fully quenched. Students of Boccaccio have accounted in various ways for this sudden change in his art. Some have maintained that the Corbaccio is simply autobiographical, provoked by the ridicule of a Florentine lady to whom the author had made advances*—though

this was certainly not the first time he had been jilted. Others have referred to his advancing age and to fear of death, or to the influence of Petrarch’s more constant piety. But even if all these things played a part, they do not exclude the cumulative effect on Boccaccio of the events of the ‘forties—the Black Death, the bankruptcies, which brought him poverty, and the political revolution, which, as we have seen, he bitterly attacked.® Nor do they diminish the likelihood that he was responsive to the new moral and religious atmosphere in Florence. *H. Hauvette, Le Boccace, Paris, 1914, p. the death of two more of his friends, he said 201; Sapegno, op.cit., pp. 182-184; and H. to Boccaccio: “Of my old friends, only you Baron in Speculum, xm, 1938, p. 9. On Pe- remain” (Lett. sen., ut, 1). Just a few weeks

trarch’s professed religious aspirations and as- later, news from Florence led him to fear that cetic inclinations see his letter of 1352 to his Boccaccio, too, might have succumbed, and he brother Gherardo (J. H. Robinson and H. wrote a hasty note inquiring anxiously whether W. Rolfe, Petrarch, New York, 1899, pp. 396- he was still alive (Lett. sen., m1, 2).

403). 8 See T. C. Chubb, Life of Boccaccio, New Writing to Boccaccio toward the end of the York, 1930, pp. 183ff. Sapegno, op.cit., p. 366,

epidemic of 1363, Petrarch said that the speaks uncertainly of an “autobiographical plague would not cease until men became element.” penitent and were converted to a religious ° See p. 70. life. In this sad letter, in which he lamented

159

BOCCACCIO

The Corbaccio is a sort of inverted romance, the last of Boccaccio’s wholly imagina-

tive works. While its venom and its invective are exceptional, it represents In many _ ways a turning point in his career. One of the foremost Boccaccio scholars of the past generation has entitled his chapter dealing with it and other works written immediately after the Decameron, ‘Retour a la tradition mediévale.’”° In all these writings the asceticism and the stringent moral intention of the Corbaccio persist. Between 1355 and 1360, not long then after the bankruptcies, the fall of the oligarchy, and the plague, he wrote a study on the reversals of fortune, the De casibus virorum illustrium. In it he sketches the lives of famous men from Adam to his own time who through pride or folly had fallen from happiness and high position into misery. The ghosts of these men parade before the author in his study. He acts as a judge, deliberating each case, addressing some with pity, reproving others, and frequently extracting a prin-

ciple about the conduct of life. His interest is as much moral as historical, unlike Petrarch’s in the De viris illustribus that he had begun in 1338. To some extent the De casibus was anticipated in Boccaccio’s earlier writing. Examples of decline and fall appeared in the description of the Hall of Fortune in the Amorosa visione (1342), but there they had comprised a secondary, not a central, theme. Similarly Boccaccio professed a didactic purpose in several of his earlier works, usually at the very end, as in the Filostrato or the Fiammetta. The latter was intended, he or rather Fiammetta _ says, as an inducement to moderation, a warning against the pains and perils of complete abandon in the “labyrinth of love.” But these limited comments, seemingly afterthoughts or gestures of moral justification, are different from the pervasive didacticism and the doctrinaire morality of the De casibus. Shortly after undertaking his account of the misfortunes of famous men Boccaccio began a parallel treatise on women, De claris mulieribus, though in this work the moralization is not quite so pointed. At this time, too, he began to occupy himself with Dante. He planned an extensive commentary on his great religious poem, of which he completed only a part, and he wrote a Life or, more precisely, a Trattatello in laude di Dante. In this tribute to Dante as scholar and poet, Boccaccio dwelt on the themes with which he had recently become preoccupied. He exalted the life of solitude and tranquillity; if Dante had had it, he says, he ‘“‘would have become a God on earth.’ Instead he was burdened with a “violent and insufferable passion of love,” and, on top of this, a wife. Boccaccio seized upon these circumstances as the occasion for an invective against love, women, and marriage reminiscent of, though less violent,

than the Corbaccio.” | 10H. Hauvette, Littérature italienne, Paris, habits of that sublime poet as though he were

1924, p. 151; and Boccace, pp. 344ff., 476. writing the Filocalo, the Filostrato, or the 11 See the translation by J. R. Smith in the Fiammetta. For it is filled with love and sighs Earliest Lives of Dante, New York, 1901, p. $3. and burning tears, as though man were born 12 Jt is interesting that Leonardo Bruni, in into this world for no other purpose save to

the Proemio to his own Life of Dante, should find himself in those ten amorous days, have said that Boccaccio wrote “the life and wherein enamored ladies and gallant youths 160

BOCCACCIO | Boccaccio’s moral and ascetic inclination after 1354 led him to turn against his own earlier work. In a remarkable letter written in 1373 to his friend Mainardo Cavalcanti,

to whom he had dedicated the De casibus virorum illustrium, he said of the Decameron:

“I am certainly not pleased that you have allowed the illustrious women in your house to read my trifles; indeed I beg you to give me your word that you will not permit it. You know how much in them is less than decent and opposed to modesty, how much stimulation to wanton love, how many things that drive to lust even those most fortified against it. ... My feminine readers will judge me a filthy pimp and an incestuous old man, shameless, foul-mouthed. and malignant, eager to spread tales of

the dissoluteness of others... .”"** |

In provocative circumstances Boccaccio’s sense of guilt could mount to panic. Earlier, in 1362, he had received a visit from a monk, who brought a sinister prophecy from Pietro Petroni, a Carthusian of Siena who had died a short time before. Petroni was renowned in Siena for his holiness, and Giovanni Colombini undertook to celebrate it in a life. As a reward for his sanctity the Blessed Pietro had been permitted to see the face of Christ before he died, and he thus acquired the power of penetrating the future. Through his messenger he warned Boccaccio, as he intended to warn Petrarch

and others, that his death was imminent and that unless he immediately renounced poetry and profane writing he would be eternally damned. Boccaccio, whose even temper as a young man had won him the nickname “Johannes tranquillitatum,” was terrified. He decided to abandon the world and to devote himself wholly to a religious life. He offered to sell his library to Petrarch. But Petrarch’s calm reply deterred him. In a

letter which is our chief source for the incident, since Boccaccio’s anxious letter to him is lost, Petrarch began to parry the threat by a cool reference to human frailty, exhibiting a composure and a scepticism of human motive that Boccaccio, too, had

recount the Hundred Tales” (J. R. Smith, (quite haughtily) that he had not read it op.cit., p. 81). This is obviously unjust, but through, partly because it was long and writBruni probably sensed in Boccaccio a linger- —_—iten in the vulgar for the people (so that it

ing attraction for the very things he vilified. would take his time from more serious con1“ . . non lodo certamente che tu abbi cerns), partly because it was too “free” (libero permesso che le inclite tue donne di casa e lascivo). The moral character of the story leggano le mie bazzecole, che anzi ti prego di of Griselda pleased him, however, so he transdarmi parola di non farlo. Sai quanto in quelle lated it into Latin and sent Boccaccio a copy

é di meno decente e contrario all’onesta, (Ep. sen., Xvi, 3). quanti stimoli ad infausta Venere, quante 14In the life of Petroni completed by Barcose che sospingono a scelleraggine i petti tolommeo of Siena in 1619, and based upon sebbene ferrei, . . le leggenti mi stimeranno Colombini’s life, the monk tells Boccaccio that un sozzo ruffano ed incestuoso vecchio, im- the works he had published were “the tools pudico, turpiloquo maledico, ed avido divul- — of the devil, devised to equip men for degatore delle scelleraggini altrui. . .” (Coraz- bauchery and to lure them to it.” “You are,”

zini, op.cit., pp. 289-290). he said, “furnishing to others an example of

In 1373 Petrarch expressed a similar opinion baseness and wantonness by. your language, of the Decameron. Writing to Boccaccio about your writing, and your character” (Acta a copy of it that he had acquired, he confessed sanctorum, May, vu, pp. 228-229).

161

BOCCACCIO

possessed earlier, but had lost. ‘““The vision was indeed astounding,” Petrarch said, ‘if only it be true. For it is an old and much-used device, to drape one’s own lying inventions with the veil of religion and sanctity, in order to give the appearance of

divine sanction to human fraud.” The study of literature, he adds, has never been incompatible with religion. Jerome and Augustine have proved that. ‘I cannot understand why such advice should be given to an educated person in the full possession of his faculties, .. . one who realizes what can be derived from such studies for the fuller understanding of natural things, for the advancement of morals and of eloquence, and for the defense of our religion. I am speaking now only of the

man of ripe years, who knows what is due to Jupiter the adulterer, Mercury the pander, Mars the manslayer, Hercules the brigand, and—to cite the less guilty—to the leech Aesculapius, and his father, Apollo the cither-player, to the smith Vulcan, the spinner Minerva; and, on the other hand, to Mary the virgin-mother, and to her son,

our Redeemer, very God and very man.... ‘Neither exhortations to virtue nor the argument of approaching death should divert us from literature; for in a good mind it excites the love of virtue, and dissipates, or at least diminishes, the fear of death.... “But I will trouble you no longer with these matters, as I have already been led by the nature of the subject to discuss them often. I will add only this: if you persist in your resolution to give up those studies which I turned my back upon so long ago, as well as literature in general, and, by scattering your books, to rid yourself of the very means of study—if this is your firm intention, I am glad indeed that you have decided to give me the preference before everyone else in this sale... . I cannot, however, fix the prices of the books, as you most kindly would have me do. I do not know their titles and number, or their value... .’""" It is a curious and interesting fact that the Passtone di Gesu Cristo, the poem by Niccoldé Cicerchia that we have discussed above, was attributed to Boccaccio in the fifteenth century, and for a long time was believed to have been written by him after this “conversion” of 1362, in atonement for the moral freedom of his earlier work.** Though this conversion was actually only a passing crisis, it is highly significant for what it reveals of the growth of Boccaccio’s religious impulses and of his inner tension during the latter part of his life. It is possible that he received priestly orders some-

where around this time, and in 1366 he is said to have performed the pious act of commissioning two altarpieces for a church in Certaldo.*” After considering Petrarch’s letter, he returned to his work. Upon completion of the Corbaccto he had abandoned

imaginative writing for scholarship, and in the early ‘sixties he was preparing a comprehensive treatise on the ancient gods, De genealogiis deorum gentilium. This work, together with his cooperation with Leontius Pilatus in a translation of Homer 15 Eb. sen., 1, 4, translated by Robinson and 1878, p. xx, and L. Cellucci, in Archivum

Rolfe, op.cit., pp. 384-396. Romanicum, xxu, 1938, p. 74. 26 See Scelta di curtositd letterarie, vol. 162, 17 See above, p. 10.

162

BOCCACCIO

from the Greek, was probably the more immediate object of the Blessed Pietro’s denunciation and of Boccaccio’s guilt. _ The Genealogy was begun before 1350, a first draft was completed around 1360, shortly before the prophetic message, and Boccaccio was still revising the manuscript in 1373. It was the major task of his later years. Though devoted to pagan mythology (interpreted historically, allegorically, and in a Christian sense) it contains some signs of the same conflict that is evident in his other work after the Decameron and in the disturbance of 1362. To the thirteen books dealing with the ancient gods, Boccaccio added, probably after 1366, two in defense of poetry, which for him was identified chiefly with the poetry of the Greeks and Romans. An interest in it required a defense, he felt, against the indifference of the bons vivants and the scorn of the philistines, mostly jurists, who asserted that neither the writing nor the study of poetry was lucra- | tive. Even more dangerous was the opposition of the conventionally pious and the sanctimonious, who attacked it in the name of theology and religion. One of these, “a certain venerable man, in other respects of eminent sanctity and learning . . . once exhibited the prejudice [against poetry] on an occasion not altogether to his credit. ... For it happened one morning in our University that he was reading from the desk the Gospel according to St. John to a large audience, when suddenly he came upon the name of poet. Forthwith he became flushed, his eyes took fire, and raising his voice, he broke into a perfect frenzy and poured out one false charge after another against poets. And finally, to show the justice of his case, he averred—nay, almost swore: ‘I have never seen, nor do I wish to see, a volume of poetry!’ ’”’™ People of this sort posed the same issue that had disturbed Boccaccio so profoundly in 1362. Indeed, he and Petrarch, the two pioneering humanists, were confronted with

it during the whole of the latter part of their lives.** Although under the spell of the Blessed Pietro’s prophecy Boccaccio had concluded that religion and ancient literature were incompatible, he held more consistently to the belief expressed a year or so earlier

in the Trattatello” that poetry and theology were related in character and function. They both reveal the mystery of life, he said. They have the same moral purpose, and they employ similar methods: allegory and symbolism. Theology is the poetry of God.” His position in the Genealogy is similar. But it is accompanied by what the author

xIV, 15; C. G. Osgood, Boccaccto on _ to both these attacks with arguments similar Poetry, Princeton, 1930, p. 73. As early as 1336 to Boccaccio’s (see V. Rossi, I! quattrocento, Petrarch had been rebuked by Bishop Giacomo Milan, 1938, pp. 54-57).

Colonna for his interest in pagan writings 20'The first version was probably written

(see Ep. fam., 11, 9). between 1357 and 1362 (see Sapegno, op.cit., 18 For Petrarch, see, for example, Ep. fam., p. 389).

XXII, 10. 21 See J. R. Smith, The Earliest Lives, pp. : The issue was raised in Florence in the late 51-54. Boccaccio’s conceptions are not novel.

fourteenth century by the Camaldolite Gio- They belong to the mediaeval tradition of . vanni di Duccio da S. Gimignano and by the the allegorical interpretation of poetry, and

163 : ,

Lucula noctis (140%) of Giovanni Dominici, were influenced particularly by Dante and a Dominican who had been deeply influenced Petrarch. by St. Catherine. Coluccio Salutati replied

BOCCACCIO

of the excellent translation of the Defense calls ‘‘an anxious display of orthodoxy.’ Boccaccio does not deny that some people, the young for instance, will be harmed by reading the ancients,” and he tries to disarm his pious opponents and at the same time quiet his own conscience by a.reluctant and somewhat equivocal admission of the superior claims of religion: “. . . I grant freely that it would be far better to study the sacred books than even the best of these works [of ancient poetry], and I suppose they who do so are more acceptable to God, to the high Pontiff, and to the Church. But we are not all at all times subject to one inclination, and occasionally some men incline to poetical writers. And if we so incline, or turn to them of our own accord, what sin or harm is there in that?’ Petrarch, facing the same problem as Boccaccio, implies a similar judgment of better and worse, but on the grounds of distinctive qualities in the two spheres. “I think I can retain my love for both the Christian writers and the ancients,” he wrote, “‘so long as I keep in mind which is preferable for style and which for content.’’* When he turned to the figure arts, however, where his insights were more limited and he saw little beyond the subject, he did not maintain this distinction, and he coupled with his judgment a warning. “To enjoy sacred images that remind the spectator of heavenly blessings is often pious, and useful for the stimulation of the mind. Profane ones, though they are sometimes moving and rouse us to virtue when the diffdent mind is warmed by the recollection of noble deeds, should nevertheless not be equally loved or worshipped, lest they become witnesses of folly or ministers of avarice or rebels against faith and true religion and against that noted precept: beware ye of images.’’”*

III The conflict that Boccaccio felt more or less urgently from 1354 on is related to the tensions in contemporary painting. The terms, it is true, are rather different. Boccaccio, together with Petrarch, was confronted by the diversity of two dissimilar,

historically differentiated universes of thought and feeling. One, the antique, these scholars themselves had done much to evoke; the task of harmonizing the two had scarcely begun. The painters, on the other hand, were committed for the most part to the traditional Christian themes. For them the conflict lay within the sphere of religious art, between dissimilar or even opposed qualities of content and form. But in a larger sense these differences between the painters and the writers are not so 22 Osgood, op.cit., p. 195 mote 1. See es- autem, etsi, interdum moveant, atque erigant

pecially book xv, 9, and the Proemio to book ad virtutem, dum tepentes animi rerum

IX. | nobilium memoria _ recalescunt: amandae 28 Petrarch makes a similar point in a letter tamen aut colendae aequo amplius non sunt, to Boccaccio cited in note i5. ne aut stultitiae testes, aut avaritiae ministrae,

24 Osgood, op.cit., p. 82. aut fidei sint rebelles, ac religioni verae, et 25 Fb. fam., XXU, 10. praecepto illi famosissimo: Custodite vos a

26 “Nelectari quoque sacris imaginibus, quae simulachris” (De Remedtis, quoted by Prince spectantes beneficii coelestis admoneant, pium D’Essling and E. Miintz, Pétrarque, Paris, saepe, excitandisque animis utile: prophanae 1902, p. 58).

: 164

BOCCACCIO

considerable as they might seem. For the more natural conception of man, presented in the art of the first half of the century and still haunting the painters after 1350, was related, historically and ideologically, to the interest in the ancient world. The growth of “humanism” and a more secular culture preceded, as a necessary condition, the broad revival of antiquity. There are unmistakable signs of this connection in the period we have been studying. When during the ’sixties and ‘seventies Boccaccio was ‘driven by a religious conscience, he both disowned the Decameron, the finest flower

of early Florentine secular art, and tried to dispose of his library, rich in ancient writing. For the painters the rejection was more profound and more constant. Creating almost exclusively for the Church and for an audience larger than Boccaccio’s, Orcagna and his contemporaries suppressed qualities of the art of Giotto and Am-

brogio that were both naturalistic and “antique.” And although they felt unable wholly to resist the power and magnetism of these forms, they opposed to them quallities of a very different kind, expressive of a more intense piety, a mystical rapture, or simply a firmer adherence to the doctrine and institutional authority of the Church. The tension in the art and literature of the third quarter of the century arises then from a conflict between an old and a newer mode of life and thought. This conflict would inevitably have accompanied the growth of the new, but it was made far more

acute by the disturbances and disasters of the time. Some of these events, like the plague, were more accidental and unprepared; others, like the financial crisis and the social struggles, were rooted in the new forms of life themselves. ‘They seemed to challenge all at once, in the name of mediaeval society and mediaeval Christianity, the new individualism, the new secularity, and the new economic order. In these respects, then, this was a period of crisis, the first crisis of what we may call, in its larger sense, humanism. It was to be followed by similar critical periods—though the causes and the alternatives were somewhat different—in the later fifteenth century

and in the sixteenth. It is to Crivelli and the late Botticelli or Pontormo and Tintoretto that the painting of our time is peculiarly related, rather than to Masaccio, Piero della Francesca, Titian, or Raphael. To them it offered models of aspiring, though tormented, spirituality, of emotionally exciting color and light, and a strained, disharmonious unity of plane and space, line and mass, color and shape.

165

APPENDIX I | CHRONOLOGICAL TABLE THE following is a chronological list of the more important events, artistic, religious, social, and literary, that are discussed in the present volume. Those that cannot be rather precisely dated are excluded. Facts about artists and works of art are in italics.

1341. Florence defeated in its attempt to ac- 1356. Ravages of the marauding condottiert

quire Lucca. (through the ’sixties). a

1342. Florentine political power transferred (7) antar? iece by Nardo, New-York Histort-

by the merchant oligarchy to the Duke of y:

. . . Chapel.

Athens. 1357. (ca.) Nardo painting in the Strozz

1343. Failure of the Peruzzi Company. Begin- .

pression. 1358.

ning of the period of bankruptcies and de- Death of Jacopo Passavantl.

Expulsion of the Duke of Athens, and

formation of a new regime representative of 1359. all sections of the Florentine middle class. 1360. (ca.) Meeting of Florentine artists at S.

1344. Miniato, described by Sacchettt. 1345. Bankruptcy of the Bardi Company. 1361.

1346, Famine in Tuscany. 1362. Polyptych, Siena Gallery, by Niccolo dt

. Ser Sozzo and Luca di Tomme.

1347, Scarcity in Tuscany. _ Triptych, Siena Gallery, by Giacomo di

Birth of St. Catherine of Siena. Mino.

; Blessed Pietro Petroni.

1348. The Black Death (June-September). Boccaccio frightened by the prophecy of the

1349. Congregation of the Flagellants. (?) William Fleet settled at Lecceto. Boccaccio’s Decameron (between 1348 and

1353). Recurrence of the oo 1363. Colombini recalled to plague. Siena.

1351. tertiary.

1350. Jubilee in Rome. Catherine of Siena became a Dominican 1352. Orcagna undertakes the Or S. Michele 1364. Madonna of Mercy Pienza, by Bartolo

tabernacle (work continued through 1359). di Fredi,

Giovanni dalle Celle in retirement at Val- Presentation tn the Temple, Florence, Acad-

lombrosa. emy, by Giovanni del Btondo.

; ; ; (ca). Composition by Niccolé Cicerchia of

1353. Bartolo di Fredi and Andrea Vanni the Passione di Gesu Cristo.

open a workshop in Stena. | , , 1365. Frescoes by Giovanni da Milano, S. 1354. Orcagna begins the Strozzi altarpiece Croce, Florence. (finished 1357).

| Sermons of Jacopo Passavanti, which were 1366. Andrea da Firenze painting the frescoes incorporated in his Specchio di vera pent- tn the Spanish Chapel (through 1367).

tenza. (ca.) Death of Nardo di Ctone.

‘ Boccaccio’s Corbaccio. Crucifixion, Pisa Museum, by Luca di 1355. Revolution in Siena: fall of the mer- Pomme. chant oligarchy and rise of the Dodicini. 1367. Old Testament cycle, Collegiata, S.

Conversion of Giovanni Colombini. Gimignano, by Bartolo di Fred. :

(ca.) Boccaccio’s De casibus virorum illus- Orcagna undertakes the St. Matthew altar- — trium. piece (completed 1369).

166

APPENDICES

Polyptych, Siena Gallery, by Luca di 1373. Goronation of the Virgin, Academy,

Tomme. Florence, chiefly by Jacopo di Cione. The Order of the Gesuati, consisting of ; ;

Urban V.eethe Spanish Chapel. ee Recurrence of the plague. 1368. Defeat of the Dodicini in Siena, and rise Composition of the Miracoli della B. Cateof the Riformatori. rina. Foundation of the Observant section of the |

Franciscan Order. 1375. Beginning of the war of Florence against

1369. Pope Gregory XI (War of the Eight Saints). Stigmatization of Catherine of Siena. 1370. Altarpiece by Jacopo di Cione, National Death of Boccaccio.

Civico, Rieti. .

Gallery, London (through 1371). ;

Altarpiece by Luca di Tommé, Museo 1378. Revolt of the Ciompi.

Foundation of the Brigittine Order. 1380. Death of St. Catherine. 1371. Triptych by Niccolo di Tommaso, Mu- 1382. Restoration of the Florentine oligarchy.

seo di S. Martino, Naples. Deposition, Montalcino, by Bartolo di Fredt.

1372. 1385. Restoration of the oligarchy in Siena.

, 167

APPENDIX II FACTS ABOUT THE PAINTERS THE following paragraphs are intended to provide the reader. with chronological information about the painters discussed in the present volume, some of whom are not well known. They will also substantiate the statements made above (p. 53) that almost all of these painters appeared as independent masters during the course of the ‘forties and ‘fifties. For these purposes I have brought together the relevant facts, in most cases actually everything that we know about the career of the artist. Information of this sort about Orcagna has already been given above (p. 13) and about Barna we know nothing. The most recent article cited for each painter usually contains a list of the paintings that are generally (but not always correctly) accepted as his at the present time. There the reader will also find a bibliography. I have added a few new facts, and proposed several new attributions. Narpo pi CIoNeE entered the guild of physicians and apothecaries in 1343 or 1344, at the same time as Orcagna. He is mentioned in Florence in 1351 and 1354, and perhaps in 1356 he painted the Madonna in the New-York Historical Society (Fig. 11). He made his will in 1365, and died before the middle of the next year.* ANDREA DA FIRENZE matriculated in the Florentine guild at the same time as the Cioni.

He is recorded as an inhabitant of the quarter of S. M. Novella at intervals from 1351 to 1376. The first commission of which we hear is that for the frescoes in the Spanish Chapel. On December 30, 1365, he agreed to complete these frescoes within two years from January 1, 1366. In 1377 he received a final payment for the mediocre frescoes of S. Ranieri in the Camposanto at Pisa.? GIOVANNI DEL BIonpo probably came to Florence from the Casentino and became a citizen

in 1356;* around this time, if the attribution I have proposed above is correct, he.was working as an assistant in the Strozzi Chapel (Fig. 17). There is a record of an altarpiece made by him in 1360,‘ and from the Presentation in the Temple of 1364 (Fig. 13) to the Madonna of 1392 at Figline a long series of his works, many of them dated, has survived. GIOVANNI DA. MILANO, a painter of Lombard origin, was in Florence serving as a master's

assistant in 1350. In 1363 he joined the Florentine guild. In 1365 he executed the frescoes in the Rinuccini Chapel in S. Croce (Figs. 247, 36, 37) and the Pieta in the Academy, the only two extant dated works by him. In 1369, when we last hear of him, he was working in the Vatican.®

1See H. Gronau, in Thieme-Becker, Kimst- Verdiana in S. Verdiana, Castelfiorentino,

lerlexthon, XXVI, 1932, P. 39. actually Sienese and close to Ugolino.

2See G. Poggi in Enciclopedia italiana, m1, To his known paintings should be added a 1929, p. 200; Vasari, Vite, ed. Milanesi, 1, p. somewhat repainted Annunciation, Bucknell 550; Supino in Thieme-Becker, 1, 1907, p. 452; University, formerly no. 181 in the National I, Taurisano, in Il rosario, ser. 111, vol. u1, 1916, Gallery, Washington (Preliminary Catalogue,

Pp. 217-230. Washington, 1941, p. 6g) and a Virgin Annun8 See G. Poggi, in Rivista d’arte, v, 1907, p. ciate in the W. B. Chamberlin sale, Christie's, 26. Also Milanesi in Vasari, 1, p. 669 note 2. Feb. 25, 1938, no. 21, as Jacopo di Cione.

Van Marle, Development of the Italian 5See P. Toesca, in Enciclopedia italiana, Schools of Painting, ul, p. 519, mistakenly XVH, 1933, pp. 248-249, and W. Suida in identifies with this altarpiece a panel of S. Thieme-Becker, XIv, 1921, pp. 127-130.

168

APPENDICES

JAcopo pi CIONE, a younger brother of Nardo and Orcagna, is first mentioned in documents in 1365, but his Madonna now in the Stoclet collection, Brussels, is dated 1362.° He entered the painters’ guild in 1368-1369, around the time when he completed the altarpiece

, of St. Matthew begun by his brother Andrea (Fig. 59). He painted the S. Piero altarpiece, parts of which are now in the National Gallery, London, in 1370-1371, and in 1373 he received a payment for the completion of the Coronation of the Virgin now in the Academy, Florence (Fig. 56). He is last mentioned in 1398.7 NiccoLo bi ‘Tommaso was registered in the Florentine guild in 1343-1344, and from 1358

Martino, Naples, is of 1371.5 : to 1376 we hear of him in Florence. His one dated work, a triptych in the Museo di S.

The common conception of the career of Nicco.d pit SER Sozzo TrEGLiacci has been shaped by the belief that the signed miniature of the Assumption in the Archivio di Stato, Siena, was painted between 1332 and 1336.° This miniature is undoubtedly one of the earliest works of the master, but its style suggests a date some ten years later than the one hitherto

given, and this is not conclusively controverted by any evidence in the manuscript itself. The Caleffo del Assunta in the Archivio di Stato, Siena, consists of copies of imperial privileges, papal bulls, pacts with feudal families and with other cities, and similar papers extending from 813 to 1336.%° On the verso of the miniature, the only one in the codex, is an inscription stating that the work of compilation and copying was completed in 1336. The miniature, however, could conceivably have been made later. It appears on folio 8, half of a binion that is bound around three binions (six folios) that contain the index. The corresponding folios 1 and 1v are blank, so that this binion containing the miniature might well _ have been added later. Furthermore, the script on folios 8 and 8v is different from that in the rest of the manuscript. The known documents referring to the painter, moreover, give us no‘certain indication that his career began before the late forties. In 1348 he was required to make a certain payment, and in 1353 (?), 1357, 1359, 1361, 1362 he held municipal office.» He died, probably of the plague, in June 1363. His one dated work is the polyptych of 1362 in the Pinacoteca, Siena, and all his panels seem to me to have been made in the last fifteen years of a career cut short by the epidemic.’? To the known group of his panel

paintings should be added the following: a Madonna Enthroned in the National Gallery, Washington, of which only the upper half survives (Fig. 120)!%; another enthroned Madonna, once in a Russian collection, which I shall publish elsewhere, and the altarpiece of

: See R. Offner, in Burlington Magazine, active in political life not only in 1355, as

LXIII, 1933, p. 83. Brandi (loc.cit.) has shown, but as late as

7See H. Gronau, in Thieme-Becker, xxv, 1368, See the chronicle of Neri di Donato for

1932, p. 39. that year: “Ser Sozzo Tegliacci impetrd la 8 Ibid., XXV, 1931, Pp. 439. Rocca Albegna .. .” (Rerum Italicarum ®Van Marle, op.cit., 1, fig. 377. scriptores, Bologna, Xv, part VI, 1932, p. 622).

10 See Indice sommario, R. Archivio di Stato, 18 No. 453. See the Preliminary Catalogue,

Siena, 1900, p. 15. Washington, 1941, p. 116, which cites the

14 See C. Brandi, in L’arte, ns. ml, 1932, attribution of the panel by F. M. Perkins to p. 223, and F. M. Perkins in Thieme-Becker, the early period of Luca di Tommé when he XXXII, 1938, p. 501. Brandi cites also a payment was working in collaboration with ‘Tegliacci.

for miniatures made in 1338 to one “‘Nic- In my opinion, on the other hand, the figure

cholello.” of the Madonna shows Tegliacci under the

22%¢ may be significant for an estimate of influence of Luca. ‘the age of the painter that his father was still

169

APPENDICES

the Assumption, mentioned above, in the Museum of Fine Arts, Boston (Fig. 25).’* The figures in the pinnacles and the roundels are, however, by a Florentine master contempo-

rary with Niccolo. .

The first record of the long career of BARTOLO pi FREp1 is of 1353, when he opened a workshop with Andrea Vanni.** From this time until his death in 1410 there is an almost uninterrupted series of notices of his activities as a painter and in the service of the city. Fis first extant dated work, which is also signed, is the Madonna of Mercy of 1364 in the museum at Pienza,’* but the signed Madonna at Cusona was certainly painted earlier. The Old ‘Testament cycle in the Collegiata, S. Gimignano (Figs. 80, 82) bears the newly discovered date 1367.7 The Deposition in S. Francesco, Montalcino, is dated 1382, and the , large altarpiece divided between the galleries of Montalcino and Siena is of 1388. He con-

tinued to work at least until 1397.28 ,

Though AnprEa VANNI maintained a workshop in Siena with Bartolo di Fredi from 1353 to 1355, he left town in 1354 on the first of a series of diplomatic missions to Naples and other cities. Of the numerous paintings of which there are records in Siena from 136% on, only the panels in the Siena Gallery possibly of 1394 or 1396, the Madonna in S. Francesco of 1398-1400, and the dull altarpiece of 1400 in S. Stefano have survived. He is mentioned for the last time in 1413, and died shortly afterward.” Gracomo Di MINo DEL PELLIccIAIO is mentioned as one of the three best Sienese painters in a Pistoiese record of about 1349. There are references to his work in Siena from 1354-1355 on, and he was admitted to the guild in 1355. The date on his Madonna at Sarteano, which has been read 1341 or 1342, is problematic, and F. M. Perkins has recently proposed 1353.”° ‘This very mediocre painting has almost none of the stylistic qualities that we have been considering; they appear, however, in his triptych of 1362 in the Pinacoteca, Siena (Fig. 61), and in other paintings, presumably later (and certainly better) than the Sarteano Madonna. He is last mentioned in 1389, and by 1396 he was dead.

The name of Luca p1 TomMME appears on the roll of the painters’ guild in 1356. In 1362 he signed with Niccold di Ser Sozzo the polyptych now in the Pinacoteca, Siena. His Crucifixion in Pisa is dated 1366, the polyptych of St. Anne in the Pinacoteca, Siena, 1367, and the altarpiece in the Museum at Rieti 1370. We last hear of him in 1389.73 14 See Catalogue of Paintings, Boston, 1921, arte senese, Siena, 1854, UN, pp. 36-37. The pp. 4-5, no. 3; F. M. Perkins, in Rassegna oeuvre of Bartolo di Fredi is more encumbered d’arte senese, 1, 190%, p. 74; Van Marle, op.cit., with the works of other, inferior, painters than

I, p. 495, all as Bartolo di Fredi. B. Berenson, that of any master of the fourteenth century. Italian Pictures of the Renaissance, Oxford, In a forthcoming study Professor Lucile Bush

1932, p. 312, as Luca di ‘Tommé. undertakes the task of disposing of the weeds. 18S. Borghesi and E. L. Banchi, Nuovi 19See A. M. Ciaranfi in Enciclopedia ital-

documenti per la storia dell’arte senese, Siena, tana, XXXIV, 1987, p. 975, and G. de Nicola in

1898, p. 27. Thieme-Becker, 1, 1908, pp. 464-465.

16 Cy Brandi, in Bullettino senese di storta 20 Bullettino senese di storia patria, ns. 1,

patria, 1932, p. 5. 1930, p. 243. Perkins compiles here the known 17K. Carli, in Critica d’arte, vit, 1949, pp. facts of Mino’s career.

170 }

75-76, 21 FF. M. Perkins in Thieme-Becker, xx11I, 18 Most of the documentary evidence is given 1929, p. 427; C. Brandi, in L’arte, n.s. 1, 1932,

by G. Milanesi, Document: per la storia dell’- pp. 223-236. |

APPENDICES

time he was probably dead.”

Of FRANCEsCco pi VANuUCCIO there is certain mention in 1367, and again in 1403, by which

Nicco.o pi Buonaccorso is first heard of in 1372 and 1376, when he held public office in Siena. There was once a polyptych, signed by him and dated 138%, in Costalpino. He died in 1388.8 FRANCESCO TRAINI is related in a special way to the painters discussed in the foregoing

paragraphs. His frescoes in the Camposanto at Pisa resemble their work in certain aspects of iconography and content, as we have seen. His style however is fundamentally different, associating itself rather with the Lorenzetti and other masters of the second quarter of the century. We first hear of him as a painter, in fact, as early as 1921. He was paid for the triptych in S. Catarina in 1344-45, and it is possible that he is the painter Francesco who is named in a document of 1363. In an article in Critica d’Arte, vit1, 1949, pp. 192201, G. Paccagnini argued that the inscription with Traini’s signature on the St. Dominic triptych is not authentic, and he drew from this premise a series of radical conclusions

with respect to the identity of the painter. The judgment of other students, however, including the present writer, that the inscription is original has been confirmed by a careful technical examination conducted recently by Prof. Piero Sanpaolesi, who has kindly

, communicated to me in detail the results. (Prof. Sanpaolesi will publish his observations shortly.) Paccagnini’s main argument thus falls to the ground. It may also be said that his identification of Traini with the St. Thomas rather than the St. Dominic altarpiece presents other serious difficulties. For whereas the style of the St. Thomas panel is profoundly Sienese and is a rather isolated phenomenon in Pisa,?* the author of the St. Dominic altarpiece ts intimately connected with earlier and later Pisan art—with Giovanni Pisano, by whom he was deeply influenced, and with contemporary and later Pisan painters, Cecco, Gera, Giovanni di Niccold, all of whom were dependent upon him, as I have shown. The St. Dominic master therefore conforms far more adequately to the long career of Traini in Pisa that the documents present. 22 See R. Offner, Art in America, xx, 1932, Italian Pictures, p. 183, to Fei.

Pp. 103. 24 Meiss, in Art Bulletin, xv, 1933, pp. 17228 See C. Brandi, in Thieme-Becker, xxv, 173. 1931, p. 431. To Niccoldé’s oeuvre should be 25 The recent attributions to this master by added a St. Lawrence, formerly in the State G. Vigni in Bollettino d’arte, Xxx1v, 1949, Pp. Museum, Gotha, and sold in 1932 at Sotheby 311-321, and by L. Coletti, I primitivi, Novara, (Moray and other collections, June 9, no. 110, Il, 1943, p. 65 note go, are not tenable.

p. 42). This panel was attributed by Berenson,

171

APPENDIX III SOME RECENT CRITICISM OF ORCAGNA AND OF THE FLORENTINE PAINTING OF HIS TIME UNTIL quite recently Florentine painting of the third quarter of the fourteenth century has been judged with values derived from the art of Giotto and his circle.’ Critics have pointed to the lack of qualities such as tridimensional space and linear perspective. The painters, particularly Orcagna—the only one who attracted much attention—seemed able neither to maintain Giottesque style nor to create a new one themselves. What originality they were believed to possess was defined chiefly as a more extensive assimilation of Sienese form. Inasmuch, however, as the style of Siena, particularly of Simone Martini, was judged

irreconcilable with that of Giotto, the works in which the two were combined were found lacking in unity and coherence.? The criticism of Sienese painting itself was quite similar.’ And although the discussion of single paintings from both schools sometimes contained fresh insights, it is only recently that attempts have been made to re-evaluate the art of the

time, at least that of Orcagna and a few of his Florentine contemporaries. George Gombosi was, I believe, the first. In a brief introduction to his little monograph on Spinello Aretino, published in 1926,‘ he characterized the style of Orcagna and Nardo in terms that were by then familiar—flat, linear, symmetrical, hieratic—but he perceived a

consistency in these qualities, and a sort of negative purposiveness. The art of these painters seemed to him deliberately opposed to that of Giotto and his followers, and since it incorporated some elements of pre-Giottesque painting, he described it as reactionary. He

referred the appearance of this reactionary style to Dominican scholasticism and to the failure of the masses to comprehend the style of Giotto and his followers, though he did not indicate why either of these things should have affected painting at this particular time, rather than earlier or later. His brief account of the art of the period was inadequate in other ways also. He distinguished, but not clearly, the “reactionary” style of the Cioni from a “Gothicizing” trend inaugurated by Giovanni da Milano and Andrea da Firenze,’ and he confused the reactionary style by tracing its origin to Francesco Traini, whose art he completely misunderstood. He tied the art of the Cioni to a revival of mural painting, overlooking the surviving frescoes of Maso and Taddeo and the records of lost murals, and he attributed this revival to the “architectonic” spirit of the Cioni.® 2 This view is already implicit in Vasari’s also in the painting of this period, especially Lives. Ghiberti wrote favorably of Orcagna; Orcagna’s. this master was however the latest Florentine ®See C. Weigelt, Stenese Painting of the whom he discussed in his vite and the only Trecento, New York, n.d. artist of his period. Ghiberti was interested 4 Spinello Aretino, Budapest, 1926, pp. 7-23. above all in the richly sculptured tabernacle 5 Just recently, on the other hand, Orcagna in Or San Michele, for which he reported the himself has been characterized as the leader of fabulous cost mentioned above (pp. 78-79). the Gothic movement in Florence (L. Becche2 See P. Toesca, Florentine Painting of the rucci, in Bollettino d’arte, xxxul, 1948, p. 155). Trecento, Florence, 1929, pp. 51-53; W. Suida, 6 Gombosi’s criticism of the Cioni has been | Florentinische Maler um die Mitte des vter- discussed in the course of reviews of his book zehnten Jahrhunderts, Strasbourg, 1905, pp. by R. Salvini (Kritische Berichte, vi, 1937, pp. 10-11; Vitzthum-Volbach, Italtentsche Maleret 119-124) and U. Procacci (Rtvisia d’arte, 1, und Plasttk des Mittelalters, Wildpark-Pots- —_—‘1929, p. 273). Both of these reviews seem to me

dam, 1914, p. 306; Van Marle, op.ctt., 1, p. unjustifiably negative. Procacci maintained 472. All these writers find some positive values that spatiality and planarity were not histori-

172

APPENDICES

Both Gombosi and, a few years later, Hans Gronau’ dwelt on only one aspect of Orcagna’s art, disregarding other opposed qualities that were described shortly afterward by Toesca: “Plastic modeling, at times rivaling the hardness and solidity of metal, combined with the treatment of the rest as pure surface ornament. . . .”* These conflicting qualities signified for Toesca as for others a disconcerting and unsuccessful attempt to join the style of Giotto and the Sienese. Roberto Salvini found in them, however, the essence of Orcagna’s art. His analysis of the style of the Strozzi altarpiece, published in 1937,° was not only exceptionally sensitive and subtle but was the first to admit tension and conflict as positive values. In this respect his judgment and the similar one in the present book reflect the developing criticism of the art of the sixteenth century and the character of the arts in our own time. The tension between line and volume, volume and plane, is expressive, Salvini said, of a psychic tension between a “spiritual striving or a religious activism” and a ‘‘tenacious affection for the nature of man.” He pointed to a similar fervor in the preaching of the contemporary Dominican, Jacopo Passavanti, and suggested that in both Passavanti and Orcagna it may have been a consequence of the plague. Salvini did not develop these conceptions. They are similar to, and they influenced, those that the present writer was forming at that time with respect to Sienese as well as Florentine painting, and which he set forth briefly in the course of articles published from 1933 to 1946.7° The main ideas of the present book were presented to the annual meeting of the College Art Association in January, 1948, and they were developed at greater length in a paper read before the Columbia University Seminar on the Renaissance in November, 1949.

The characterization of Florentine painting of the third quarter of the century in Frederick Antal’s recent book" is similar to Gombosi’s, but it has become part of a broad scheme of the development of Florentine painting in the fourteenth and early fifteenth centuries that is set within a framework:of social, or more precisely class, reference. Antal distinguishes two constant trends or styles in Florentine painting. One, represented in the fourteenth century by Giotto and Maso, is characterized by rationality and concentration, the other by emotionality, planarity, ‘‘realism of detail,’’ and symbolism. The former is the art of the wealthy, progressive, cultured section of the upper middle class, the latter, which he calls “popular,” is associated with the rest of Florentine society. Giotto’s art of the ‘‘intellectual” elite of the upper middle class was accompanied in the early fourteenth century by the styles of the S. Cecilia Master, Jacopo del Casentino, Pacino di Buonaguida, etc., ranged on a scale of “popularity” and corresponding to progressively lower social groups. Toward the end of Giotto’s career, and more decisively after his death, the upper middle class and its art entered into a decline (Taddeo Gaddi, Daddi). Then, in the third quarter of the century, when the lower middle class acquired a share in political power, the “progressive upper middle class’’ made artistic “‘concessions’’ to the lower middle class, contriving, through the agency of the Dominicans, to give its own art a more ‘‘popular”’ character. The

cal modes, but were adopted by the same ship, and iconography, for which it has been artist on different occasions. Several objections cited frequently in the preceding text. that Salvini raised, such as the impossibility | ®P. Toesca, loc.cit. of an actual revival of pre-Giottesque form in ° “La Pala Strozzi,” in L’arte, n.s, vii, 1937, the middle of the fourteenth century, seem to pp. 16ff. me a pedantic distortion of Gombosi’s mean- 10 Art Bulletin, Xv, 1933, pp. 151-152; XVII,

ing. 1936, pp. 447-448; XxvilI, 1946, pp. 7, 12-14.

7Orcagna und Nardo di Ctone, Berlin, 11 Florentine Painting and Its Social Back-

1937. This book, however, made valuable con- ground, London, 1947, pp. 187-217, 247-251. tributions to problems of chronology, author-

173

APPENDICES

art of Orcagna and Nardo is least compromised by the admission of “popular” qualities, but these increase progressively from Jacopo di Cione, Niccolé di Tommaso, Andrea da Firenze, Agnolo Gaddi, and Antonio Veneziano to Giovanni del Biondo, whose painting is most completely identified with the taste of the lower classes.'? I have elsewhere published a fuller summary of Antal’s thought, together with a detailed critique. I refer the reader to this review"* and to those written by other historians.’* In the course of a quite recent article devoted primarily to the attribution of several sculptures to Orcagna, W. R. Valentiner characterized the style of this master in much the same way as Salvini.**> He went on, however, to attribute the “lack of depth” in Orcagna’s compositions to the fact that he was primarily a sculptor. He related the religious intensity of Orcagna’s art to the economic and social crisis and the plague.’* He found evidence of the effect of the plague on this master in a wood crucifix in the Cappella della Pura of S. M. Novella, which he attributed, with question, to him. In it the body of Christ is covered with rather evenly spaced boils. The style of this work seems to me very different from Orcagna’s. It remains to be proved, I think, that the work is Tuscan or even Italian. Certainly the little paintings on the cross are not. 22 Essential to Antal’s thought at this point comments on some of Antal’s ideas that refer is the conception of a basic relationship be- particularly to the painting of the third quartween this group of painters and certain ter of the century see above, chap. 1, note 156; “popular” masters of the earlier part of the chap. Iv, note 15. century—Pacino, the Biadaiolo Master, etc. 144R. Krautheimer, in the Magazine of Art, (see above, pp. 6-7). This conception seems xu, 1948, p. 318; H. Gronau, in the Burlingto me to imply a misunderstanding of both ton Magazine, xc, 1948, pp. 297-298; W. Cohn,

groups. in Belfagor, 1948, pp. 742-744; IT. Mommsen,

Agnolo Gaddi and Antonio Veneziano, fur- in Journal of the History of Ideas, x1, 1950, thermore, actually belong to a later and quite pp. 369-379. different stage in the history of Florentine 15 Art Quarterly, x1, 1949, pp. 48-68, 113painting and they seem to me to be harbingers 128. of the style of the early fifteenth century. I 28 In his brief summary of these events, he suspect, in fact, that Antonio’s space and color described the political conflict as a struggle

and light were studied carefully by the between the nobility and the lower classes,

painters of the early Renaissance. but this was not an important aspect of the 18 Art Bulletin, XxxI, 1949, pp. 143-150. For civil strife of the time.

174

APPENDIX IV A NEW POLYPTYCH BY ANDREA DA FIRENZE THE curious painting in the National Gallery, London, whose authorship and formal peculiarities have been discussed above, exhibits an iconography that is as uncommon as its shape (Fig. 63). At the Madonna’s right are the half-length figures of Saints Mark, Peter Martyr, Thomas Aquinas, Dominic, and Luke; on the opposite side, John the Evangelist, Gregory, Catherine, Mary Magdalen, and a bishop labeled Thomas, undoubtedly Thomas of Canterbury. Thus three of the evangelists appear in an order that implies a symmetrical completion: Luke and John alongside the Madonna, and Mark at the extreme left. We should certainly expect Matthew at the extreme right, but he is missing, his place occupied’ by Thomas of Canterbury. The representation of as many as three evangelists in a polyptych is very unusual in the fourteenth century, and suggests a connection with a center of learning. Judging from Van Marle’s lists,? the only comparable representation in Florentine Trecento painting is, in fact, the four evangelists in the Spanish Chapel. The presence in the polyptych of Peter Martyr, Dominic, and Thomas Aquinas prove it to be Dominican, and there are cogent reasons for identifying this Dominican center as S. M. Novella, within the precincts of which Andrea da Firenze painted his monumental cycle of frescoes. All ten of the saints represented in the panel were titulars of altars in this church in the late fourteenth century.® St. ‘Thomas of Canterbury, very seldom represented in Tuscan painting, was the titular of one of them,‘ and as far as I can discover St. Matthew, who was omitted from the polyptych, had no altar in the church. This extensive correspondence can scarcely be accidental. The polyptych appears in fact to be a sort of hagiographic compendium of the church. Having gotten the painting into S. M. Novella, we can perhaps pursue it still further within the church. The most honored saint in the panel is Luke, who appears immediately to the right of the Madonna. Now Luke was rarely represented in Florentine Trecento paint-_. ing. Apart from his presence as one of the evangelists in the Spanish Chapel, Van Marle’s index lists only three examples of the fourteenth century, and one of these is in the cloisters of S. M. Novella.® St. Luke was, however, the titular of the Gondi Chapel of S. M. Novella, located immediately to the left of the choir.* The early date of the construction of this chapel is proved by the fragments of Cimabuesque frescoes preserved in the vaults, and Vasari tells us that in it Cimabue learned the maniera greca by watching Byzantine masters

*Pp. 47-48. saint’s feast in the church (G. Richa, Notizie 2'Van Marle, op.cit., VI, p. 122. istoriche delle chiese fiorentine, Florence, rv,

§See J. Wood Brown, The Dominican 1776, p. 68—the notice was kindly called to my Church of S. M. Novella, Edinburgh, 1902, attention by Martin Davies). Pp. 115-135. Wood Brown mentions only five The martyrdom of St. Thomas of Canteradditional altars, dedicated to Saints Law- bury is represented in a Dominican miniature rence, Louis, Elizabeth of Hungary, Michael, by the shop of Pacino in the Cini collection

and the Resurrection of Lazarus. (formerly Hoepli) (Offner, Corpus, sec. 111, vol. *The altar of the Minerbetti family, sup- I, pt. u, pl. x4). Perhaps the codex to which posedly descendants of refugee relatives of the this miniature belonged was also made for Saint (see Wood Brown, op.ctt., pp. 121-122). S. M. Novella.

In his will of 1308, Maso de’ Minerbetti ®’Van Marle, loc.cit.

stipulated that he was to be buried near the * Wood Brown, op.cit., p. 132. Richa, op.cit.,

altar of St. Thomas, and he left a piece of It, p. 6g. land to provide for the celebration of the 175

APPENDICES

paint frescoes.7 But much more relevant at the moment is the biographer’s statement that there was in the chapel a “tavola” representing the Madonna, Luke, and other saints (notice the enumeration!) by Simone Martini.’ And this is the painter to whom Vasari ascribed the frescoes in the Spanish Chapel! But if the painting was in the Gondi Chapel, where could it have been placed? Vasari describes it simply as a “‘tavola,” and in a chapel a polyptych would be placed on the altar. The iconography and the shape of the work are indeed those of a retable, but the size is not. It is only about 42 inches wide,® whereas the width of altarpieces, including those comparable to the London polyptych in shape, is usually no less than 60 or 70 inches. Was it made by

Andrea then for a small private altar of one of the Gondi, perhaps as a replica of the polyptych which stood on the altar of the family chapel? If this is true, then the design of the painting in London, together with Vasari’s statement, suggest that the altarpiece in S. M. Novella was painted by Andrea also.

* Vasari, ed. Milanesi, 1, p. 247. Richa 8 Vasari, ed. Milanesi, 1, p. 549. (loc.cit.), quoting the Sepoltuario of the ®The panel of the Madonna is 11 inches church, says that the construction of the high, the others 514 inches, exclusive in each chapel did not begin until after 1325, instance of the frame.

176

INDEX* Tue term “follower” is used throughout the Index to signify all the degrees of dependence of one painter upon another that are more precisely conveyed—as they are in the text—by terms ranging from “workshop of” to “remote follower of.”

The author wishes to express his gratitude to Mrs. Esther Mendelsohn and Mrs. Louise W. Carlson for their work on the Index, and he feels especially thankful to Miss Helen M. Franc, who expanded it and gave it its final form. Abraham and the Angels, 34 n. 82 Andrea di Bartolo, 22 n. 34, 35, 61 ——-, S. Maria della Pieve, Lo-

Acciaiuoli, Angelo, 97 n. 6 n. 6, 194, 140 n. 35, Fig. 131 renzetti, Pietro, altarpiece, 25

Acciaiuoli Company, 62, 64 Andrea di Bartolo—Followers, 134 Aristotle, 5, 103

Acheiropoieta, see Christ—Miracu- n. 6 Arius, 100 lous Image Andrea di Niccolo, 121 n. 65 arrows, 77 Adam and Eve, 55, 148, 151 n. 83, Angelico, Fra, 77, 113 nN. $4, 140 Nn. Arti maggiori e minort: Arte della Fig. 160 g2 and 33, 155 n. 106 Calimala, 62, Arte del Cambio, Adoration of the Magi, 46 n. 131, 149 Angelico, Fra~Followers, 77 n. 18, 62, Arte della Lana, 62, Arte dei Agnes, St., 47 n. 133 140 Nn. 32 Medici e Speziali, 63 n. 16, 69 n. Agnolo di Tura, 65-67, 69 n. 45, 80 Angers, Musée des Tapisseries, Seg- 99, 168ff., Arte della Seta, 49, 72,

Aix-en-Provence, Musée, Master of na—Follower, Last Judgment, 76 see also guilds

Flémalle, Madonna, 42 n. 118 n. 10 and 12 Ascension of Christ, 91, qu n. 111,

Alberti, Leone Battista, Treatise on Anne, St., 48 n. 139, 110, 110 n. 26, 41, Go, 94 N. 1, 95, 97, 150

. Painting, 123 170 Ascent of the Cross, see Christ Alberto di Arnaldo, 3, 3 n. 2 Annunciation, 12 nm. 10, 21 n. 28, Mounting the Cross Albertus Magnus, 154 n. 98 and 101 22 n. 34, 23 n. 35 and 40, 143, Asciano, Collegiata

altarpieces—forms, 12ff., 47ff., 96, 149ff., 154, 168 n. 4 Giovanni di Paolo, Assumption of

176 Annunciation of the Death of the the Virgin, 21 n. 28

Altenburg, Lindenau Museum Virgin, 150 n. 79 Osservanza Master, Birth of the “Associate of Luca di Tommé,” Annunciation to the Shepherds, 149 Virgin, 20, Fig. 19 Crucifixion (no. 33), 34 n. 84 n. 70 ———, S. Francesco, Barna da Siena, Daddi—Follower, Coronation of Anonimo (Dante commentator c. Madonna, 54 the Virgin (no. 13), 43 N. 121 1395), 5 n. 7 Ascoli Piceno, S. Agostino, Ghissi,

Altichiero, 1395 n. 12 Anselm of Canterbury, 127ff., 151 Francescuccio, Madonna of HuAmbrose, St., 16 n. 18 n. 85 mility, 137 n. 20 Ammanati, Bartolommeo, 145 n. 53 Anthony Abbot, St., 46, 53 n. 160, asp and basilisk (Psalm xc), 50

Amor, 61, 107 83, Fig. 61 Assisi, S. Damiano (formerly), CruAmsterdam, Kijzer-Lanz Collection Anthony of Padua, St., 114, 137 cifix, 106

Rinuccini Master (?), Baronci trip- Antichrist, 78 Assisi, S. Francesco, Lower Church

tych, 53 antiquity: influence on art, 147, Giotto—Followers: Christ Teach-

Sienese, late 14th cent., Sudarium, 157ff., 165, influence on literature, ing in the Temple, 56 n. 164,

38, Fig. 46 157ff., 161ff., 164ff. Humility, 115, Fig. 167, Mar-

———, Rijks Museum Antonio Veneziano, 57, 174 riage of St. Francis to Poverty,

Angelico, Fra, Madonna of Hu- Antwerp, Musée des Beaux Arts 109, 111, Fig. 102, Nativity, 147,

mility, 155 n. 106 Simone Martini: Crucifixion, 150 Obedience, 115, Fig. 167, Presen-

Bulgarini, Bartolommeo—Follow- n. 76; Deposition, 49 tation in the Temple, 19 . er, Madonna of Humility, 134 Van Eyck, Jan, Madonna, 143 Lorenzetti, Pietro, Madonna, 144

n. 7 ———-, Musée Mayer van den n. 50

Ancona, Pinacoteca Bergh, Flemish sculpture, 15th Lorenzetti, Pietro—Followers, ResCarlo da Camerino, Madonna of cent., Madonna of Humility (no. urrection, 39 nN. 107 Humility, 137 n. 20 185), 142 n. 46, Fig. 152 Master of ,St. Francis, StigmatizaTitian, Madonna, 139 Apocalyptic Woman (Apoc. xu, 1-4), tion of St. Francis, 119

Andrea da Bologna, 1357. 11 41, 42 NM. 120, 1392 n. 1, 141, 144 ———, S. Francesco, Treasury, Andrea da Firenze, 4, 23, 23 n. 36, n. 50 and 51, 159ff., 156, Fig. 164 portable cross, c. 1325, Marriage 31, 33ff., goff., 41, 46, 47ff., 47 n. Apocrypha: Proto-Evangelium of of St. Catherine of Alexandria, 132, 53ff., 57, 72ff.. 79, 83ff., 91, 94- James, 25 n. 46, go n. 67, Pseudo- - 308 104, 107, 131, 166, 168, 172, 174, Matthew, 25 n. 46, 27ff., go n. 67 ————, §. Francesco, Upper Church

275 ff., Figs. 91, 38, 41, 44. 47, 60, Aquinas, Johanna, 135 Master of St. Francis Cycle, Stig-

63-64, 93-98 Aquinas, Thomas, St., see Thomas matization of St. Francis, 120,

Andrea da Fitenze—Followers, 94 Aquinas, St. Fig. 116

n. 1 Arezzo, Museo Civico,- Cioni~Fol- nave window, 13th cent., Stigma-

Andrea da Lucca, 89 lower, Madonna, 42 n. 119 tization of St. Francis, 119 n. 53 © Works of art that have changed hands since the first edition of this book are listed at the end of the index with their new as well as their old addresses.

INDEX “Assistant of Daddi,” 11, 45 n. 130, Madonna of Humility, 142 n. Daddi, Bernardo—Follower, trip-

66, 94, 137ff., Fig. 139 46 tych (no. 1064), 147 n. 62

“Associate of Barna," 110 n. 24, Barcelona, Muntadas Collection, Duccio—Follower, Madonna (no.

110ff., 112, Fig. 107 Spanish Master, 14th cent., Ma- 1710), 43 NM. 121 34 n. 84, 38 n. 104,.Fig. 50 ———, Museo de la Ciudadela, sumption of the Virgin (no.

“Associate of Luca di Tommé,” 34, donna of Humility, 141 n. 38 Florentine Master, c. 1385, As-

Assumption of the Virgin, 11 n. 7, Spanish Master, 14th cent., Ma- 1089), 22 n. 33

13, 21ff., 22 nN. 33, 41, 54, 113, 169, donna of Humility, 141 n. 38 Gaddi, Taddeo: Pentecost, 3eff.,

Fig. 8, 21-22, 25 ————, Plandiura Collection, Span- Fig. 40, triptych, 61 n. 6, 147,

astrology, 66 n. 27, 75 ish Master, 14th cent., Madonna Fig. 159

Augustine, St., 16 n. 18, 712 mn. 54, of Humility, 141 n. 38 Mantegna, Presentation in the 116 n. 41, 153 n. 94, 162 Bardi Company, 62, 64, 73, 158, 166 Temple, 124 n. 74

Augustinians, 86, giff., 103 n. 28, Barletta, S. Andrea, Romanesque Master of Flémalle—Circle, Ma-

125, 144 sculpture, Madonna del Latte, 146 donna of Humility, 142 n. 46, 143 yl, Tiburtine Barna da Siena, 7, 54ff., 80, 84, 92, (Florentine), Madonna of HuAvarice, 4off., 71ff., Figs. 71, 74 97, 149 n. 70, 150 n. 76, 168, Figs. mility, 139, Fig. 142 Averroes, 51 n. 148, 100, 103ff. 46, 78-79, 81, 92 Master of the Straus Madonna Avignon, 66 n. 28, 82, 89, 98 n., 8, Barda da Siena—Followers, 21 n. 28, (Sienese), Anunciation (no. 102, 125 61 n. 6; see also “Associate of Bar- 1142), 21 n. 28, 141 n. 71

Augustus, Emperor—Vision, see Sib- n. 57 Master of the Straus Madonna

———, Musée Calvet, Niccold di na” Sassetta and Assistants, Assump-

ity, 138 n. 23 n. 75 stroyed).

Pietro Gerini, Madonna of Humil- Barnaba da Modena, 147 n. 61, 150 tion of the Virgin, 21 n. 28 (de-

———-, Notre-Dame-des-Doms, Por- Baronzio da Rimini, 149 n. 70 Simone Martini—Follower, Ma-

tail Romain, Simone Martini, Ma- Bartholomew, St., 47 n. 133 donna of Humility, 41, 132 n. 3,

donna of Humility, 133, 141, Fig. Bartolo di Fredi, 7, 7 n. 13, 19ff., 25, 139H., 137, 155f., Fig. 128

130 27, 28 n. 59, 43 N. 124, 45, 46 n. Zeitblom, Sudarium, 37 n. 97

131, 48ff., 53ff., 54 n. 162, 64, 68, ————, Kauffmann, Richard von,

“Babylonian captivity,” 82, 89, 91, 80, 92, 166ff., 169 n. 14, 170, Figs. Collection (formerly), Francesco

102; see also Avignon; Papacy 15, 20, 54, 66, 80, 82 di Vannuccio, Madonna of Hu5O Nn. 147, 51ff., 94, Fig. 74 124, 147 Nn. 61 ———, Kupferstichkabinett Baldesi, Turino, 79 Bartolomeo da S. Concordia, 104 n. Florentine miniature, 14th cent.,

Bad Government, representation of, Bartolo di Fredi—Followers, 43 n. mility, 1394 n. 7

Balducci, Matteo, 121 n. 65 29 Pentecost (no. 643), 33 n. 81

Balduinus of Ford, 114 n. 38 Bartolommeo da Camogli, 132, 133 Hamilton Bible, Neopolitan, 14th

Baltimore, Walters Art Gallery N. 4, 144, 155, Fig. 129 cent., Pentecost, 39 n. 108 Carlo da Camerino, Madonna of Bartolommeo Dominici, 105 Pacino di Bonaguida—Follower, Humility, 137 n. 20 Bartolommeo of Siena, 161 n. 14 miniature, Resurrection, 38 n. Caterino, Madonna of Humility, Bartolus, 75 105 136 n. 18 Battuti, societies of, 81, 154 n. 103 ———-, Moll Collection (formerly), Ceccarelli, Madonna, 42 n. 119 Bayonne, Musée Bonnat Orcagna—Follower, Presentation Master of the Straus Madonna Cioni—Follower, tabernacle, 93) in the Temple, 18 n. 22, 27, Fig.

(Florentine), Madonna of Hu- Orcagna—Follower, Madonna of 18

mility, 139 n. 26 Humility, 138 n. 23 ———, Somzée Sale, 1904, Gaddi,

Venetian Master, 14th cent., Ma- Beatitudes (Luke 1, 48-52), 153 Taddeo—Pupil, Madonna del Latdonna of Humility, 136 n. 18 Beatus of Liébana, Commentary on te, 147 n. 62 MS 91, Hours, French, 14th cent., the Apocalypse, Mss, 155 Nn. 105 ———, Staatsbibliothek

141 1. 40 Bedford Master, see Master of the MS 4°. 42, Hours, Netherlandish, Ms 166, Hours, Flemish, c. 1425, Bedford Hours Sudarium (fol. 15), 37 n. 97 Madonna of Humility (fol. Belcari, Feo, La vida del Beato Gio- Ms Theol. lat. 561, Beatus, Span61), 143 n. 47 vanni Colombini, 86, 86 n. 64 ish, Apocalyptic Woman, 155 n.

n. 46 60 Fig. 113

ms 170, Hours, Flemish, ¢. 1420- Bellezza corporale, 98 n. 9 105

25, Madonna of Humility, 142 Bellini, Giovanni, 40 n. 115, 120 n. Berlinghieri, Bonaventura, 117ff.,

Ms 172, Hours, Flemish, ¢. 1435, Benedictines, 5: m. 154 Bernard, St.: 153 n. 94, legend, 152, Madonna of Humility, 142 n. Benincasa, Catherine, see Catherine Fig. 158

46 of Siena, St. - Berne, Museum, Daddi, Bernardo,

Ms 211, Hours, c. 142%, Madonna Benvenuto da Imola, Commentary and Assistant, Madonna _ della

of Humility, 142 n. 46 on Dante’s “Divine Comedy,” 4ff., Culla, 60 n. 2

MS 215, Hours, Netherlandish, c. 6 n., 9, 157 Biadaiolo Master, see Master of the "1410, Madonna of Humility, Benvenuto di Giovanni, 113 n. 95 Biadaiolo Codex

142 n. 46 bequests, see patronage Bianco da Siena, 85, 87

Ms 232, Hours, Boucicaut Master Berlin, Kaiser-Friedrich Museum Biblia pauperum, 109 n. 23 —Follower, c. 1410, Madonna of Angelico, Fra~Follower, Last Bigallo Company, 79, 100, 100 n.

Humility (fol. 191), 140, 142, Judgment, 77 n. 18 17s See also Florence, Bigallo

Fig. 153 Bellini, Giovanni, Resurrection, Bigallo Master, see Master of the

ms 246, Hours, Flemish, c. 1435, 40 n. 115 Bigallo Crucifix 178

INDEX

Binity, 35 n. 87 ——_—-, Museum of Fine Arts St. Catherine of Alexandria, Birth of the Virgin, 2off., ¢2, 22 n. “Associate of Barna,” Marriage of 110 N. 25

34, 61, Figs. 19-20 St. Catherine of Alexandria, Sienese Master, early 14th cent.,

Black Death, 54 n. 162, 65ff., 73, 110ff., 110 n, 24, 112, Fig. 107 tabernacle (no. 34), Stigmatiza74ff., 78ff., 87, 88, 90, 93, 94, 102, Jacopo del Casentino—Circle, pin- tion of St. Francis, 120 n. 62

104, 157ff., 159, 165, 16618, 169, nacle of panel, Mystic Mar- Buffalmacco, 3

173 ff. riage of Christ and the Virgin, Bulgarini, Bartolommeo, 21 n. 38,

Blood of Christ, 89 109, Fig. 99 22, 56, 134 n. 7, 135 nm. 11, 148 n. .

Boccaccio: 10, 69, 71, 78 n. 25, 157- Niccold di Ser Sozzo Tegliacci, 63, 149 Nn. 71 165, 166ff., Ameto, 158, Amorosa triptych, Assumption of the Bulgarini, Bartolommeo—Followers,

visione, 148, 160, commissions for Virgin, 22, 160ff., Fig. 25 134 n. 7, 195 mM. 11

altarpieces at Certaldo, 10, 162, Simone Martini—Follower, Cruci- | Buonaccorsi Company, 62 n. 13, 73

Corbaccio, 70, 159ff., 162, 166, fixion, 149 n. 69 Byzantine painting, 24, 38, 44, 46,

Dante Commentary, 160, Decame- Vanni, Andrea, Sts. Peter and 143 n. 49, 148, 155 n. 105, 158,

ron, 6 n. 9, 65, 65 n. 24, 157€f., Paul, 23 n. 40, 46, 83, Figs. 175K. 161, 166, De casibus virorum illus- 62, 127

trium, 16off., 166, De claris muli- Botticelli, 55, 165 Cambrai, Bibliothéque, ms 422,

eribus, 160, defense of poetry, Boucicaut Master, see Master of the Apocalypse, 13th cent. 155 mn.

163ff.. De genealogiis deorum ’ Boucicaut Hours 105

gentilium, 71 -n. 52, 162ff., Fiam- Brescia, SS. Nazaro e Celso, Titian, Cambridge, Corpus Christi College,

metta, 158ff., 160, Filocolo, 158, Resurrection, 40 n. 115 Ms xvi, Chronica of Matthew Par-

Filostrato, 158, 160, Homer, trans- Bride of Christ, 108, 108 n. 15, 109; is: Stigmatization of St. Francis, lation of, 162ff., Ninfale Fiesolana, see also Catherine of Alexandria, 119 n. 55, Sudarium (fol. 221b),

158, Teseide, 158, Trattatello in St.; Catherine of Siena, St. 36 n. 93, 37 Nn. 95 laude di Dante, 160, 163 Bridget, St., 76 n. g, 85, 91, 106 n. ———, Fitzwilliam Museum

Bologna, Biblioteca Universitaria, | 6, 149 0. 73, 153 1. 94 Pacino di Bonaguida, Miniature,

MS 1574, Stigmatization of St. Brigittine Order, 167 Resurrection, 38 n. 105

Catherine, 121 n. 65 Brooklyn (N.Y.), Brooklyn Museum, Psalter, probably of Isabelle of

————~, Misericordia, Lippo Dalma- Andrea di Bartolo, Madonna of France, Stigmatization of St.

sio, Madonna of Humility, 135 n. Humility, 134 n. 6, 140 n. 35 Francis, 119 n. 54

11 Bruni, Lionardo: Istoria Fiorentina, ———, Girton College, Francesco di

———, Museo Civico, ms 17, 13th 15 n. 5, Life of Dante, 160 n. 12 Vannuccio, Assumption, 22 n. 33 cent., Stigmatization of St. Fran- Brussels, Bibliotheque Royale ———, Pembroke College Library, cis (fol. 208v), 119 n. 53 and 58 MS 11060/1, Jacquemart de Hes- MS 120, Gospels, 12th cent., Binity,

————, Pinacoteca din, Hours, Coronation of the 35 n. 87

Lippo Dalmasio, Madonna of Hu- Virgin, 150 n. 75 ———, Trinity College, Ms R.16.2, mility, 195 nm. 11 MS 11201, Bondol, Jean—Atelier, Apocalypse, 13th cent., 155 n. 105

Master of the Stefaneschi Altar- Economics of Aristotle, Peasant Cambridge (Mass.), Harvard Uni-

piece, altarpiece, 114 Women (fol. 359v), 151 n. 83 versity, Fogg Museum of the Virgin, 109 n. 22 da Firenze—Follower, Eight Saints 148 n. 63 ———, S. Giovanni in Monte, Lip- 47 Nn. 133 Cioni—Follower, Man of Sorrows po Dalmasio, Madonna of Hu- ——, Stoclet, A., Collection (no. go), 124 n. 76 mility, 195 n. 11 Andrea di Bartolo, Madonna of Daddi, Bernardo—Follower ( trip-

Simone dei Crocefissi, Coronation ———_—,, Market (formerly), Andrea Bulgarini, Bartolommeo, Nativity,

——~, S. Maria dei Servi, Cima- Humility, 134 n. 6 tych, 149 n. 69

bue—Follower, Madonna, 48 n. Giovanni di Paolo: Marriage of Duccio—Follower, tabernacle

139 St. Catherine of Siena, 113, (no, 132), 119 n. 58

—_—., S. Martino, Simone dei Fig. 104, St. Catherine of Si- Lorenzetti, Ambrogio, CrucifixCrocefissi,, Madonna of Humility, ena Offering Christ Her Heart, ion, 130, 150 n. 76, Fig. 126

135 Mm. 1 . 114, Fig. 112 Sienese Master, 14th cent., Christ

———, S. Salvatore, Vitale da Bo- Italian Master, late 13th-early 14th with Virgin and St. John (no.

logna, altarpiece, 150 n. 75 cent., Nativity and Adoration, 18b), 61 n. 62

——, University, 103 149 Nn. 70 Vanni, Andrea, Annunciation, 23 Bonaventura, go, 128 n. 87, 151 n. Jacopo di Cione, Madonna, 169 n. 40

85, 154, 154 n. 109; see also Fran- Sienese Master, 14th cent., La- Vanni, Lippo, antiphonary, Res-

cis of Assisi, St-—legends mentation, 61 n. 6 urrection, 39 n. 110

Bondol, Jean—Follower, 151 n. 83 Simone Martini—Follower, Vir- cantari, 130ff.

Boniface VIII, Pope, 102 gin Annunciate, 149 n. 71 cantastorie, 130ff.

Bonsi, Giovanni, 13 n. 11 Vitale da Bologna (?), Corona- Caritas, 5off., 61, 114ff., 116 mn. 42,

Borgo San Sepolcro, Pinacoteca, Si- tion of the Virgin, 150 n. 75 120, 151, Figs. 72, 109-110, 169

enese Master, 14th cent., altar- ————, Van Gelder, Mme. M., Col- Carlo da Camerino, 137 n. 20, 149

piece, 39 n. 107, 49 N. 141 lection, Benvenuto di Giovanni, n. 72, 151 n. 84, 154 n. gg and 101 Boston, Gardner Museum Marriage of St. Catherine of Si- Castagno, Andrea del, go n. 115

Giotto—Follower, Presentation in ena, 118 Nn. 35 Castelfiorentino, S. Verdiana, Ugolithe Temple, 19 n. 24 Buccio di Ranallo, 108 n. 16 no (?), St. Verdiana, 168 n. 4 Giuliano da Rimini, altarpiece, Budapest, Museum Caterino, 136 n. 18, 140

120 n. 61 Giovanni dal Ponte, Marriage of Catherine of Alexandria, St.: 10 n. 179

INDEX 5, 11, 12, 57, 107ff., 121, 175, Figs. 61, Giving Authority to Sts. Peter Company of the Hat, 68

1, 6, Disputd, 14 n. 13, Legends, and Thomas Aquinas, off., 27, 35, Company of Or San Michele, 78; 107, 108, 111ff., Marriage, 23 n. 45f., 57, 98, 99, Fig. 1, Giving see also Florence, Or San Michele 35, 108ff., 108 n. 17, 113, Figs. Keys to Peter, 99 (see also Christ Company of St. George, 68 100, 105-107, Receiving Image of Giving Authority to Sts. Peter Company of St. Luke, 79 n. 32 the Madonna from a Hermit, 107, and Thomas Aquinas), Holy Face, condottieri, 68ff., 166 Fig. 103, Vision of the Madonna, 35ff., 38, 46, Figs. 42-43 (see also confraternities, 59 ff., 79 mn. 32, 144

107 Sudarium), Hurling Arrows or n. 51

Catherine of Siena, St.: 80 n. 96, 81, Lances, 77, Infancy Cycle, 60 (see contrapposto, 146ff., 156, 157 S5ff., 88ff., g2, 104, 105ff., 116ff., also Adoration of the Magi; Na- Coppo di Marcovaldo, 38, 41

125, 129, 191, 163 n. 19, 166ff., tivity; Presentation in the Tem- Corbaccio, see Bowcaccio

Cenacolo, 88, 91, 92, 104, 105, 125, ple; etc.), in the Garden of Geth- Cordova, Obreria del Cabildo, Span-

Dialogo della divina providenza, semane, 118, in Majesty, off., 12 ish Master, 14th cent., Madonna 116, 131, Offering Christ Her n. 10, 38, o8ff., Figs. 1-4, Mystic of Humility, 141 n. 39 Heart, 113ff., Fig. 112, Legends, Marriage to the Virgin, 109, Fig. Coronation of the Virgin. 31, 43ff., 107 n. 8 and g (Legenda maior, 99, Miraculous Image, 9 -n. 3, 45, 47 N. 133, 109, 109 N. 22, 113 105 n. 1 and 3, 112ff., 117, Le- Mounting the Cross, 129, Fig. 122, N. 34, 214, 136 n. 16, 139, 149, 154

genda minor, 107 n. 7, Miracoli Passion Cycle, 60, 129 (see also n. 101, 167, 169, Figs. 4-58 della beata Caterina, 88 n. 74-76, Christ Before Caiaphas; Cruci- corpses, representations of, 42 n. 105ff., 111ff., 167), Libro della fixion; Way to Calvary; etc.), Re- 120, 74ff., 75 n. 4, 83, 154 M. 100, divina dottrina (see Dialogo del- ceiving Heart Offered by St, Cath- Fig. 52 la divina providenza), Marriage, erine of Siena, 113ff., Fig. 112, Corpus Christi, 94, 97 111ff., Figs. 104, 121, Stigmatiza- Teaching in the Temple, 56, 61, Corsham Court (Wiltshire), Lord

tion, 106, 117, 121, 167, Fig. 117 Fig. 81 Methuen Collection, Master of

Cavalca, Domenico, 84 Christ Child Carrying the Cross, 87 the Fabriano Altarpiece, Mar-

Cavalcanti, Mainardo, 161 Christian Learning, 51 n. 148, 94ff., riage of St. Catherine of Alexan-

Cavallini, Pietro, 71, 134, 157 96, 97, 9off., 104, Fig. 95 dria, 110 n. 24

Cavallini, Pietro—Follower, 38 n. Church, representations of, 97ff., Corsini, Pietro, 97 n. 6

102, 150 n. 76 100, 116, Fig. 108 Cortona, Gest, Signorelli, Luca,

Ceccarelli, Naddo, 42 n. 119 Church Suckling the Faithful, 116, Immaculate Conception, 154 n.

Cecco di Pietro, 171 Fig. 108 103 Cennini, Cennino, 4 Cicerchia, Niccold di Mino: Pas- Costalpino, S. Margarita (former-

Certaldo, SS. Michele e Jacopo (for- stone di Gest Cristo, 125ff., 130, ly), Niccold di Buonaccorso, polmerly), triptychs commissioned by 162, 166, Resurrezione di Gesu yptych, 171

Boccaccio, 10, 162 Cristo, 125ff. Cristofano di Bindoccio, 122 n. 69

Cevoli (near Pisa), Pieve, Lorenzo Cimabue, 3, 5, 175ff. critical opinions on later Trecento di Niccolo—Follower, Madonna Cimabue—Foilowers, 9 n. 2, 48 n. painting: Antal, Frederick, 173ff.,

of Humility, 138 n. 23 139, 121 n. 64, 175 174 mn. 12-14, Gombosi, George,

Chantilly, Musée Condé, Florentine Ciompt, 63, 167 172ff., Gronau, Hans, 173, ProFollower of Spinello Aretino, Cioni, 172; see also Jacopo di Cione; cacci, Ugo, 172 n. 1, Salvini,

miniature, Resurrection, 39 n. 109 Nardo di Cione; Orcagna, Andrea Roberto, 172 n. 6, 173, 174, Toes-

Charity, see Caritas Cioni—Followers, 15 n. 16, 21 n. 27, ca, Pietro, 172 n. 1, 173, Valen-

Chartres, Cathedral: south porch, 26 n. 51, 31, 33, 34 n. 83, 35ff., 42, tiner,.W. R., 174

Caritas, 116 nm. 42, west portal, 43 n. 125, 46, 49 Nn. 142, 54, 110 n. Crivelli, Carlo, 113 n. 36, 154 n. 103,

12th cent. relief, Presentation in 24, 112 N. 30, 122, 123ff., 124 n. 76, 165 )

the Temple, 23 138 n. 25, 199 n. 29, Fig. 42; see Crossing of the Red Sea, 68, Fig. 80

Chateauroux, Museum, Gerini— also Master of the Rinuccini Crucifix, 41, 45 n. 130, 106, 117, 121,

Follower, Madonna of Humility, Chapel 127, 194

199 Nn. 29 Cividale, Museo, MS LXXXvI, late Crucifixion, 6 n. 10, 14, 14 nm. 1, 21

Chatillon-sur-Seine, St. Vorle, Ma- 13th cent., Man of Sorrows (fol. n. 28, 23, 23 n. 36-37, 35, 46, S3ff.,

donna, 152 n. 86 16), 124 n. 75 o4ff., 97, 109 N. 21, 119 n. 58, 122, Master, 14th cent., Madonna of 102 Figs. #0, 60, 92, 96, 124, 126

Chianciano, Municipio, Florentine Clement VI, Pope, 37 n. 97, 80, 81, 122 n. 69, 127, 130, 149ff., 166, 170,

Humility, 198 n. 25 Cleveland, Museum of Fine Arts, Cruelty, 49, 51ff.

Chicago, Art Institute, Andrea di Carlo da Camerino, Madonna of Lu cades, 8, 89 . Bartolo—Follower, Madonna of Humility, 137 n. 20, 149 Wh. 72, Cusona, Pieve, Bartolo di Fredi,

Humility, 134 n. 6 151 n. 84, 154 n. 99 and 101 Madonna, 170

—_-_—, Worcester Collection, Carlo Colmar, Unterlinden Museum, ,

mility, 197 n. 20 , .

da Camerino, jmadonna of Hu- tion gone} we aTpiec® Resurrec- Daddi, Bernardo, ff. 6, 26, 29 n. Chieti, Palseze Comunale, Marchi- Cologne, Rheinisches Museum, Nic- 6o, a 45 n. ~~ 53, 60 n. 2, 66, gian Master, 15th cent., Virgin cold di Buonaccorso—Follower, D at ” Bone “aa "Pal Nn. 73+ 173 Nourishing Human Souls, 152 n. Crucifixion (inv. no. 619), 122 n. addi, bernardo—rollowers, 43 Nn.

86 69 121, 61, 147 n. 62, 149 n. 69 and

children, representation of, 61 Colombini, Beato Giovanni, 72, 73. 715 see also “Assistant of Daddi

Christ: Admonished by His Par- 85, 86ff., 89, go, giff., 104, 161, 166 Daniele (Minorite in Florence), 78 ents, 61, Before Caiaphas, 56, Colonna, Bishop Giacomo, 163 n. 18 Dante: Divine Comedy, 4ff., 69, 98, Commending Virgin to St. John, Company of the Bigallo, 79, 100 98 n. 9, 103, 149 N. 72, 153, 157 n.

180

INDEX )

g, 16g n. 21, Lives of, 160, Vita di Bonaguida—Follower, Dossal, Felice da Massa, Fra, La Fanciul-

NuUOVA, 125 47 lezza di Gest, 91 n. 87, 125 cio 150 n. 79, Figs. 67, 77. 137 Nn. 20 David, 99, 113 Duccio—Followers, 22 n. 32, 43 Nn. Ferrara, Duomo, Porta dei Mesi,

Dante Commentators, see Anoni- Duccio, 7, 9, 19 N. 24, 31 N. 73, $3, Fermo, S. Domenico, Ghissi, Franmo; Benvenuto da Imola; Boccac- 38, 45. 49) 54, 55ff., 119 n. 58, 131, cescuccio, Madonna of Humility,

death, see Black Death; Triumph 121, 119 n. 58, 120, 120 n. 62, 129 y2th cent. relief, Christ Treading

of Death n. 89, 146 n. 58, 149 n. 69, 150 n. on Asp and Basilisk, 50, 144

Death of the Virgin, Fig. 8 45 | ——, Pinacoteca, Simone dei

Decameron, see Boccaccio Dugento painting, 9, 9 n. 2, 10, 16, Crocefissi, Vision of the Virgin,

Deésis, off., 99 22, 25, 27, 28 n. 67, 29, 38, 38 n. 153, Fig. 163

Deposition, 49, 53, 124 n. 76, 167, 102, 40, 41, 42 N. 119, 43 N. 122, Fidati, Fra Simone: 81, L’ordine del-

170, Figs. 65-67 44ff., 76, 76 nm. 111, 117ff., 129, 124, la vita cristiana, 26ff., 71

Descent into Limbo, see Limbo 124 n. 76, 129, 146, 148ff., 148 n. —- Fiesole, Museo Bandini

Detroit, Institute of Art, Andrea di 64, 149 n. 6g, 150 n. 75 and 77, Cioni—Follower, Madonna del Bartolo, Madonna of Humility, —_— i e»ff., Figs. 2-3, 16, 34, 55, 65, 113- Parto (room 1, no. 6), 42 n. 120

134 n. 6 115, 122 Florentine Master, late 14th cent.,

devotional images, 123ff., 127, 132ff., Duke of Athens, 62, 166 predeila, Nativity (room I, no.

145ft.; see also Lamentation; Ma- 11), 23 n. 38

donna of Humility; Man of Sor- Ecclesia, see Church, representations Florentine Master, late 14th cent.,

rows; Vesperbild of predella, Presentation in the

Dialogo della divina providenza, see Elie Raymond de Toulouse, see Temple (room u, no. 12), 23

Catherine of Siena, St. Raymond de Toulouse Nn. 39

Dijon, Musée Elizabeth of Hungary, St., 175 n. 3 Giovanni del Biondo, altarpiece, Daddi, Bernardo—Follower, trip- § Empoli, Collegiata, Masolino, Man 43 n. 123

tych, 149 n. 73 of Sorrows, 37 n. 98 Figline, Misericordia (S. Francesco),

Florentine Master, ¢. 1400, Ma- = Englewood (N.J.), Platt Collection Giovanni del Biondo, Madonna,

donna of Humility, 138 n. 25 (formerly), Paolo di Giovanni Fei, 168 , Master of the Fabriano Altar- Entombment, 18 n. 20 Fioretti, see Francis of Assisi, St—

Gaddi, Taddeo, Nativity, 147 Madonna of Humility, 134 n. 7 Filippo, Fra (Augustinian Friar), 86

piece, Madonna of Humility, 23 Envy, 50 n. 147 legends n. 41, 138, 141° Ephrem Syrus, St. 144 n. 50 Firman, Jean, 150 n. 81

Ms 641, French, 12th cent. Ma- Erfurt, Barfiisserkirche, stained — Fitz-Ralph, Richard (Archbishop of

donna del Latte (fol. 21v), 146 glass, German, late 13th cent., Armagh), 102, 103

n. 57 Stigmatization of St. Francis, 119 = flagellants, 8off., gz, 103, 166

Dijon Master, see Master of the n. 54 Fleet, William, 85ff., 91, 104, 107 Dijon Tabernacle ———-, Museum, German, 14th cent. Nn. 7, 125, 166

Disciplinati della Madonna, 125, sculpture, Standing Madonna, 155 — Flight into Egypt, 19

144 N. 51 Nn. 104 Florence: economic developments,

Disrobing of Christ, 129, Fig. 118 Esztergom, Archiepiscopal Museum, 61ff., 67ff., 72ff., 82, 166ff., political

Divine Comedy, see Dante Pietro di Giovanni, Assumption and social developments, 59ff., 62, Doberan, Cistercian Church, Ger- of the Virgin, 21 n. 28 68ff., 72, 82, 160, 166ff., 173ff. man sculpture, 14th cent., Stand- Eugene IV, Pope, 73 n. 60 ——., Accademia ing Madonna, 155 n. 104 Evangelists, Four, 175; see also Sts. Andrea da Firenze, Two Saints Doddington (Kent), Church, Eng- John Evangelist; Luke; Mark; (no. 3145), 47

lish Master, late 1gth cent., Stig- Matthew “Assistant of Daddi,” Crucifix matization of St. Francis, 119.56 = Eve, 51 n. 148, 148, Fig. 160; see (no. 442), 45 n. 130 Dodicini, 64, 88, 166ff. . also Adam Cioni—Follower, Madonna of Hu-

Domenico di Bartolo, 140, Fig. 141 Expulsion of Joachim from the mility, 139 n. 29 Dominic, St., 77, 98, 105ff., 113, 118 Temple, see Joachim Expelled Florentine Master, early 14th

N. $4, 121, 171, 175, Fig. 121 from the Temple cent., Madonna del Latte, 146 Dominicans, 26 n. 49, 47, 83, 88, 89, n. 58 90, giff., 93 N. 95 94, 97, 97 0. 6, Fabriano, Fornari Collection, Ghis- Gaddi, Taddeo: Christ Teaching

g8ff., 101ff., 105, 144, 154 N. 103, si, Francescuccio, Madonna of in the Temple (no. 8586), 56

166, i7att., 175 Humility, 137 n. 20 n. 164, Nativity (no. 8583), 149

Dominici, Bartolommeo, see Barto- ____ mtuseo Civico, Master of the n. 73, Presentation in the Tem-

lommeo Dominici Fabriano Altarpiece, retable, 53 ple (no. 8585), 16ff., Fig 12, Res-

Dominici, Giovanni: go, Lucula __ ss, Domenico, Ghissi, Fran- urrection (no. 8591), 39, 40 Nn.

noctis, go, 163 n. 19 cescuccio, Madonna of Humility, 115 Donatello, 140 Fabriano Master, see Master of the Presentation in the Temple Donato Martini, 133 n. 5 Fabriano Altarpiece (no. 8462), 16ff., 24, 55ff., 166, Dondi, Giovanni, 157 n. 4 Faith, soff., 115, Figs. 73, 169 168, Fig. 13 Dresden, Pinakothek, Florentine = Family Subjects, 110, 134 n. 7 Giovanni da Milano, Man of SorMaster, 14th cent,, Presentation Famine, 64, 166 rows (no. 8467), 168 in the Temple (no. 27), 18 n. 22 Fanciullezza di Gestt, see Felice da Jacopo di Cione: Coronation of Dublin, Private Collection, Pacino Massa, Fra the Virgin (no. 456). 49ff., 45,

Domitilla, Suora, 85 136, 137 n. 20 Giovanni del Biondo, triptych,

181

INDEX 167, 169, Fig. 56, Madonna of §-———-, Contini-Bonacossi, A., Cole §————, S. Croce

Humility, 11 n. 8, 24, 42%, 45, lection Master of the Stefaneschi Altar-

139, Fig. 138 Giovanni del Biondo, Altarpiece of piece, Coronation of the Virgin,

Mariotto di Nardo, altarpiece the Baptist, 45 n. 190, 49, Fig. 68 43, 114, Fig. 58 (no. 3460), 139 n. 29 Giovanni da Milano, Christ En. Nardo di Cione—Follower, trip-

Meliore, polyptych (no. 9153), 9, throned, 10, Fig. 4 " tych, 68

471., Fig. 2 ————, Corsi Collection (formerly), Orcagna: Last Judgment, 14, 57,

Nardo di Cione—Follower: Ma- Cioni—Follower, Madonna, 42 -n. n4ff., gz, 10:ff., Triumph of

donna of Humility (no. 8465), 119 Death, 14, 57, 74ff., 92, 101ff., 41, 199, 148, Fig. 145, Triptych ———, Duomo, 13ff., 77 n. 20, 97, Fig. 86 of the Trinity (no. 8464), 13, 100 Orcagna—Assistant, Hell, 14, 51, 34ff., 45, 96, Fig. 9 Giovanni del Biondo, St. Zenobi- 57, 74ff., 83, 84, 92, 101ff., Figs.

Niccold di Tommaso, Coronation US, 49, 51, Fig. 70 83-84

of the Virgin (no. 8580), 43 n. mosaic, 13th cent., Coronation of ————, §. Croce, Bardi Chapel

126 the Virgin, 44 n. 127 Florentine Master, c. 1260, Stig-

Orcagna—Follower, Madonna of representations of, 97, 100 matization of St. Francis, 119

Humility (no. 3156), 138 n. 24 ——~—, Duomo, Campanile, reliefs, Giotto, Stigmatization of St. Fran-

Pacino di Bonaguida, Tree of Life 94, 100 cis, 120

(no. 8459): Coronation, 43 n. ———-, Duomo, Opera del Duomo ———, §. Croce, Baroncelli Chapel 121, Nativity, 149 n. 73, Presen- Giovanni del Biondo, Martyrdom Gaddi, Taddeo, frescoes: Annunci-

tation in the Temple, 19 n. 24, of St. Sebastian, 77ff., Fig. 91 ation, 149 n. 71, Expulsion of Resurrection of Lazarus, 31 n. Tino di Camaino, Caritas, 116, Joachim from the Temple, go,

"3 151, Fig. 110 Meeting at the Golden Gate,

Puccio di Simone, Madonna of ————-, Duomo, Sacristy, Luca della 26, 40 n. 114, Fig. 33, Nativity,

Humility (no. 8569), 137 Robbia, Resurrection, 40 n. 115 147, Presentation of the Virgin,

Rinuccini Master, altarpiece, Ma- ————, Gabella de’ Contratti (for- 27ff. donna Appearing to St. Ber- merly), Nardo di Cione, altarpiece, Master of the Baroncelli Altar-

nard, and Saints, 77 n. 19 15 piece, Coronation of the Vir-

Sixteenth century Master, Mar- ——, Horne Museum gin, 43 nm. 121

riage of St. Catherine of Alex- 14th cent., Man of Sorrows, 124 ——, §. Croce, Museo dell’ Opera,

andria (no. 8647), 113 n. 36 n. 75 Orcagna—Follower, Madonna and

Spinello Aretino—Follower, Ma- Florentine Master, c. 1410, Holy predelia, 121ff., 129ff., Fig. 121

donna of Humility (no. 3161), Face, 38, Fig. 43 ——, §. Croce, Rinuccini Chapel 132 n. 1, 138 n. 23 Lippi, Fra Filippo, Man of Sor- Giovanni del Biondo, altarpiece,

———, Acton, A., Collection, Bigal- rows, 37 18

lo Master, Virgin and Child, 16, ——, Museo Nazionale Giovanni da Milano and Rinuc-

27, Fig. 16 13th cent., Madonna and Passion cini Master, frescoes: Expulsion

——, Albrighi, Sig. Luigi, Collec- Scenes, Deposition, 124 n. 76 of Joachim from the Temple,

tion (formerly), Master of the Fa- Master of the St. George Codex, 20ff., 48, 56, 79, giff., 166, 168, briano Altarpiece, Standing Ma- Coronation of the Virgin, 43 n. Fig. 36, Meeting at the Golden

donna, 42 n. 119 121 Gate, 25ff., 29, 79, grff., 166,

———-, Annunziata (formerly), Or- Master of the Straus Madonna 168, Fig. 27, Presentation of the

cagna, frescoes, 14 (Florentine), Madonna of Hu- Virgin, 28 n. 59, 29, Resurrec-

———., Arte del Cambio (formerly), mility, 199 n. 26 tion of Lazarus, 32, 79, 91 ff., 166, Orcagna, Altarpiece of St. Mat- ————, Or San Michele, 8, 13, 49, 78 168, Fig. 37

thew, 14 Daddi, Bernardo, Madonna, 45 ———, S. Croce, Sacristy ———, Badia, Orcagna—Follower, n. 130 Ms, Cod p., Antiphonary, late 14th

Pentecost, 32ff., 45, Fig. 39 Orcagna and Associates, taber- cent., Resurrection (fol. 3), 39

———., Baptistery, see S. Giovanni nacle: 13, 18, 18 n. 20, 21 n. 27, n. 109 . ————,, Bargello, see Museo Nazi- 78, 92,172 n. 1, 166, Fig. 5, Cari- Niccoldé di Pietro Gerini, Resur-

onale tas, 116, Death and Assumption rection, 39 n. 109 ,

—_——-, Biblioteca Nazionale of the Virgin, 11 n. 7, 12, 22 ——, S. Croce, St. Sylvester ChapmS Cod. Pal. 600, Master of the n. 30, Fig. 8, Nativity, 23 n. el, Maso di Banco, frescoes, 46 | Dominican Effigies, Initial C, 38, Presentation in the Temple, ———., S. Croce, unidentified chapel Bellezza corporale, 98 n. 9 18, Presentation of the Virgin (formerly), frescoes attributed to Ms Magl. u.1.212, Laudarto, Flor- in the Temple, 27, 29, 30ff., Orcagna, 14, 77 n. 16, 92

entine, ¢c. 1355, Last Judgment Fig. 28 ——, S. Felicita, Gaddi, Taddeo, (fol. 64v), 76, Fig. go ————, Private Collection, Simone _ altarpiece, 56 n. 165

———, Bigallo ; dei Crocefissi, Madonna of Hu- ——, S. Giovanni

Daddi, Bernardo, triptych, 147 mility, 135, Fig. 134 Ghiberti, Lorenzo, bronze doors:

n. 62 -—————, S. Ambrogio Pentecost, 33 n. 81, Resurrec-

Orcagna—-Follower, St. Peter Mar- Gaddi, Agnolo—-Follower, Martyr- tion, 40 n. 115

tyr Giving Standards to the dom of St. Sebastian, 78 n. 21 mosaic, 13th cent., Last Judgment, Compagnia del Bigallo, 100 n. Nardo di Cione—Follower, fresco, 76 n. ut

17 Madonna del Latte, 147'n. 61 ~—_—_—., §. Lorenzo, Cioni—Follower,

n. 142 pital, 79 andria, 112 n. 30

———, Camera di Commercio, 49 ———, §. Caterina dei Talani, Hos- Marriage of St. Catherine of Alex-

182

INDEX ———, S. Maria del Carmine Giovanni del Biondo, St. Jerome, Follower, Madonna of Humility,

Andrea da Firenze, polyptych, 16, 168, Fig. 17 138 n. 25 47ff., Figs. 31, 64 Nardo di Cione: Last Judgment, Folly, 51

Brancacci Chapel, Masaccio, Ix- gn. 4, 11 n. 7, 72, 77, 83, 91, Fortitude, 115 pulsion from Paradise, 55 101ff., 166, Fig. 89, Paradise, 11 frames of altarpieces, see altarpieces ~————, S, Maria Maggiore, Orcagna n. 7, 72, 77 n. 19, 83, 91, 101ff., —forms

. —Follower, altarpiece, 23 n. 36 166 Francesco da Barberino, Documenti ————, §. Maria Novella, 66 n. 28, Orcagna, Andrea, Strozzi Altar- @’amore, 107ff. 79, 83, 89, gO, 102, 144 N. 51, 175 ff. piece, off., 18, 23 n. 36, 24, 27, Francesco di Mino Vincenti, g2

Masaccio, Trinity, 35 n. 86 g2 n. 78, 35, 45ff., 53, 56, 57, 72, Francesco di Pippino, 92

Rucellai Madonna, 119 n. 58 83, 91, 96, 98, 99, 131, 166, 173, Francesco di Vannuccio, 22 n. 33, 54;

———, 5. Maria Novella, Cappella Figs. 1, 6-7, 30, 168 134 mn. 7, 170

della Pura, Crucifix, 174 ———, S. Maria dei Servi (former- Francis of Assisi, St.: 51 n. 154, 87, ——, S. Maria Novella, Chios- ly), frescoes attributed to Orcag- | 106ff., 109, legends, 117ff. (Actus

trino, Orcagna—Contemporary, na, 92 beati Francisci, 118 n. 51, 121 n.

Nativity and Crucifixion, 6 n. 10, ———_—, §. Miniato 63; Bonaventura, Life of St. Fran14 N. 13, 23 n. 37-38 Gaddi, Agnolo, Resurrection, 40 cis, 117 n. 45, 118, 121 n. 63; Fio———, S. Maria Novella, Choir Jacopo del Casentino, altarpiece, rettt di S. Francesco, 42 n. 120,

Ghirlandaio, Expulsion of Joa- 45 118 n. 51, 121; Legend of the chim from the Temple, go n. 69 ——~, §. Miniato (formerly), Leg- Three Companions, 118; Sacre

Orcagna and Assistants, frescoes, endary Crucifix, 106 sante stimmate, 118 mn. 51, 121; 14, 30 n. 69, 53, 72, 79, 83, 83 ——, §. Spirito, Orcagna—Follow- Tommaso da Celano: First Life,

Nn. 50, 92 er, Last Supper and Crucifixion, 118, 120 n. 59, Second Life, 118,

——~-, S. Maria Novella, Choir 14, 92 n. 48, Tractatus de Miraculis, 118 (formerly), Orcagna, Expulsion ——.,, §. Trinita: 84, Orcagna—At- n. 48), Marriage to Poverty, 109ff.,

of Joachim from the Temple, 3o tributed to, Disputa of St. Cath- 111, Fig. 102, Resurrecting Child,

n. 69 erine of Alexandria, 14 n. 18 61, Stigmatization, 117ff., Figs.

———, S. Maria Novella, Cloister ——, SS. Apostoli: 32, Jacopo di 113-116 Florentine Master, c. 1370, St. Cione, Madonna, 42, Fig. 53 Franciscans, 26, 42 n. 120, 51, 78, 81,

, Luke, 175 ——, Tolentino Collection (for- g0, 99 N. 10, 111, 144, 150 n. 81, Nardo di Cione—Follower: Meet- merly), Giovanni. del Biondo, Ma- 167; see also Fraticelli; Osservanti;

ing at the Golden Gate, 26 n. donna of Humility, 138 n. 23 Spiritual Franciscans

51, Presentation of the Virgin, ——, Uffizi Franco (miniaturist), 5

. 28 n. 59 Cioni—Follower, predella, Ascen- Frankfurt, Ad. Schaeffer Collection, Old Testament Cycle, 79 sion of St. John Evangelist (no. Angelico, Fra—Follower, Madon-

—— -, §. Maria Novella, Gondi 446), 49 n. 142 na of Humility, 140 n. 32

Chapel, 47, 175ff. Daddi, Bernardo, altarpiece, 26, Fraticelli, 81ff., 85ff., 87, goff., 92, ———, S. Maria Novella, Spanish 29 n. 60, 30, 149 n. 73 103

Chapel, 79, 83, 94ff., Fig. 93 Florentine Master, c. 1250, Stig- frontal figures, 23ff., 107ff. Andrea da Firenze and Assistants, matization of St. Francis, 119, Fungai, Bernardino, 121 n. 65 | frescoes: 46, 47, 53, 57, 72. 7% 120, Fig. 114 83, 91, 94-103, 166, 168, 175, Gaddi, Taddeo, Madonna, 56 n. Gabriel, Archangel, 138 n. 23, 149

Apotheosis of St. Thomas (see 165 Nn. 72, 150

Christian Learning), Ascension, Ghirlandaio, Michele di Ridolfo, | Gabriele da Volterra, Fra, 104 n.

94 n. 1, g5ff., Christian Learn- Marriage of St. Catherine of Si- 31

ing, 51 n. 148, g4ff., 96, 97, 99ff., ena, 113 Nn. 35 Gaddi, Agnolo, 40, 57, 174 104, Fig. 95, Crucifixion, 46, 83, Giotto, Madonna and Child, isff., Gaddi, Agnolo—Followers, 78 n.

o4ff., Figs. 60, 96, Evangelists, Fig. 10 21, 138ff.; see also Master of the 175, Limbo, 31, 41, 84, 94ff., Giovanni del Biondo, St. John Straus Madonna (Florentine)

Figs. 96, 98, Navicella, gsff., 99, Evangelist, 49, 51, 71ff., Figs. 69, Gaddi, Taddeo, sff., 6ff., 16ff., 22,

107, Fig. 97, Pentecost, 33ff., 48, 7 26, 27ff., 28 n. 58, 29, 30, 32ff.,

g5ff., 100ff., Fig. 41, Resurrec- Lorenzetti, Am brogio, Presenta- 39, 40, 56, 56 n. 164, 61 n. 6, 68

. »C. , diptych, .

tion, 3off., o5ff., 131, Fig. 47, tion in the Temple, 12 n. 10, n. 37, 124 n. 76, 147ff., 149 Nn. Scenes from Life of St. Peter — 19ff., 29, 5, Fig. 14 m1 and 73, 172ff., Figs. 12, 32-33, Martyr 23 n. 36, 94, Via Veritat- Lucchese Master c. 1260, di 40, 159

tS, 23, 36, 94 n. 1, Q5ff., 99, 102ff., Deposition Fie. 6 Gaddi, Taddeo—Followers, 19 n. . 102 n. 20, 104, Figs. 44, 94, Way Ni a ai . 49, Fig. 05 24, 68 n. 37, 147 n. 62 to Calvary, 31, 48, o4ff., Figs. iccold F Buonnaccorso, Presen- Genealogia deorum gentilium, see

38, 96 tation of the Virgin, 28 n. 59 Boccaccio, De genealogiis deo-

“Assistant of Daddi,” retable, 94 Orcagna and Jacopo di Cione, St. rum gentilium .

————, S. Maria Novella, Spanish Matthew Altarpiece, 14, 24ff. | Genoa, Private Collection, Andrea

Chapel (formerly), Corpus Christi 131, 166, 169, Fig. 59 di Bartolo, Madofna of Humil-

frescoes, 94, 97 Piero di Cosimo, Immaculate Con- ity, 134 n. 6 Chapel _ Simone Martini, Annunciation, 12 Gentile da Fabriano, 140 n. 32 " Giovanni del Biondo (?), St. Greg- Nn. 10, 22 Nn. 34 Gentile da Foligno, 75 n. 5 ory, 16 ———, Uffizi, Storeroom, Cioni— Gera, Jacopo di Michele, 171 183 ———, S. Maria Novella, Strozzi ception, 154 N. 103 Gente nuova, 6off.

INDEX Gerini, Niccold di Pietro, 39 n. 109, Giovanni Gualberto, St., 106 Hamburg, Weber Collection (for-

138 n. 23 Giovanni Pisano, 50, 76 n. 11 and merly), Cologne School, 15th cent.,

Gerini, Niccold di Pietro—Follow- 14, 116, 144 n. 50, 171, Fig. 108 Madonna of Humility, 140 n. 37 ers, 33 n. 81, 57, 1399 n. 29 Giusto de’ Menabuoi, 56 n. 164, 103 Hawkwood, John, 68, 89

- Gesuati, 88, goff., 166 Gloucester, Highnam Court, Parry hearts, offered as gift to God, 113ff.,

Ghent, Musée des Beaux-Arts, Collection 115, Figs. 112, 169

Master of the Fabriano Altar- “Assistant of Daddi,” altarpiece, Heaven, see Paradise; sae also Last

piece, Coronation of the Virgin, 11; verso, Madonna of Humil- Judgment

43, 123 ity, 197ff., Fig. 139 Hell, 14, 50, 75, 83, 92, 101ff., 104 n.

Ghiberti, Lorenzo, 14, 33 n. 81, 40 Gaddi, Agnolo—Follower, Madon- 29, Figs. 83-84; see also Last Judg-

n. 115, 78ff., 92, 172 nm. t na of Humility (no. 62), 139 n. ment

Ghirlandaio, Domenico, g0 n. 69 26 Helmstadt (formerly), Cologne

119 Nn. 35 nacle, 15 n. 16 97

Ghirlandaio, Michele di Ridolfo, Nardo di Cione—Follower, taber- School, panel, Sudarium, 37 n. Ghissi, Francescuccio, 136, 137 n. 20 Riminese Master, 14th cent., Ado- heresy and heretical sects, 81ff., go,

Giacomo di Mino del Pellicciaio, 46, ration of the Magi, 149 n. 70 98 n. 8, 99 n. 10, 100ff., 109ff. 53, 64, 85, 112 n. 30, 166, 170, Fig. Géttingen, University Gallerv, Nic- hermits, 74, 75, 84, go

61 colo di Tommaso, Coronation of Hildesheim, Rémer-Museum, Gio-

Giotto, 3ff., 9, 9 n. 1, 12 n. 9, 15ff., the Virgin (no. 62), 43, 126 vanni del Biondo, Man of Sor-

19 N. 24, 24, 25ff., 28ff., 31 n. 73, Gold, 46, 75 n. 5 rows, 124 n. 76

33, 38, 44if., 46, 5off., 56 n. 164, Golden Legend, see Jacopo da Vora- Holy Face, see Christ, Holy Face; see

60, 71, 76, 84, 94, 96, 99, 100, 107, gine also Sudarium

109, 114ff., 120, 126, 127, 134, 147, Good Government, representation Holy Family, 61, 134 n. 7, 142 n. 45

149, 150 n. 74, n. 78 and 80, 157, of, 51, 94, 114, 157, Fig. 109 Holy Women at the Sepulchre, 38, 165, 172ff., Figs. 10, 26, 29, 30, 35, Gotha, State Museum (formerly), 40 72-73, 70, 88, 101, 166 Niccold di Buonaccorso, St. Law- Homer, translation by Boccaccio and

Giotto—Followers, sff., 9 n. 1, 12 n. rence, 171 n. 23 Leontius Pilatus, 16eff.

9, 19, 19 Nn. 24, 25, 56 n. 164, 76 Gregory, St., 16, 106, 124 n. 75, 175 Honorius of Autun, Commentary on

N, 12, 109, 111, 115, 120 n. 61, Gregory XI, Pope, 50, 89 n: 81, 103, Song of Solomon, 116 n. 41

147, 149 n. 70, 150 n. 75, Figs. 167 Hope, 114

102, 167; see also Master of the Grosseto, Museo Civico, Guido da Hortus conclusus, 140, 142 n. 45

Stefaneschi Altarpiece Siena (?), Last Judgment, 76 n. Hortus deliciarum, 155 n. 105

Giovanni da Bologna, 135 n. 11, 136 13, 98 Houston, Museum of Fine Arts n, 17 and 18, 140, 142, 144 N. 51, Griinewald, Matthias, go n. 115 Andrea da Firenze—Close to, Sts. Fig. 154 Gubbio, S. Domenico, Choral VII, Agnes, Bartholomew, Nicholas,

Giovanni da Firenze, 107, 110 n. 24, Bolognese, 13th cent., Coronation Elizabeth, 47 n. 133

| Fig. 103 of the Virgin (fol. 77), 150 n. 75 Barna—Follower, Madonna, 21 n. Giovanni da Milano, 10, 25ff., 2off., Guidalotti, Buonamico di Lapo, 72, 28

40, 46, 48, 53, 56, 70, gi ff., 122 "9, 94 Orcagna—Follower, Meeting at n. 67, 166, 168, 172, Figs. 4, 27, Guidini, Cristofano, 88 the Golden Gate, 26 n. 51 | 36-37 Guido da Siena, 98, 129, Fig. 122 Hugh of St. Victor, De fructibus

Giovanni da S. Gimignano, 130 n. Guido da Siena—Followers, 76 n. 13, carnis et spiritus, 153 n. 92 and 95

96; see also Meditations on the 119, 119 n. 58, 129 n. 89, 150 n, humanism, 163, 165

Life of Christ 80, Fig. 115 Humility, 51, 115, 148ff., 152ff., 153

Giuliano da Rimini, 120 n. 61 Guido di Neri, 85 n. 59 n. 97, 156 n. 108, Figs. 70, 167, Giovanni dal Ponte, 110 n. 25 guilds, 59, 62, 72, 94, 106; see also 169; see also Madonna of Humil-

Giovanni dalle Celle, Beato, 84ff., Arti maggiori e minori ty

89, giff., 104, 166 Humility, St.,13, Sermon, 152 n. 87, 158 Giovanni del Biondo, 7 n. 13, Nn. 93 16ff., 19, 21, 24, 42 NM. 119, 43 Nn. 123, 45 n. 130, 4off., 51, 53, 55ff. Hague, Museum Meermanno-West-

"al fE., 74, 7786, 83, 110, 110 n. 24, reenianum, Cioni—Follower, tab-

112, 112 n. 32, 113, 124 n. 76, 138 ernacle, 15 n. 16 Ilario, St., 149 n. 68

Nn, 23, 154 N. 100, 155 n. 104, 166, ———~, Royal Library Immaculate Conception, 26, 113 n. 168, 174, Figs. 13, 17, 52, 68-71, MS 74.6.34, Hours, Netherlandish, 36, 154 n. 103

91, 106 c. 1425, Madonna of Humility immigration into Florence and. Si-,

Giovanni del Biondo—Followers, 78 (fol. 15), 142 n. 46 ena, 69

n. 21, 124 n. 76 Ms 76.6.3, Hours, French, ¢. 1400- —sincarnation, 106 n. 6, 153ff. Giovanni di Bartolommeo Chris- 1410, Madonna of Humility Inconstancy, 51

tiani, 136 n. 15 (fol. 298v), 142 n. 44 Infancy Cycle, see Christ, Infancy

Giovanni di Duccio da S. Gimi- MS 11.6.3, Hours, Netherlandish, Cycle

gnano, 163 n. 19 c. 1430, Madonna of Humility _—Infidelity, 5off., 115, Fig. 166 Giovanni di Niccold, 135, 171, Fig. (fol. 14), 142 n. 46 inflation, 67

132 MS 133.D.14, Hours, northeast Injustice, 24

Giovanni di Paolo, 21, n. 28, 28 n. French or Flemish, c. 1415-1420, Innocent VI, Pope, 102 58, 77, 113, 124, 121, 194 n. 6, Figs. Madonna of Humility (fol. 11v), —s inscriptions in paintings, 122ff.

104, 112, 117 142 n. 46 Isaiah, 42 n. 120 184

INDEX

Egert 81, (?), English idIsaiah “ha . . gerton 2781,MSEnglish mid nal LUI, 4-5—inscription from, hastra a pena. FM reeins Col- 14th cent., The Virgin NourishIsaiah—Vision of the Virgin, 147 Last . . . oe? pper, 14, 55, 60, Fig.Su79;

. . ; n, Bartolo di Fredi—Follow- ing Human Souls (fol.

enon ee Etymologiarum, er, Madonna, 147 n. 61 n. 86 wis Gols a4), 358 Istoria Fiorentina see Bruni, Lio- raudario dei Battuti di Modena, Ms Harley 2952, French, c. 1405,

nardo , a 154 1. 103 Madonnas of Humility (fols. taudi, 87, 108 n. 15, 154 Nn. 103; see 7iv, B6v, 115), 142, 142 n. 43

acopo d i 93 acopo d i . - 72V), 37 Nn. 97

Jacobello del Fiore, 137 n. 20 Laure ail da Todi Ms Harley 4382, Berry Bible, Res-

acopo da V : . : , . urrection of Christ, 32 n. 75

J ern. 46 ey noha te meene havagnola, Pieve, Barnaba da Mo- MS Royal 2 a xx, Chronica of tet me 8: +77) . 16, ale, eons Madonna del Latte, 147 n. Matthew Paris (fol. 49b) 36 n.

J 8, Casentino, 6, 19 n. 24, ene ot 11, 57, 172 Nn. gg, MS Royal 17 a xxvii, 15th cent.,

; 175 N. 3, Fig. 7 Sudarium (fol. 72v)

J Fig, 09 el Casentino—Circle, 109, Lazarus—Resurrection, giff., 79, ms Yates Thompson 37, Jacque-

Jacopo di Cione, 11 n. 8, 1 n L gut, 168, 175 n. 3, Fig. 37 mart de Hesdin—Follower, Ma36, 24ff., $1, 98, 34 n. 8 4 23 0. egend of the Three Companions, donna. of Humility (fol. 92), ne Mah , oe 3 “ “6 3: 39 “ peed Francis of Assisi, St—legends 142, Fig. 150

18H, 1 esx. “68ft 5 49, be 31, cningrad, Hermitage ——-, Buckingham Palace, Duccio

53, 56, 59 138 140 74» £188. 49, conardo Circle, Madonna della —Follower, tabernacle, Stigmati-

Jacopo di Cicne—Followers 4 M asa ae. 147 zation of St. Francis, 120

125, 124 n. 96 » 43 n. aster 0 Piemalle, Madonna, 143 ———, Chamberlain, W. B., CollecJacopone da Todi, Laudi, 76 n. 19 — roganoft Collection (for- tion (formerly; Sale, Christie’s,

- 108 n. 15, 109 Nn. 120, 152 M ina di Paci . Feb. 25, 1938, no. 21), Giovanni de}

or , + 122-123 Clark, H.: M., acquemart de ———, Hesdin— . ’Collection ’’

Jacopone da Todi, Pseudo, 78 at 0 _ pacino. Coronation of Biondo, Virgin Annunciate, 168 n. 4

J ia Fig. 0 esdin—Follower, nie Andrea, Ascension, 31 n. (formerly), Paolo di Giovanni Fei, oan de Jandan 108 n. 16 ——— Weiner, P., Collection (for- New York, Wildenstein), 28 n. Jeremiah, Lamentations I, 12, 124{f. wath x n Madore of Hea " 58, Fig. 165 Jerome, St., 16, 162, 168, Fig. 17 38 n s 4 adonna of Humility, ____, Courtauld Institute, Duccio

ean de Bungay, ; . Presentation of the Virgin (now

oachim: Expelled f . tok ok —Follower, Christ Mounting the

ree 4B. $8, 70 oils 108, Figs, Lente nanos e M7 Grom (ex-Lord Lee: Collection,

. 9 s » ! ? * . ? f ; 8, 1 2 ; 129 n. 89

34 3 Returning to His Sheep- Ce ats representations of, 100 ————, Douglas, Langton (former-

Joachim of Flore, 144 n. 50 ‘ ai M ; "Pa costumt, see Paolo ly), Orcagna—Follower, Madonna

Job, 68 Li ve Musé ‘i ae of Humility, 139 n. 26, 155 n. 106 Job—Misfortunes, Death of His 8 » Musee de l'Institut Arché- ——-, Leighton, J. and J. (former-

Children, 68, 170, Fig. 82 owas, Romanesque sculpture, ly), Ms 321, Hours, French, MaJohn Baptist, St.,9,9,+ 10 n. 5, 12 Limbo, “ Ba, ott, on donna of Humility, » Ot, 5 Vl, 22,11, » §t, 41, 84, +41,97» 108, ———-, National Galler142 190, 6, so gy ; 90. A vies Figs. 96, 98; see also Last Judg- Andrea da Firenze, polyptych,

15, 23 n. g6, 25, 32 n. 78, : i . , Y

30, 68 Limburg Brother. 47f., 175ff., Fig. 63

John Evangelist, St.: OQ; 15, 21 n. 28 Lippo Fra Filippo oy ™ 75 Barnaba da Modena, Coronation

23 N. 40, 41, 49, 61, 61, 7Iff., 118, nei . , of the Virgin, 150 n. 75

Ascension, 49 n. 142 “ Lippo Memmi, 138 n. 36; S. Piero Altarpiece: 166,

John XXII, Pope, 81, 82, 99 n. 10 Liverpool, Walker Art Gallery, Si- 169, Coronation of the Virgin,

Jubilee of 1350, 36, Bo, , 66 . mone Martini, Christ Admonished $1, Pentecost, 33 n. 81, Resur-

Judas Receiving Silver, see Pact of by His Parents, 61 . . rection, 39f., go n. 111, Fig.

Judas Livorno, Larderel Collection, Nic- 49, Trinity, 34 n. 83

Justice, 24 colé di Tommaso, Last Judgment, Crivelli, Carlo, Immaculate Con-

76 ception, 154 n. 103

Konopi8té, Castle Lochner, Stefan—Follower, 140 n. Lorenzo Veneziano, altarpiece,

Andrea di Bartolo, Trinity and 37 Madonna of Humility, 136, Fig. . Crucifixion, 35, London, Beatty, Chester, Collection 135

Niccold di Tommaso, Coronation (formerly), Hours, Boucicaut Master of Flémalle, Madonna of

of the Virgin, 43 n. 126 Master—Follower, Madonna of Humility, 143, 156 n. 107, Fig.

Humility, 142 n. 43 144

Lamentation, 56 n. (165, 60, 61 n. —-—, British Museum Ugolino da Siena, Resurrection, 6, 122, 123, 145, Fig. 123 ms Add. 18850, Bedford Hours, 39, Fig. 48

Fando, Conte, 68 Madonna of Humility (fol. 25), Venetian Master, late 14th cent.,

ast Judgment, g n. 4, 11 n. 7, 14, 142 Nn. 44 Madonna of Humility (no.

74, 76, 92, 95, 98, 101ff., 151 n. ms Cotton Domitian a xvit, Hours, 4250), 1396 n. 18 84, wt Figs. 87-90; see also Hell; French, c. 1430, Madonna of ——-—., Pope-Hennessy, Arthur, Col-

Limbo; Paradise Humility (fol. 75), 142 n. 45 lection, Andrea di Niccold, Stig185

INDEX matization of St. Francis, 121 n. 65 piece, Coronation of the Virgin, Magdalen Master, see Master of

— ——, Pope-Hennessy, J., Collec- 43 Nn. 123 the Magdalen Altarpiece

tion, Venetian Master, 14th cent., Lucerne, Chillingworth Sale, Cioni Malachi, 29 -Sudarium, 36 n. 94, 37 n. 95-96 —Follower, Meeting at the Gold- Malavolti, Francesco, 92 n. go

————-, Private Collection, Magdalen en Gate, 26 n. 51 Malvern, C. W. Dyson Perrins Col-

Master (?), Stigmatization of St. Lugano, Thyssen Collection lection . Francis, 119 n. 52 Venetian Master, c. 1360, Madon- ms 10, Apocalypse, 13th cent., ——~——, Rothermere, Lord, Collec- na of Humility, 136 Apocalyptic Woman, 155 n. tion, Giotto—Follower, Corona- Venetian Master, late 14th cent., 105 tion of the Virgin, 150 n. 75 Madonna of Humility, 136 n. 18 MS 51, Bible, Bolognese, late

———-—-, Street, A. E., Collection (for- Luke, St., 175; see also Company of igth cent., Nativity (fol. 3b),

merly), Master of the Fabriano St. Luke 148 n. 64

Altarpiece, Madonna, 42 Luke 1:38,48-52, 149 n. 72, 153 N. 94 Man of Sorrows, 9, 37, 37 n. 98, ————-—, Victoria and Albert Museum Luke 1:58, 153 n. 95 121ff., 129ff., 195 n. 10, 145, 168,

Cioni—Follower, Miniature, Pen- Luxuria, see Unchastity Figs. 121, 125

tecost (no. 3045), 33 Lysippus, 71, 157 Mantegna, Andrea, 124 n. 74 |

MS 8.12.02 (1647), Hours, Rohan Marburg, St. Elizabeth, stainedMaster—Shop, Madonna of Hu- Madonna, see also Virgin Mary glass window, 13th cent., Stand-

mility (fol. 126), 142 n. 44 Madonna and Child, 9, 15ff., 18, 21 ing Madonna, 155 n. 104

MS 8.12.02 (1691), Hours, Eng- n. 28, 24, 41, 47, 48, 48 n. 139, 51, Margaret, St., 110

lish (?), ¢. 1435-1440, Madonna 54, 68, 71, 74, 83, 87, 107; 114, 115, Maria d’Aquino, 158 .

of Humility (fol. 61v), 142 n. 119 n. 58, 121, 123, 146, 168, 260ff., Maria Lactans, see Madonna del

46 175, Figs. 10-11, 16, 23, 63-64, 119- Latte

———-, Yates Thompson, Henry, 120, 149, 156, 169 Maria Mediatrix, 15)

Collection (formerly) Madonna della Culla, 60 Maries at the Tomb, see Holy Psalter, Paduan, late 13th cent., Madonna del Latte, 23, 116 n. 40, Women at the Sepulchre

Coronation of the Virgin, 44 n. 143 N. 49, 145 n. 52, 146ff., 151ff., Mariotto di Nardo, 139 n. 29

127 156 n. 107, 157, Figs. 24, 149, 155- Mark, St., 10 n. 5, 175

Taymouth Hours, 121 n. 64 156 Marriage at Cana, 56, 60

Longchamps Monastery, 144 n. 51 Madonna del Parto, 14 n. 120 Marriage of St. Catherine, see CathL’Ordine della vita cristiana, see Madonna di Misericordia, see Ma- erine of Alexandria, St.; Catherine

Fidati, Fra Simone donna of Mercy . of Siena, St.

Lorenzetti, Ambrogio, 7, 12 n. 10, Madonna in Majesty, 12 n. 10, 114, marriage scenes, 61, 108ff.; see also

19ff., 24ff., 29, 45 n. 180, 46, FO n. 115, 123, 131, 142, Fig. 149 Catherine of Alexandria, St.; Cath147, 51, 55, 66, 71, 94, 96, 114, 115, Madonna in the Rose Garden, 132 erine of Siena, St.; Christ, Mystic

180, 131, 138, 142, 148, 147, 148 n. n. 1, 140 Marriage to the Virgin; Francis of 109, 126, 149, 155 N. 34, 23, 23 N. 35, 24, 31, 4%, 45, riage of the Virgin

63, 150 n. 76, 157, Figs. 14, 23, 74, Madonna of Humility: 11 n. 8, 22 Assisi, St.; Marriage at Cana; Mar-

Lorenzetti, Ambrogio—Followers, 43 60, 109, 116 n. 40, 132-156, Figs. Marriage of the Virgin, 1ooff., Fig. MN. 121, §1 mn. 148, 62 n. 4, 134 n. 128-238, 140-142, 147-148, 150-152, 101

7,138 M11 Fig. 139, celestial type, 41ff., 1.g0ff., Marsilio of Padua, Defensor pacis,

Lorenzetti, Pietro, 7, 12 n. 10, 20, 22 143, Figs. 145-146, domestic type, 108

N. 34, 24 N. 43, 25, 28, 34 n. 84, 38 138, 143, Figs. 143-144, garden Mary Magdalen, 23, 121, 126ff., 150, n. 104, 46, 54, 61 n. 5, 66, 96, 131, type, 140, 142, 142 n. 46, Figs. 153- 175

138, 144 n. 50, 145, 148 n. 63 154, Quattrocento adaptations, = Masaccio, 35 n. 86, 55, 140, 165

Lorenzetti, Pietro—Followers, 39 n. 139 ff. Maso di Banco, 3ff., 6, 46, 53, 96, 107, 75 Nn. 4, 110 n. 24 and 26; see Madonna of Mercy, 144 n. 51, 166, 137, 172ff.

also Master of the Dijon Altar- 170 Masolino, 37 n. 98, 138 n. 22 piece Madonna Nikopoia, 24, 27 Massa Marittima, Museo, Lorenzet-

“Lorenzetti, Ugolino,” see Bulgarini, Madonna, Standing, 42, 74, 110, 154 ti, Ambrogio, Madonna in Majes-

Bartolommeo Nn. 100, 155 n. 104, Figs. 51-53 ty, 12 N. 10, 114, 115, 142, Fig. 149

Lorenzo di Bicci, 34 n. 84 Madrid, Prado, Bosch Collection, Massacre of the Innocents, 56, 60 Lorenzo di Niccold, 35 n. 86 Spanish Master, 14th cent., Ma- Master of Assisi St. Francis Cycle, Lorenzo di Niccolb—Follower, 138 donna of Humility (no. 44), 142 120, Fig. 116

Nn. 23 n.g8 Master of Flémalle, 42 n. 118, 143,

Lorenzo Monaco, 41, 139 n. go —————,, Private Collection, Spanish 156 n. 1047, Fig. 144

Lorenzo Veneziano, 136, Fig. 135 Master, Madonna of Humility, Master of Flémalie—Circle, 142 n.

Louis, St., 135, 175 n. g 141 n. 38 46, 143 Luca della Robbia, go n. 115 ————, Real Academia de la His- Master of the Bedford Hours, 142 n. Luca di Tommé, 7, 21ff., 35, 38 n. toria, Ms 33, Beatus Commentary 44

104, 54, 64, 73, 87, 112 n. 30, 123, on the Apocalypse, Spanish, 10th Master of the Biadaiolo Codex, 6, 166ff., 169 n. 13, 170, Figs. 21, 119 cent., Apocalyptic Woman, 155 n. 76 n. 12, 174 Nn. 12

Luca di Tommé—Follower, see “‘As- 105 Master of the Bigallo Crucifix, 16, sociate of Luca di Tommé” Maestd, see Christ in Majesty; Ma- 27, Fig. 16 Lucca, capture by Pisa, 61 donna in Majesty Master of the Boucicaut Hours, 142,

————-, Cenami-Spada Collection, Maestro Paolo, see Paolo Venezi- 142 N. 44, 150 n. 75, Fig. 151

Master of the Fabriano Altar- ano Master of the Boucicaut Hours— 186

INDEX Followers, 142, 142 n. 43 and 45, Lorenzetti, Ambrogio, Madonna, Minster, Museum, Florentine Mag-

Fig. 153 24, Fig. 23 ter, late 14th cent., Madonna of

Master of the Dijon Tabernacle, 42 Paolo Veneziano, Coronation of Humility (no. 345), 138 n. 25 n. 119, 56, 110, 112, Fig. 105 the Virgin, 44 n. 127, 44ff., Fig. Munich, Alte Pinakothek

Master of the Dominican Effigies, 57 Lochner, Stefan—Follower, Ma19 n. 24, 98 n. 9 ———, Chiesa Collection (former- donna of Humility, 140 n. 37

Master of the Fabriano Altarpiece, ly), Florentine Master, late 14th Masolino, Madonna of Humility, 23 NM. 41, 42, 43 N. 123, 53, 77 0. cent., Madonna of Humility, 138 138 n. 23

19, 110 n. 24, 141 Nn. 25 Riminese Master, 14th cent., Stig-

Master of the Grandes Heures de ———, Hoepli, U., Collection (for- matization of St. Francis (no.

Rohan—Follower, 142 n. 44 merly) , 980), 121 nm. 64

Master of the Magdalen Altarpiece, miniature, Bolognese, Resurrec- Simone Martini—Follower, As-

38, 119 n. 52, 129 n. 88, 146 n. 58 tion, 38, 103 sumption of the Virgin, 21 n.

Master of the Osservanza Triptych, miniature, 13th cent., Man of 28, 113, Fig. 22

20, Fig. 19 Sorrows, 124 Nn. 75 ———, von Kauffmann, Richard,

Master of the Pieta, 54, 112 n. 30 Niccolé di Ser Sozzo Tegliacci, Collection (formerly), Francesco Master of the Rinuccini Chapel, 28 miniature, Resurrection, 39 n. di Vannuccio, Madonna of Hu-

n. 56, 29, 53 n. 159, 77 Nn. 19, 79 107 mility, 134 n. 7

Master of the St. Cecilia Altarpiece, Pacino di Bonaguida—Shop, min- Murano, Museo Civico Vetrario, Si-

6, 193 iature, Martyrdom of St. Thom- enese Master, c. 1400, Stigmatiza-

Master of the St. Cecilia Altarpiece as of Canterbury, 175 n. 4 tion of St. Catherine, 121 —Followers, 107 n. 10-11, 108, 108 © ———, Museo Poldi-Pezzoli, Vitale mystery plays, 130ff.

n. 19, 173, Fig. 100 da Bologna, Madonna of Humil- — Mystic Marriage of St. Catherine, see

Master of St, Francis, 119 n. 53 ity, 135 nm. 12 Catherine of Alexandria, St. Master of the St. George Codex, 43 Minerbetti Family, 175 n. 4 mysticism, 104, 106ff., 131

mn. 121 Miniato, St., 10 n. 5 21 n. 28, 22 n. 34 Cana Fei, Trinity and Crucifixion, 35 Master of the Stefaneschi Altar- Miracoli della beata Caterina, see —___—, Museo Nazionale, Simone

Master of the Siena Duomo Sacristy, Miracle at Cana, see Marriage at Naples, Duomo, Paolo di Giovanni

piece, 43, 114, Figs. 58, 169 Catherine of Siena, St.—legends Martini, St. Louis, 135

Master of the Straus Madonna Modena, Pinacoteca Estense, Fra Pa- ————, §. Antonio, Niccold di Tom-

(Florentine), 139 n. 26, Fig. 142 olo da Modena, Madonna of Hu- maso, triptych, 167, 169

Master of the Straus Madonna (Si- mility, 135, 144, Fig. 136 ——, §. Chiara

enese), 21 n. 28, 149 n. 71 Molanus, De historia sacrorum, 151 Giovanni and Pacio da Firenze,

Matteo di Pacino, 43 n. 122-123 n. 82 reliefs; Legend of St. Catherine

Matthew, St., 14, 24ff., 131, 166, 169, Mons, Ste.-Wandru, tomb of Gerard of Alexandria, Marriage of St.

175, Fig. 59 Parent, 15th cent., Madonna of Catherine, 110 n. 24, St. Cath119 M. 55 Montalcino, Museo Civico, Bartolo Madonna from a Hermit, 107,

Matthew Paris, 36 n. 93, 37 n. 95; Humility, 142 n. 46 erine Receiving Image of the Medici, Cosimo dei, 73 n. 60 di Fredi, Coronation of the Vir- Fig. 103

Meditations on the Life of Christ, gin, 43, 43 . 124, 45, 170, Fig. 54 Neapolitan Follower of Simone 71, 91 n. 87, 125ff., 130, 144 n. 50, —__——,, §. Francesco, Bartolo di Fre- Martini, Madonna of Humility,

148, 152 di, Deposition, 49, 53, 167, 179, 138 TL. 10, 144

Meeting at the Golden Gate, 25ff., Fig. 66 ; —_——, S. Domenico Maggiore, Nea40 n. 114, 60, 79, 91ff., 168, Figs. Montefalco, S. Agostino, Lorenzetti, politan Follower of Simone Mar-

26-27, 33 Ambrogio—Follower, Coronation tini, Madonna of Humility, 138,

Meliore, 9 n. 2, 47ff., Fig. 2 of the Virgin, 43 n. 121 144, 151ff., 155ff., Fig. 133

mendicant orders, 91ff., 102 Montegiorgio, S. Andrea, Ghissi, ———-, §. Domenico Maggiore,

Meo di Pietro, 122 n. 69 Francescuccio, Madonna of Hu- Chapel of the Crucifixion, 14th

merchant companies, 68 mility, 197 Nn. 20 cent., Madonna of Humility, 135

Metz, French sculpture, 12th cent., Montesiepi, S$, Galgano, Lorenzetti n. 8, 144 “Vierge de la rue de St. Gen- —Follower, Madonna, 51 n. 148 ———, S. Domenico Maggiore, nar-

goulf,” 146 n. 57 Montichiello, Pieve, Lorenzetti, Pi- thex, 14th cent., Madonna of Hu-

Mezxzana gente, 62ff. etro, Madonna, 144 Nn. 50 mility, 135 n. 8, 144

. . ; : , 150

Michael, Archangel, 11, 57, 110, 188 | Montmorillon, Nétre-Dame, fresco, = ~~" S. Lorenzo n, 23, 151 n, 84, 175 n. 3, Fig. 6 igth cent., Coronation and Mar- Neapolitan Follower of Simone Michael of Cesena, 81, 99 n. 10 riage (?) of St. Catherine of Alex- Martini, Madonna of Humil-

Michelangelo, 77 andria, 108 n. 17 Simne eran . Traditi M Michele da Calci, 82 moon as symbol, 154 n. 100 and 103 donna de! Lotte 47 i 6, o middle class, rise of, 52 n. 156, 50ff., Morelli, Giovanni di Paolo, 69, n. , S. Maria Donna Regina, Ca-

Geff., 166, 173 46 vallini—Follower: Crucifixion, 1

Milan, expansion of, 61 Moriale, Fra, 68 n. 76, Resurrection, 38 n. 102 — Brera Moscow, Museum of Fine Arts, Ne- , §. Pietro a Maiella, NeapoliGiovanni da Bologna, Madonna opolitan Master, Madonna of tan Follower of Simone Martini,

of Humility, 135 n. 11, 136 n. Humility, 135 n. 10 Madonna of Humility, 135 n. 10

18, 140 Moses, 99 Nardo di Cione, 3ff., 6, 9 n. 4, 12 n. 187

INDEX 7 and 8, 14 n. 13, 15ff., 28, 19, 25, ————, Lehman, Robert, Collection MS 742, Pacino di Bonaguida—

4iff., 45, 48, 53ff., 72, 77, 79 Nn. Master of the Biadaiolo Codex, Shop, Trinity, 34 n. 82

31, 83, giff., 101ff., 166, 168, 172, panel: Last Judgment, 76 n. 12, ———_—-, Private Collection, Floren-

Figs. 11, 51, 89 St. Thomas Aquinas Teaching, tine Master, early 14th cent., reta-

Nardo di Cione—Followers, 13, 15 Bin. 148 bie, Passion of Christ, 129, Fig. n. 16, 26 n. 51, 28 n. 50, 34ff., 41, Niccold di Buonaccorso, Corona- 118 45, 68, 1399 n. 29, 143, 147 n. 61, tion of the Virgin, 43 n. 124 ———, Rabinowitz, Louis, Collec-

Figs. 9, 145 ————-, Lehman, Robert, Collection tion, Duccio—Follower, Madonna

Nativity, 14 n. 13, 19, 23, 26, 106 n. Giovanni di Paolo, Stigmatization del Latte, 146 n. 58 6, 124 n. 74, 145, 147ff., 149, 155ff., of St. Catherine, 121, Fig. 117 ———, Satinover Galleries (former-

Figs. «87, 159 Tuscan miniature, Trinity, 34 n. -ly), Orcagna—Follower, Madonna

Naviceila, 11, 95f€., 99, 101, 107, 82 of Humility, 138 n. 23

Fig. 97 ———, Market ———-, Wildenstein & Company

Lorenzetti, Pietro—Follower, Vir- Master of the Stefaneschi Altar-

Neri di Donato, Chronicle, 67 n. $4, gin and St. Anne, 110 n. 26 piece, Madonna, Saints and Vir-

68 n. 35, 169 n. 12 Lorenzo di Niccold, Trinity, 35 tues, 114ff., Fig. 169

New Haven, Yale University, Gallery n. 86 Paolo di Giovanni Fei, Presentaof Fine Arts Pacino di Bonaguida, triptych, 34 tion of the Virgin, 28, Fig. 165 Cioni—Follower, Trinity, 34 n. n. 82 Newburgh (N.Y.), Tessie Jones Col-

. 83 ———, Metropolitan Museum of lection, Nardo di Cione, Madonna,

Gaddi, Taddeo, Pieta, 56 n. 165 Art 42, Fig. 51

Guido da Siena—Follower, Cruci- Duccio—Follower, tabernacle, Niccolé di Buonaccorso, 23, 28 n. 59,

fixion, 150 n, 80 Coronation of the Virgin, 43 n. 43 NM. 124, 134 Nn. 7, 171

Luca di Tommé, Assumption of 121 Niccolé di Buonaccorso—Followers, the Virgin, 2iff., Fig. 2: Giotto—Follower, Nativity, Ado- 22 N. ZO, 23 N. 95, 122, Fig. 324

Magdalen Master, Madonna del ration and Annunciation to the Niccoléd di Mino Cicerchia, see Ci-

Latte, 146 n. 58 Shepherds, 149 n. 70 . cerchia

Master of the Straus Madonna ———~-, Metropolitan Museum of Niccold di Pietro Gerini, see Ge-

(Sienese), St. John Evangelist, Art, Cloisters, Niccold di Tomma- rini, Niccold di Pietro

21 n. 38 so, Man of Sorrows, 124, 124 n. Niccold di Ser Sozzo Tegliacci, 22,

Tuscan (?), late igth cent., altar- 76, Fig. 125 . oo, . 39 N. 107, 54, 166, 169ff., Figs. 25,

: -———-, New-York Historical Society 120

pieces 47 Cioni—Follower, tabernacle, 15 n Niccold di Tommaso, 43 n. 126, 46

New York, Barnard, G. G., Collec- 6 , ° 15M 16, 77 1. 16, 122 12 4 - 4 n. "6, tion (formerly), Orcagna—Follow- Nardo di Cione, Madonna, 11 n. 149 n. 73, 167, 169, 174, Figs. 123,

er, Madonna of Humility, 138 n. 8, 1sff., 18, 19, 42ff, 45, 48, 166, 128

23 , ; 168, Fig. 11 Nicholas, St., 46, 47, 47 n. 133, 61,

——— Duveen Brothers, “Associ- ______ Pierpont Morgan Library Figs. 31, 64 ate of Luca di Tommé,” triptych, ms 46, Hours, Flemish, c. 1430, Nicola Pisano, 51, 61 n. 8, 71, 76 n.

Trinity and Resurrection, 34ff., Madonna of Humility (fol. 10, 116 n. 42

$8 n. 104, Fig. 50 85v), 143 n. 47, Fig. 146 Noah, 99

———~, Ehrich Galleries (formerly), ms 88, Hours, French, c. 1360, Noli Me Tangere, 40 Andrea di Bartolo, Madonna of Madonna of Humility (fol. 151), | Nove and Noveschi, 64, 86, 92

Humility, 134 iqiff., Fig. 147 Nuzi, Allegretto, 53 n. 160, 136ff.,

—————, Frick Art Reference Library, Ms 183, Hours, Liége, 13th cent., Fig. 137

Paduan Follower of Giotto, trip- Adam and Eve (fol. 13), 148,

tych, 76 n. 12 151 n. 83, Fig. 160 Obedience, 115, Figs. 167, 169

———, Frick Collection MS 359, Hours, Boucicaut Master § Occam, William, 81, 99 n. 10, 108 Bellini, Giovanni, Stigmatization —Follower, Madonna of Humil- Oderisio (miniaturist), 5

of St. Francis, 120, 60 ity (fol. giv), 142 n. 45 Orcagna, Andrea, sff., 3 n. 2, 4, 6,

Castagno, Andrea del, Resurrec- MS 429, Beatus, Commentary on 9-14, 18, 18 n. 20, 22 Nn. 27, 22 Nn.

tion, 40, 115 the Apocalypse, Spanish, 13th 30, 23 n. 38, 24ff., 27ff., goff., 32

Paolo Veneziano, Coronation of cent., Apocalyptic Woman, 155 Nn. 77-78, 35, 41, 42, 45ff., 53ff., 56,

the Virgin, 44 n. 127, 136 n. 16 n. 105 57> 72, 73ft., 77 n. 16, 78ff., 83ft.,

Vecchietta, Resurrection, 40 n. Ms 524, Apocalypse, English, 13th ouft., 96, 98 99, 101ff., we ~

ARB cent., Apocalyptic Woman (fol. ie ig8ft., 165, 166, 172K, ———, Goodhart, Mrs. A. E., Colv), 158. Fig.Fig. 1 igs. 1, 5-8, 28, 30, 59,168, 86, 140, 1688 30V)» 155. 164 Orcagna, Andrea—Foll

. . . , . gna, Andrea—Followers, 14, 1

lection (formerly), Andrea di Bar- ms 643, Pacino di Bonaguida, n. 22, 23 n. 36, 26 N. 51, 27, 81, 82

tolo, Madonna of Humility, 134 Scenes from the Life of Christ, 45, 49 no 42, 5, 5S, 8s, 92 n. 88,

nN. 7, 140 nN. 35 Presentation in the Temple, 19 100 N. 17, 121ff., 123ff., 138 n. 23-

~———-~, Hearst, W. R., Collection n. 24 24, 139 n. 26, 155 n. 106, Figs. 18, (formerly), St. Cecilia Master— MS 716, Bolognese miniature, c. 39, 83-84, 121

Follower St. Catherine of Alex- 1350, Trinity, $4 Nn. 82 Ordine della vita cristiana, see Fiandria and Scenes from Her Leg- MS 729, Hours, Amiens, late. 13th dati, Fra Simone end, 107 n. 10-11, 108, 108 n. 19 cent., Nativity (fol. 246v), 148, Origen, Homilia VUT in Lucam, 149

Fig. 100 Fig. 157 n. 72 188

INDEX Or San Michele, Company of, see 25ff., 60, Fig. 26, Nativity, 147, Master, Madonna of Humility Company of Or San Michele Pentecost (Giotto and Assist- (fol. 1g0v), 142, 142 n. 44, Fig.

Orsini Family, 76 n. 9 ant), 33, 60, Presentation in the 15t

Orvieto, Cathedral (formerly), Or- Temple, 19 n. 24, Presentation MS Nouv. Acq. Lat. 1366, Beatus,

cagna, mosaic, 13 of the Virgin, 28 Fig. 29, Resur- Commentary on the Apocalypse,

——, Cathedral, pier relief, 24th rection of Lazarus, 31 n. 73, Vir- Spanish, i1gth cent., Apocalyptic cent,, Crucifixion, 149 n. 60, 150 tues and Vices, 50, 149 (see also Woman, 155 Nn. 105

n. 77 Caritas; Faith; Fortitude; Hope; ©— ——, Ducatel Collection (former-

————, §, Giovenale, Pietro di Puc- Infidelity; etc.); Crucifix, 127 ly), enamel, 13th cent., Stigmatizacio, Madonna del Latte, 147 n. 61 Giovanni Pisano, Madonna, 144 tion of St. Francis, 119 n. 56

Osservanti, goff., 166 n. 50 ————-, Lazzaroni, Baron, Collection,

Osservanza Master, see Master of | ———., Baptistery, Giusto de’ Mena- Florentine Master, c. 1400, Ma-

the Osservanza Triptych buoi, Christ Teaching in the donna of Humility, 138 n. 25

Oxford, Ashmolean Museum Temple, 56 n. 164 ———-, Louvre

Cioni—Follower, predella, Birth ———, Biblioteca Capitolare, Nic- Angelico, Fra, Coronation of the

of the Virgin, 21 n. 27 cold Semitecolo, Madonna of Hu- Virgin, 113 n. 34 Master of the Straus Madonna (Si- mility, 195 n. 12 Bartolo di Fredi, Presentation in enese), Madonna, 21 n. 28 ———~-, Eremitani (formerly), Gius- the Temple, ioff., 27, 45, 48, ———, Bodleian Library to de’ Menabuoi, frescoes, 103 Fig. 15

Ms Auct. d.4,17, Apocalypse, 13th ———, Palazzo Carrara, murals of Cioni—Follower, Marriage of St.

Nn. 105 157 n. 4 n. 30

cent., Apocalyptic Woman, 155 Petrarch’s De viris illustribus, Catherine of Alexandria, 112

Ms Douce 180, Apocalypse, 13th painters, social and economic posi- enamel, 13th cent., Stigmatization

cent., Apocalyptic Woman, 155 tion, 63 n. 16 of St. Francis, 119 n. 56 n. 105 Palau, Parish Church, Serra, Jaime, French Master, 15th cent., Ma-

——. Christ Church Gallery, Duc- Madonna of Humility, 141, Fig. donna of Humility, 140 n. 36

cio—Follower, triptych, Stigmati- 148 French sculptor, late 14th cent.,

zation of St. Francis, 120 n. 62 Palermo, Museo Nazionale, Barto- wood statuette, Madonna of

————, Keble College, Regensburg lommeo da Camogli, Madonna of Humility (mo. 153), 142 n. 48 Legendary, German, late 13th Humility, 132ff., 137, 144, 144 n. Gaddi, Taddeo, drawing, presen-

cent., Stigmatization of St. Fran- B1, 158, Fig. 129 tation of the Virgin, 28, Fig. 32 .

cis (fol. 222r), 119 n. 54 Palma, Archeological Museum, Ma- Giotto—Follower, Stigmatization jorcan Master, 14th cent., St. Ber- of St. Francis, 120 n. 61 Pacchia, Girolamo del, 121 n. 65 nard and Scenes of His Legend, ivory, gth-1oth cent., Presentation

Pacheco, Francisco, Arte de la pin- 152, Fig. 158 in the Temple, 19 n. 23

tura, 151 n. 82 Paolo da Modena, Fra, 135, 144, Fig. Simone Martini, Way to Calvary,

Pacino di Bonaguida, 6, 19 n. 24, 31 136 54ff., Fig. 75

n. 73, 34 n. 82, 38 n. 105, 40, 43 Paolo da Trinci, 90 ——_——-, Musée des Arts Décoratifs,

N. 121, 149 N. 73, 173, 174 Nn. 12 Paolo di Giovanni Fei, 22 n. 34, 28 Cioni—Follower, Coronation of Pacino di Bonaguida—Followers, 34 n. 58, 35, 134 n. 7, 171 n. 23, Fig. the Virgin, 43 n. 125

n. 82, 38 n. 105, 47ff., 195 n. 4 165 Parma, Congregazione della Carita,

Pacio da Firenze, 107, 110 n. 24, Paolo di Messer Pace, Il libro di bu- Niccold di Tommaso, Lamenta-

Fig. 103 oni costumt, 60 n. 1, 72 n. 56 tion, 122ff., Fig. 123

Pact of Judas, 55, Fig. 77-78 Paolo Veneziano, 36 n. 94, 44ff., 44 Passavanti, Jacopo: 74, 83ff., 85, 86,

Padua, Arena Chapel n. 127, 136 n. 16, Fig. 57 89, goff., 102, 106, 166, 173, Lo Giotto, frescoes: Annunciation, papacy, 33, 59, 82, 102ff. specchio di vera penitenza, 83ff., 150 n. 74 and 79, Ascension of Paradise, 11 n. 7, 77 n. 19, 94 Nn. 101ff., 149 n. 68, 1F3, 166

Christ, 60, 150 n. 78, Avarice, 1, o8ff., 101ff.; see also Last Judg- Passion Cycle, see Christ-——Passion

5O n. 147, Carttas, so, 51ff., 114, ment Cycle; see also Betrayal; CruciFig. 72, Christ Teaching in the Paradiso degli Alberti (Florence), fixion; etc.

Temple, 56 n. 164, Crucifixion, Gerini—Follower, Pentecost, 33 Passione di Gest Cristo, see Cicer-

150 n. 80, Envy, 50 n. 147, Ex- n. 81 chia, Niccold di Mino

pulsion of Joachim from the Paray-le-Monial, Musée, French Patarines, 100 Temple, 2off., 60, Fig. 35, Faith, sculptor, igth cent. Madonna Patriarchs, 100; see also Abraham; 50, Fig. 73, Folly, 51, Fortitude, from Anzy-le-Duc, 146 n. 57 David; Moses; etc. 115, Holy Women at the Sep- Paris, Bibliothtque de 1l'Arsenal, patronage of art and artists, 7off., ulchre, 38, Inconstancy, #1, MS 280, French, c. 1280, Stigmati- “8ff., 82, giff., 94, 144, 144 N. 51, 115, Infidelity, soff., 115, Fig. zation of St. Francis, 119 n. 54 173 ff. 166, Injustice, 50, Joachim Re- ———, Bibliothéque Nationale Paul, St.: 11, 23 n. 40, 57, 100, 105, turning to his Sheepfold, 60, MS Fr. 403, Apocalypse, 13th cent., 113, 1398 n. 23, Figs. 7; 127, I Co-

Justice, 24, Lamentation, 60, Apocalyptic Woman, 155 n. 108 rinthians, 11, 2, 116 n. 41, legend, Last Judgment, 50, 76, 84, 96, MS Fr. 9608, Les Pauvres, French, 34 n. 84 Fig. 88, Last Supper, 60, Mar- c. 1480 (fol. 20), 151, Fig. 161 Paula of Florence, Beata, legend,

riage at Cana, 60, Marriage of MS Lat. o2q, Hours, French, c. 152 n. 86 the Virgin, 109, Fig. 101, Mas- 1400, Madonna of Humility Pausola, S. Agostino, Andrea da Bosacre of the Innocents, 56 n. 164, (fol. 241), 142 n. 44 logna, Madonna of Humility, 135 60, Meeting at the Golden Gate, MS Lat. 1161, Hours, Boucicaut n, 12

189

INDEX pax (liturgical instrument), 37 pit: 51, 61 n. 8, Caritas, 116 n. ——_—, S. Domenico, Cloisters, Pis-

Peace, representation of, 51 42, Last Judgment, 76 n. 10 toiese Master, ¢. 1370, Madonna Peccioli, S. Verano, Tuscan Master, ——-, Camposanto of Humility, 136 n. 15

13th cent., Madonna, 42 n. 119 Andrea da Firenze, Story of St. ——_——, S. Francesco, Pistoiése Mas- .

Pelayo, Alvaro, 98 n. 8 Ranieri, 47, 168 ter, late 14th cent., fresco, Man Pentecost, 32ff., 45, 48, 60, g5ff., 100, Gaddi, Taddeo—and Successor, of Sorrows, 124 n. 76

119, Figs. 39-41 ) Story of Job, 68 n. 37 ———, S, Francesco, Capitolo, Pis-

perspective, 20, 23, 150, 172 Tommaso Pisano, altarpiece, 124 toiese Master, c. 1400, Resurrec-

Perugia, Galleria Nazionale dell’ n, 76 tion, 399 n. 109

Umbria (Pinacoteca Vannucci) Traini, Francesco, frescoes: Last ————, §. Giovanni, 66 n. 30

Giacomo di Mino, Tabernacle, Judgment, 76, 77 n. 16, 95, Pius II, Pope, 113 n. 33 Marriage of St. Catherine of 101ff., 104 n. 29, 171, Fig. 87, Plague, see Black Death Alexandria, 112 n. 30 Thebaid, 75, Triumph of Death, _ Plato, 5

5i nN. 154 Fig. 85 Pontormo, 165

Taddeo di Bartolo, St. Francis, 74ff., 83, 98 n. g, 101ff., 123,.171, Polyclitus, 157

Peruzzi Company, 62, 73, 166 Traini—Follower, Resurrection, Poppi, Biblioteca Comunale, ms

Pescia, S. Francesco, Berlinghieri, 39 N. 107 1, Master of the Dominican Effi-

Bonaventura, St. Francis and ———, Duomo, Giovanni Pisano, gies, Presentation in the Temple, Scer:zs from His Legend, Stig- Madonna, 144 n. 50, pulpit: 50, 19 n. 24 matization of St. Francis, 117ff., 76 n. 11, Ecclesia, 116, Fig. 108 ——, Castello, Gaddi, Taddeo—

Fig. 113 ~——_-—, Museo Civico Follower, Presentation in the

Peter, St., 10ff., 23 n. 40, 27, 33, Barnaba da Modena, Madonna del Temple, 19 n. 24

46, 83, g8ff., 102, 105, 123, 131, Latte, 147 n. 61 Poverty, representations of, 100ff., 146 n. 59, Figs. 62, 127 Gentile da Fabriano, Madonna of 111 Peter Martyr, St.: 98, 100, 175ff., Humility, 140 n. 32 Prague, Cathedral, Bohemian MasGiving Standards to the Compa- Luca di Tommé, Trinity and ter, Holy Face, 37 n. 98

gnia del Bigallo, 100 n. 17, Scenes Crucifixion, 35ff., 166, 170 ——_—, Sts. Peter and Paul on the from His Life, 23 n. 36, 94, 100 Pisan Master, c. 1275, altarpiece, Wyschehrad, Bohemian Master,

Peter and Paul, Sts., Giving Staff gn. 2 14th cent., Madonna of Humility, and Book to St. Dominic, 114 n. Pisan Master, ¢. 1385, Marriage 140 34 of St. Catherine of Siena, 113, Prato, Duomo, Gaddi, Agnolo, fresPetrarch: 6 n-9g, 65, 71, 75, 157ff., Fig. 121 coes, Meeting at the Golden Gate

161, 163ff., Canzoni, 152 ,153, 154 Raniero di Ugolino: altarpiece and Presentation in the Temple,

n. 103, De viris illustribus, 157 (room 2, no. 7), Expulsion of gon. 114

nN. 4, 160, translation from the Joachim from the Temple, 29, Preaching Friars, see Dominicans

Decameron, 161 n. 13 Fig. 34, Meeting at the Golden Presentation in the Temple, 12 n.

Petroni, Beato Pietro, 161, 166 Gate, 25 n. 47, Presentation of 10, 16ff., 17 NM. 19, 23, 24, 25, 27, Philadelphia, Philadelphia Museum, the Virgin, 28 n. 57; altarpiece 29, 45, 48, 55ff., 124 n. 74, 166,

Johnson Collection (room 2, no. 16), St. Anne and 168, Figs. 12-15, 18

Bulgarini, Bartolommeo, Annun- the Virgin, 48 n. 139 Presentation of the Virgin in the

ciation, 149 n. 71 ——, S. Catarina Temple, 27ff., 29, goff., 40 n. 214,

Cioni—Follower, Marriage of St. Simone Martini—Follower, Altar- Figs. 28-29, ‘32, 165

Catherine of Alexandria (no. | piece of St. Thomas Aquinas, Pride, 49, 51, 52, 71, Fig. 72

6), 110 n. 24 51 nm. 148, 104 n. 29, 171 riests, 17, 20, 27, 31, 55, 57 149 Nn. 73 Dominic, 113 n. 34, 171 seum, Veronese, Madonna of HuSienese Master, late 14th cent., ——, S. Cristina (formerly), Cruci- mility, 135 n. 12 diptych, Madonna of Humility, fix, 106, 117 prophecies, 78, 161 Niccol6 di Tommaso, Nativity, Traini, Francesco, Triptych of St. Princeton, Princeton University Mu-

(no. 153), 1384 nN. 7, 138, 143, ———, S. Frediano, Crucifix, 13th Prophets, 14, 53

Fig. 148 cent., 38 n. 102 Proto-Evangelium of James, see

Piccolomini, Gabriele, gz n. go ———, S. Maria della Spina, Pisan Apocrypha

Pienza, Duomo, Vecchietta, Assump- sculptor, 14th cent., Madonna del Pseudo-Jacopone da Todi, see Ja-

tion of the Virgin, 21 n. 28 Latte, 147 n. 61 copone da Todi

y, » 17 ? 379, o : :

—————, Museo, Bartolo di Fredi, Pistoia, Madonna dell’ Umilita, Pis- Pp P

Madonna of Mercy, 166, 170 toiese Master, ¢. 1370, Madonna seudo-Matthew, see Apocrypha

————, S. Francesco, Choir, frescoes, of Humility, 136 n. 15, 145 n. Pucci, Antonio, 157 | late 14th cent., 122 n. 69 53, 12 nh. 86 Puccio di Simone, 137 Piero della Francesca, 165 ———., Museo Civico Pucelle, Jean, 141 Piero di Cosimo, 154 n. 103 Lippo Dalmasio, Madonna of Hu- . Pieta, see Lamentation; Man of mility, 135 n. 41 Quercia, Jacopo della, 139 n. 31

Sorrows; Vesperbild 13th cent. Master, Altarpiece of i

Pietro, Fra, Nova legenda (of St. St. Francis, 119 n. 58 Ranieri, St., 47, 168 Catherine of Alexandria), 111 ————, §. Andrea, Giovanni Pisano, Raniero di Ugolino, 25 a. 47, 28 Pietro di Giovanni, 21 n. 28 pulpit, 76 n. 11 and 14 N. 57, 29, 48 n. 39, Fig. 34 Pietro di Puccio, 147 n. 61 ————, §. Bartolommeo in Pantano, Raphael, 139, 165

pilgrims, 36, Fig. 44 Pistoiese Master, c. 1370, Madon- Raymond of Capua, 8off., 89 n. 79, Pisa, Baptistery, Nicola Pisano, pul- na of Humility, 136 n. 15 105 n. 3, 117; see also Catherine

190

INDEX of Siena, St., legends (Legenda MS Ross. 251, Sudarium (fol. 12Vv), Before Caiaphas, 56ff., Christ

maior) 37 n. 95-96 Teaching in the Temple, 56,

Raymond of Toulouse, 93 n. 95, ————-, Vatican, Pinacoteca Fig. 81, Crucifixion, 84, 97, 150

104 Bonsi, Giovanni, polyptych, 13 n. 76, Fig. 92, Last Supper,

Regina Coeli, see Virgin Mary as n. 12 55fl., Fig. 79, Massacre of the

Queen of Heaven Cioni—Follower, Madonna del Innocents, 56, Miracle at Cana,

Reparata, St., 15, 15 n. 15 Parto, 42 n. 120 56, Pact of Judas, 55ff., Fig. 78,

Resurrection of Christ, 32 n. 75, 34 Ghissi, Francescuccio, Madonna of Way to Calvary, 54, Fig. 76

n. 84, 38ff., 44, o5ff., 131, Fig. 47- Humility, 137 n. 20 Barna da Siena—Follower: Ado-

50 Giovanni del Biondo, Standing ration of the Magi, 149 n. 70,

Resurrection of Lazarus, see Laza- Madonna and Saints, 42 n. 119 Presentation in the Temple, 56

rus—Resurrection and 120, 155 n. 104, Fig. 52; Bartolo di Fredi, frescoes, Old

Resurrezione di Gest Cristo, see Ci- predella, 74, 83, 154 n. 100, Fig. Testament Cycle: 54 n. 162, 68,

cerchia, Niccold di Mino 52 g2, 166, 170, Crossing of the

Riccobaldo, 4 Jacopo di Cione—Follower, Cor- Red Sea, 68, Fig. 80, MisforRichard of St. Victor, 151 n. 85, 153 onation of the Virgin, 43 n. 125 tunes of Job, 68, Fig. 82 Rieti, Museo Civico, Luca di Tom- Master of the Stefaneschi Altar- ———, Museo Civico

mé, altarpiece, 167, 170 piece, polyptych, 114 Coppo di Marcovaldo, Crucifix, 41 Riformatori, 64, 167 Niccolo di Tommaso, Nativity, Niccold di Ser Sozzo Tegliacci, As-

Rinuccini Master, see Master of the 149 Nn. 73 sumption of the Virgin, 22 . Rinuccini Chapel Raphael, Madonna di Foligno, ———, S. Agostino, Bartolo di Fre-

Rocca d’Orcia, S. Simeone, Giovan- 139 di, fresco cycle, Life of the Vir-

ni di Paolo, Madonna of Humil- Sano di Pietro, Presentation of gin: Birth of the Virgin, 2off., g2,

62 Nn. 123

ity, 1394 n. 6 the Virgin, 28 n. 58 Fig. 20, Presentation of the Virgin,

Rohan Master, see Master of the Titian, Madonna, 139 25, 28 n. 59

Grandes Heures de Rohan ——_——, Vatican, Sancta Sanctorum, S. Giovanni Valdarno, Oratorio, GiRomanesque architecture, 29, 29 n. Miraculous Image of Christ, 9 n. ovanni del Biondo, altarpiece, 43

Romanesque painting, 40 n. 121; a Vatican, Sistine Chapel, ———, Pieve di S. Giovanni Batsee also Dugento painting Michelangelo, Last Judgment, 77 tista, Giovanni del Biondo—Fol-

Rome, Biblioteca Casanatense, Cod. Rovezzano, S. Michele, Florentine lower, Man of Sorrows, 124 n. 76 1404, German Ms, 15th cent., Hu- Master, late 13th cent., Madonna, S. Leonardo al Lago (Siena), Loren-

mility (fol. 11v), 153 n. 97 48 n. 339 zetti—Follower, Presentation of

———-, Catacomb of Priscilla, 2nd the Virgin, 28 n. 58

cent. fresco, Madonna, 147, Fig. Sabellius, 100 S. Martino a Mensola (Florence),

156 Sacchetti, Franco: 157, Trecento no- Gaddi, Taddeo, altarpiece, pre-

———, Palazzo Venezia, Riminese velle, 3ff., 74 m. 1, 77 N. 20, 105, della, 124 n. 76

Master, 14th cent., Resurrection, 145 n. 52, 166 S. Severino (Marches), Pinacoteca 39 n. 106 Sacchetti, Giannozzo, 105, 157; see Civica, Allegretto Nuzi, Madonna

———., Private Collection, Sienese also Catherine of Siena, St., leg- of Humility, 136ff., Fig. 137

Master, Madonna of Humility, ends (Miracoli della beata S. Sano di Pietro, 28 n. 58, 149 n. 73

134 n. 6 Caterina) Saracini, Alessa, 92 n. 90

——_—-, §. Cecilia, Cavallini, Pietro, Sacre sante stimmate, see Francis of Saragossa, Ramon Collection, Span-

Apostles, 157 Assisi, St., legends ish Master, late 14th cent., Ma-

————, §. Costanza, Stigmatization St. Cecilia Master, see Master of the donna of Humility, 141 n. 38

of St. Francis, 119 n. 53 St. Cecilia Altarpiece Sarasota. (Fla.), Ringling Museum,

———, S. Croce in Gerusalemme St. Francis Master, see Master of St. Dijon Master, Marriage of St.

(formerly), Man of Sorrows, 124 Francis ) Catherine of Alexandria, 110, 110

n. 75 Salimbeni, Biancina, 92 n. go n. 24, 112, Fig, 105

———, S. Maria Maggiore, Torriti, Salisbury, Wilton House, Pembroke Sarteano, SS. Martino e Vittorio, Gi-

Jacopo, mosaics: Coronation of Collection, Hugo van der Goes, acomo di Mino del Pellicciaio, Mathe Virgin, 43 n. 122, 44ff., Fig. Adoration of the Child, 124 n. 74 donna, 140 55, Presentation in the Temple, Saltero della beata vergine Maria, Sassetta, 21 n. 28; 51 n. 154; see also

ig n. 24 151i n. 85 Master of the Osservanza Triptych

———, St. Peter's Salutati, Coluccio, 163 n. 19 Sassetta—Follower, 20 Giotto, mosaic, Navicella, 99, 107 S. Agata (Mugello), Scarperia, Gio- Scuola di S. Giovanni Evangelista, Sudarium, 36 vanni del Biondo—Shop, Martyr- 144 Mn. 51

——, Vatican, Biblioteca dom of St. Sebastian, 78 n. 21 Sebastian, St.: 77ff., Martyrdom, ms Grec. 1162, Homilies of the S. Angelo in Formis (Capua), Resur- 77ff., Fig. 91

Monk James, 25 n. 45 ; rection of Lazarus, 32 n. 74 Segna di Bonaventura—Follower, 76

Ms Grec. 1613, Menologium of S. Ansano (Florence), Giovanni del n. 10 and 12

Basil II, 25 n. 45 Biondo, altarpiece, 43 n. 123 Semitecolo, Niccold, 135 n. 12

ms Pal. Lat. 565, 12th cent., Tree S. Ansano a Dofana (Siena), Loren- Seraph, 118ff. of Virtues (fol. 32), 153, Fig. 162 zetti, Pietro, Madonna, 12 n. 10 Serra, Jaime, 141, Fig. 148

ms Pal. Lat. 1726, German, sth S. Gimignano, Collegiata Settignano, Berenson Collection cent., Humility (fol. 48v), 153 Barna da Siena, frescoes, New Tes- Dijon Master, Madonna, 42 n. 119

n. 97 tament Cycle: 54ff., g2, Christ Sassetta, St. Francis, 51 n. 154 191

INDEX Sienese Master, c. 1365, Madonna Simone Martini, Madonna in Sienese Master, 13th cent., Altar-

of Humility, 134 n. 7 Majesty, 123 piece of St. Peter (no. 15), 146 Ship of the Church, see Navicella ————, Pinacoteca n. 59 |

Sibyl, Tiburtine, Revealing the Vir- “Associate of Luca di Tommé,” Simone Martini—Follower, Mar-

gin to Emperor Augustus, 139 Scenes from the Legend of St. riage of St. Catherine of AlexSiena: economic developments, 62, Paul (nos. 117 and 118), 34 n. andria (no. 108), 112 n. 30

67ff., political and social develop- 84 Vanni, Andrea, triptych (no. 114), ments, 59, 64, 68, 87, 88, 166ff. Balducci, Matteo, Stigmatization 170 | ——-, Archivio di Stato, Caleffo of St. Catherine (no. 406), 121 ———, §. Agostino, Simone Martini, dell’Assunta, Niccold di Ser Sozzo n. 65 altarpiece, 45 n. 128

Tegliacci, Assumption of the Vir- Bartolo di Fredi: parts of an ale —, S. Bonda, 86 gin, 22, 54, 160ff. - tarpiece (nos. 97-101), 170, Ado- ———-, S. Domenico, Vanni, Andrea, —————, Cappella del Campo, 80 ration of the Magi (no, 104), St. Catherine of Siena, 113 n. 33

————, Casa di S. Caterina 46 n. 131 ———~-, S. Donato, Vanni, Andrea, Crucifix, 117 Bartolo di Fredi—Follower, Coro- Madonna del Latte, 23, Fig. 24

Fungai, Bernardino, Stigmatiza- nation of the Virgin (no. 58), © ———, S. Francesco

tion of St. Catherine, 121 n. 65 43 n. 124 Lorenzetti, Ambrogio, Madonna

Pacchia, Girolamo del, Stigmatiza- Bulgarini, Bartolommeo, Assump- del Latte, 147, 157, Fig. 155

tion of St. Catherine, 121 n. 65 tion of the Virgin (no. 61), 21 Lorenzetti, Pietro, Resurrection,

————-, Duomo, 80 n. 28, 22 34 n. 84, 98 n. 104

Nicola Pisano, pulpit, Last Judg- Domenico di Bartolo, Madonna Vanni, Andrea, Madonna, 170

ment, 76 n. 10 of Humility, 140, Fig. 141 ———, S, Maria del Carmine, Mas-

Paolo di Giovanni Fei, Madonna Duccio—Follower, triptych, Coro- ter of the Siena Duomo Sacristy,

of Humility, 1394 n. 7 nation of the Virgin (no. 35), Assumption of the Virgin, 21 n.

stained-glass window, Assumption 43 mn. 121 28, 22 n. 34 | of the Virgin, 22 n. 32 Giacomo di Mino del Pellicciaio, | ———, S, Maria delle Grazie, 80 ————, Duomo, facade, reliefs, late triptych (no. 145), Head of St. ——, S, Onofrio, 80 1gth cent.: Expulsion of Joachim Anthony, 46, 83, 166, 170, Fig. §———,S, Pietro Ovile, Sienese Mas-

from the Temple, 29, Meeting at 61 ter, 15th cent., Annunciation, 22

the Golden Gate, 25, n. 45, Presen- Giovanni di Paolo: Last Judg- Nn. 34 tation of the Virgin, 28 n. 54 ment (no. 172), 77, Presentation ———-, §. Stefano, Vanni, Andrea, -———, Duomo, Opera del Duomo of the Virgin (no. 211), 28 n. 58 altarpiece, 170 Duccio, Madonna in Majesty: 131, Guido da Siena—Follower, Fran- _ Signa, Oratorio di S, Lorenzo, Flor-

Annunciation of the Death of ciscan Scenes (no. 4), Stigmatiza- entine Master c. 1380, Martyrdom

the Virgin, 150 n. 79, Christ’ tion of St. Francis, 110ff., Fig. of St. Sebastian, 78 n. 21

Teaching in the Temple, 56, 115 Signorelli, Luca, 113 n. 36, 154 n. Deposition, 49, Fig. 67, Holy Guido da Siena—Follower, Fran- 103

Women at the Sepulchre, 38, ciscan Scenes (no. 5), Stigmati- Simon de Langres, 93 n. 95, 99 Last Supper, 55, Pact of Judas, zation of St, Francis, 119 n. 58 nN. 12 55, Fig. 77, Pentecost, 33, Pres- Guido da Siena-Follower, altar- Simone dei Crocefissi, 109 n. 22, entation in the Temple, 19 n. piece, St. Francis and Scenes . 15, 135 n. 11, 153, Figs. 134, 163

24, Resurrection of Lazarus, 31 (no. 313), 119 n. 58 Simone Martini, 7, 12 n. 10, 22 n.

Nn. 73 Lorenzetti, Pietro—Follower, Tri- 34, 45 n. 128, 46, 49, 54, 55, 57>

Lorenzetti, Pietro, Birth of the umph of Death (no. 92), 75 Goff., 123, 132 n. 3, 139, 1418,

Virgin, 22 n. 34, 61 n. 5 n. 4 143ff., 145, 147, 148 n. 63; 150, 150

————, Duomo, Sacristy, Master of Lorenzo Monaco, Madonna of Hu- n. 76, 154 n. 103, 156, 158, 172,

the Siena Duomo Sacristy, fres- mility, 139 n. 30 176, Figs. 75, 130

coes: Birth of the Virgin, 22 n. 34, Luca di Tommé: polyptych (no. Simone Martini—Followers, 21 n. Presentation of the Virgin in the 586), Madonna, 87, 123, Fig. 119, 28, 41, 43 N. 121, 104 N, 29, 132 N.

Temple, 28 n. 58 Marriage of St. Catherine of 30, 113, 193ff., 147 n. 61, 149 nL

—————-, Ospedale della Scala, 86, 88, Alexandria (no. 594), 112 n. go, 69 and 71, 155, 171, Figs. 22, 128,

125 polyptych of St. Anne (no. 109), 133

Chapel, Cristofano di Bindoccio 166, 170 Specchio di vera penitenza, see Pasand Meo da Pietro, frescoes, 122 Luca di Tommé and Niccold di savanti, Jacopo

n. 69 Ser Sozzo Tegliacci, polyptych Speculum humanae salvationis, 109

Facade (formerly), Lorenzetti, (no. 51), 166, 169, 170 Nn. 23, 151, 154 n. 102

Ambrogio and Pietro, Scenes Master of the Pieta, Marriage of | Spinello Aretino, 34 n. 84, 57, 172 from the Life of the Virgin, 20, St. Catherine of Alexandria (no. Spinello Aretino—Followers, 39 n.

28, 131 186), 112 n. 30 109, 192 N. 1, 138 n. 23

——_——-, Palazzo Pubblico Niccold di Buonaccorso—Follow- Spiritual Franciscans, 81, 87, goff.,

Lorenzetti, Ambrogio: Bad Gov- er, altarpiece (no. 163): As- 144 Nn. 50

ernment, 94, Fig. 74 (Avarice, sumption of the Virgin, 22 n. Stars as symbols, 154 n. 101 and 103 5o n. 147, Cruelty, 51, Tyranny, 30, Crucifixion, -122, Fig. 124 Stefaneschi, Cardinal Gaetano, 114,

53, Fig. 74), Good Government, Paolo di Giovanni Fei, Birth of 133 51, 94, 157, Fig. 109 (Caritas, the Virgin (no. 116), 22 n. 34 Stefaneschi Master, see Master of 114, Fig. 109, Peace, 51, 157, Se- Sienese Master, c. 1215, retable the Stefaneschi Altarpiece

I92 ,

curity, 157) (no. 1), gn. 2 Stefani, Marchionne di Coppo,

INDEX Chronicle, 65 n. 24, 69 n. 42, 70 Tommaso di Guelfaccio, 92 Master, Madonna of Humility

Nn. 47 Tommaso Pisano, 124 n. 76 (no. 15), 141 n. 38 er), 8 della miseria umana, 84 Follower, Coronation of the Vir-

Stefano (Florentine Trecento paint- Torini, Agnolo, Breve raccoglimento ———, Museo Provincial, Duccio—

Stefano da Verona, 140 Tornaquinci Family, 72, 79 gin (no. 125), 150 n. 75

Stia, Pieve di S. Maria, Florentine Torre di Palme, S, Maria a Mare, ———, S. Salvador, Spanish Master, Master, late igth cent., Madonna, Venetian Master, 14th cent., Ma- late 14th cent., Madonna of Hu-

48 n. 139 donna of Humility, 136 n. 18 mility, 141 n. 38

Stigmatization, see Catherine of Si- Torriti, Jacopo, 19 n. 24, 43 Nn. 122, Vallombrosa, Monastery, 84, 91, 166

ena, St.; Francis of Assisi, St. 44ff., Fig. 55 Van der Goes, Hugo, 124 n. 74

Stimigliano (Tiber Valley), S. Maria Tortosa, S. Matteo, Barnaba da Mo- Van der Weyden, Roger, 143, 156

in Vescovio, frescoes, late 13th dena, Madonna del Latte, 147 n. n. 107

cent.: Crucifixion, 150 n. 77, Res- 61 Van Eyck, Jan, 143, 156 n. 107

urrection, 38 n. 104 Toulouse, Bibliotheque Municipale, | Vanni, Andrea, 7, 23, 31, 46, 47,

Stockholm, Private Collection, Ja- MS 91, Missal, 1362, Trinity, 35 n. 53, 64, 77, 83, oz, 113 n. 33, 166,

copo di Cione—Circle, Man of 87 170, Figs. 24, 62, 127

Sorrows, 124 n. 76 ——-, Musée St. Raymond, textile, Vanni, Lippo, 34 n. 84, 39 n. 110,

Strasbourg, Cathedral, 1igth cent., 1gth cent., Stigmatization of St. 54, 56

sculpture, Vices, 50 Francis, 119 n. 54 Vasari, Giorgio, Lives, "8if., 95, 172

———, Musée des Beaux-Arts, Flor- ———, S. Sernin, repainted fresco, n. 1, 175 ff.

entine Master, late 14th cent., Ma- Marriage of St. Catherine of Alex- Vecchietta, Lorenzo, 21 n. 28, 40 n.

donna of Humility (no. 7689) 138 andria, 108 115

n. 25 Traini, Francesco, 74ff., 76,77 n.16, | Venice, Accademia, Giovanni da BoStrozzi Family, 72 83, 95, 98 n. g, 10:1ff., 104 n. 29, logna, Panel, Madonna of Humilsuckling as symbol, 116 113 N. 34, 123, 171, 172, Figs. 85, ity (no. 17), 135 Mm. 11, 140, 144

Sudarium, 35ff., 37 n. 97, 38, Figs. 87 n. 51, Fig. 154

45-46; see also Christ, Holy Face Traini, Francesco—Follower, 39 n. ————-, Ca d’Oro, Giovanni di Nicsumptuary laws, 52 107 colé, Madonna of Humility, 135, sun as symbol, 154 n. gg and 103 Trecento novelle, see Sacchetti, 136 n. 14, Fig. 192

Sutri, Duomo, Roman Master, early Franco ————, S. Marco, mosaic, Pentecost, igth cent., Christ Enthroned, 9, Tree of Life, 19 n. 24, 31 n. 73, 43 33 24, Fig. 3 N. 121,Tree149 n. 93 Venus, 157 of Virtues, 153, Fig. 162 Verdiana, St., 168 n. 4 Trieste, Museo Civico, Venetian Verona, Museo Civico

Master, ¢c. 1325, altarpiece, Suda- North Italian Master, ¢. 1340-1348,

Taddeo di Bartolo, 51 n. 154 rium, 36, 38, Fig. 45 Marriage of St. Catherine of Tavelli da Tossignano, Giovanni, Trinity, 13, 34ff., 45, 119, 152, Figs. Alexandria, 108 n. 17

86 n. 64 9, 50 Stefano da Verona, Madonna of

Temperance, 115, 158 Triumph of Death, 14, 74f., 83, 92, Humility, 140

Terenzano, S, Lorenzo, Duccio—Fol- 98 n. g, 101, 123, 171, Figs. 85-86 Turone, Coronation of the Virgin,

lower, Assumption of the Virgin, Turin, Pinacoteca, Angelico, Fra, 150 N. 75

22 n. 32 Madonna of Humility, 140 n. 33 ——~, S. Anastasia, Venetian Mas-

Thomas Aquinas, St.: 27, 51, 51 n. Turone, 150 n. 75 ter, 14th cent., Madonna of Hu148, g8ff., 103, 104 n. 29, 114 1. Tuscania, S. Pietro, Fresco, 14th mility, 136

38, 1751f., Apotheosis, see Chris- cent., Madonna del Latte, 147 n. Veronica, see Sudarium

tian Learning, Celebrating Mass, 61 . Vesperbild, 127, 145ff.

11, 56, 99 n. 11, Fig. 168, Christian Tyranny, representation of, 53 Via Veritatis, 23, g5ff., 99, 101ff., 102

Learning, 94 n. 1, 96, 100ff., 104, ; N. 20, 104, Fig. 94

72, 183 48 Cioni—Follower, Marriage of St.

Summa Theologica, 149 n. 68 and Ugolino da Siena, 39, 168 n. 4, Fig. Vicchio di Rimaggio, S. Lorenzo,

Thomas of Canterbury, St.: 175, “Ugolino Lorenzetti,” see Bulgarini, Catherine of Alexandria, 112 n.

Martyrdom, 175 n. 4 Bartolommeo 30

Three Maries at the Tomb, see Holy Unchastity, 51 ff. Vices, soff., 71ff.; see also Avarice; Women at the Sepulchre Urban V, Pope, 87, 91, 103, 166 Cruelty; etc.

Tino di Camaino, 25 n. 45, 28 n. Urbino, Palazzo Ducale, Baronzio da Vico Y'Abate, S. Michele Arcangelo,

57, 116, 151, Fig. 110 Rimini, altarpiece, Adoration of Lorenzetti, Ambrogio, Madonna,

Tintoretto, 165 the Magi, 149 n. 70 45 Mm. 130

Titian, go n. 115, 139, 165 usury, 72if. Villani, Filippo, Chronicle, 69ff., 69 Tolomei, Matteo, 92 n. go Utrecht, Archiepiscopal Museum, n. 46

Tommasino da Foligno, 78 Guido da Siena, Christ Mounting Villani, Giovanni, Chronicle, 50 n. Tommaso da Celano, see Francis of the Cross, 129, Fig. 122 147, 52ff., Go n. 1, 62ff., 63, 64 n.

Assisi, St., legends 17, 64ff., 70 n. 47, 73, 75 n. 6, 80

Tommaso da Modena, 136 n. 17 Vainglory, 49, 51ff., 71, Figs. 69, 7: Villani, Matteo, Chronicle, 61 n. 10, Tommaso del Garbo, Consiglio con- Valence, Musée, Master of the Fa- 65ff., 65 n. 24, 67, 69 n. 45-46, 70

tro la pistolenza, 75 n. 5 and 8 briano Altarpiece, Coronation of n. 47, 75 n. 6, 78ff., 80 n. 36, 83

Tommaso della Fonte, Fra, 89, n. 81, the Virgin, St. Sebastian, 77 n. 19 Nn. 50, 92

105 Valencia, Museo Diocesano, Spanish Virgil, 5 193

INDEX Virgin Mary: Annunciate, 149 m 71, War of Eight Saints, 85, 103, 167 Madonna of Humility, 31, 42,

as Apocalyptic Woman, 153ff., Washington, National Gallery 138ff., Fig. 140

Commended by Christ to St. John Andrea di Bartolo, Madonna of Quercia, Jacopo della—Attributed (see Ghrist Commendinug Virgin Humility, 22 n. 34, 134, Fig. 131 to, Madonna of Humility, 139

to St. John), as Intercessor (see Angelico, Fra—Follower, Madon- n. 32

Deésis; Maria Mediatrix), Life, na of Humility, 140 n. 32 Riminese Master, 14th cent., Ado20ff., 22 n. 34, 60 (see also An- “Associate of Luca di Tommé,” ration of the Magi, 149 n. 70

nunciation; Annunciation of the Conversion of St. Paul (no. 319), Way to Calvary, 31, 36, 48, 54ff.,

Death of the Virgin; Presentation 34 n. 84 o4ff., 127, 129, 130, 146, Figs. 38, of the Virgin in the Temple, etc.), Bulgarini, Bartolommeo, Madon- 75-76, 96

as Mater Omnium, 116 n. 40, na of Humility, 134 n. 7 Wedding at Cana, see Marriage at i51, Mystic Marriage to Christ, Cimabue—Follower, polyptych, 9 Cana

109, Fig. 99, Nursing Human n. 2 Wellesley (Mass.), Wellesley Col154, as Radix Sancta, 153, Fig. gn. 1 Guido da Siena—Follower, Christ

Souls, 152, as Queen of Heaven, Giotto and Follower, polyptych, lege, Farnsworth Art Museum, 163, Seven Joys and Seven Sor- Giovanni del Biondo, Annuncia- Mounting the Cross, 129 n. 89

rows, 145 tion, 168 n. 4 Westerloo, Mérode Collection, Mas-

Virgin Mary, see also Madonna and Giovanni di Niccold, Madonna of ter of Flémalle, Annunciation, 143

Child; Madonna della Culla; etc. Humility, 136 n. 14 wolf as symbol, 98, 98 n. 1

Virtues, 5off., 100, 114, 148, 153, Fig. Jacopo del Casentino, Presenta- Woman of the Apocalypse, see

169; see also Caritas; Humility; tion in the Temple, 19 n. 24 Apocalyptic Woman . . Masaccio Imitator, Madonna of Worcester (Mass.), Art Museum, Caetc.; see also Tree of Virtues wee . ore . . . Humility, 140 terino, Madonna of Humility, 136 Visconti of Milan, 61 he Fabri . 8 Vision of the8. Virgin, 16 Master of-Nuzi, the Fabriano Altarpiece n. 18, 140 . , ‘ 53: 193 153, andFig. Allegretto retable,

vistons inspired by paintings, 105ff., 53, 137 N. 20 Zara, S. Francesco, Ms 6, 13th cent., tint, 116ff., 152 n. 86 Niccold di Buonaccorso, Marriage Stigmatization of St. Francis (fol.

Vita nuova, see Dante of St. Catherine of Alexandria, 38), 119 n. 5g Vitale da Bologna, 135 n. 11, 150 23 Nn. 35 Zeitblom, Bartholomaeus, 37 n. 97

n. 75 Niccold di Ser Sozzo Tegliacci, Zenobius, St., 15, 49, 5t, Fig. 70 tolo di Fredi, frescoes, g2 n. 89 120 renzetti, Ambrogio—Follower, Ho-

Volterra, Duomo (formerly), Bar- Madonna (no. 453), 169, Fig. Zug (Zurich), Abegg Collection, Lo-

Volto Santo, see Christ, Holy Face Orcagna and Jacopo di Cione, ly Face, 61 n. 4, 134 n. 7

SCHEDULE OF PHOTOGRAPHS

Unless listed below, all photographs are reproduced by courtesy of the museum : or collector specified in the list of reproductions. Alinari, Florence: Figs. 1, 2, 5, 8, 15, 26, 28, 33, 35, 36, 37, 41, 45) 47> 53> 55» , 56, 57, 58, 65, 67, 72, 75, 80, 86, 88, g2, 93, 97, 101, 102, 108, 110, 114, 129, 166.

Anderson, Rome: Figs. 14, 16, 23, 29, 38, 44, 51, 52, 73, 74, 76, 77, 78, 81, 85, 87, 94, 96, 98, 103, 109, 111, 133, 141.

Bencini, Florence: Fig. 116. Brandi, U., Siena: Fig. 61.

Brogi, Florence: Figs. 6, 7, 10, 19, 27, 30, 31, 32, 34, 39, 54, 59, 60, 64, 69, 7% 79, 89, 91, 95 113, 134, 155, 168. Cipriani, Florence: Figs. 9, 71, 121.

: Fiorentini, Venice: Fig. 132.

Frick Art Reference Library, New York: Figs. 12, 17, 115, 119, 136, 154, 162. Gabinetto Fotografico Nazionale, Rome: Figs. 3, 149, 163.

Lombardi, formerly Siena: Fig. 124. | Mas, Barcelona: Fig. 148. Soprintendenza, Florence: Figs. 66, 83, 84, 138, 145. Soprintendenza, Parma: Fig. 123. From J. Wilpert, Die Malereien der Katacomben Roms, Freiburg, 1903, pl. 22: Fig. 156.

| 194

INDEX SUPPLEMENT (1964) Allentown (Pa.), Allentown Art Mu- Jacopo di Cione, Madonna, 169 New York, Linsky, Jack, Collection,

seum, Giovanni del Biondo, Mar- Brussels, Van Gelder, Mme. M., Cioni~Follower, Holy Face, 35-

riage of Catherine of Alexandria, Collection (formerly Brussels, 38, Fig. 42

110, Fig. 106 Market), Andrea da Firenze—Fol- New York, Metropolitan Museum

Assisi, Perkins Collection (formerly lower, Four Saints, 47 n. 133 of Art, The Cloisters (formerly Lastra a Signa, Perkins, F. M., Chicago, Art Institute (formerly Westerloo, Mérode Collection),

Collection), Bartolo di Fredi—Fol- Chicago, Worcester Collection), Master of Flémalle, Annunciation,

lower, Madonna, 147 n. 61 Carlo da Camerino, Madonna of 143 Balmville (N.Y.), Tessie Jones Col- Humility, 137 n. 20. New York, Stoclet, P., Collection lection (formerly listed as being —_—Fiesole, Cathedral (formerly Fiesole, (formerly Brussels, Stoclet, A.,

in Newburgh, N.Y.), Nardo di Museo Bandini), Giovanni del Collection), Sienese Master, 14th Cione, Madonna, 42, Fig. 51 Biondo, Altarpiece, 43 n. 123 Century, Lamentation, 61 n. 6

Berlin-Dahlem, Museum Dahlem Florence, Gabinetto del Restauro New York, Wildenstein & Company

(formerly Hildesheim, Rémer- (formerly at Impruneta), Altar- (formerly Englewood, Platt ColMuseum), Giovanni del Biondo, piece, 26 n. 51, 29 Nn. 59, 30 lection), Paolo di Giovanni Fei, Man of Sorrows, 124 n. 76 | Florence, Palazzo Davanzati, No. Madonna of Humility, 134 n. 7 Berlin-Dahlem, Museum Dahlem 6113 (N.) (formerly Florence, Uf- New York, Wildenstein & Company (formerly Berlin, Kaiser-Friedrich fizi, Storeroom), Cioni—Follower, (formerly New York, Market),

Museum) Madonna of Humility, 138 n. 25 Pacino di Bonaguida, Triptych,

Angelico, Fra—Follower, Last = Greenville (S.C.), Bob Jones Uni- 34 n. 82

Judgment, 77 n. 18 versity, Museum (formerly New Paris, Galerie Pardo (formerly New

Bellini, Giovanni, Resurrection, York, Market), Lorenzo di Nicco- York, Satinover Galleries), Or-

— 4o n. 115 10, Trinity, 35 n. 86 cagna—Follower, Madonna of HuDaddi, Bernardo—Follower, trip- Greenwich (Conn.), Hyland, T. S., mility, 138 n. 23

tych (no. 1064), 147 n. 62 Collection (formerly New York, Philadelphia, Museum of Art, No.

Duccio—Follower, Madonna (no. Duveen Brothers), Luca di Tom- 24.25.119 (formerly New York,

1710), 48 mn. 121 mé, triptych, Trinity and Resur- Barnard, G. G., Collection), Or-

Florentine Master, ¢. 1385, As- rection, 34ff., 38 n. 104, Fig. 50 cagna—Follower, Madonna of Hu-

sumption of the Virgin (no. Greenwich (Conn.), Hyland, T. S., mility, 138 n. 23

1089), 22 Nn. 33 Collection (formerly New York, Prague, Narodni Galerie (formerly

Gaddi, Taddeo: Pentecost, g2ft., Private Collection), Florentine Konopisté, Castle), Niccold di Fig. 40, triptych, 61 n. 6, 147, Master, early 14th century, reta- Tommaso, Coronation of the Vir-

Fig. 159 i, ble, Passion of Christ, 129, Fig. gin, 43 n. 126 ,

Mantegna, Presentation in the 118 Surrey, Polesden Lacey, National

Temple, 124 n. 74 : “ys - Trust (formerly London, Doug-

Master of Flémalie-Circe, Ma. Kansas City. Nelion, William Reck- 5") angion},Oreagna Follow donna of Humility, 142 n. 46, ‘ on. National Gallery), Niccold er, Madonna of Humility, 139 n. Master of the Straus Madonna “ Ser Sozo Tegilacct, Madonna, Utrecht. Archiepiscopal Museum (Florentine), Madonna of Hu- Lown 'B- p Bucknell Univer- (formerly Amsterdam, Kijzer-Lanz

143 . ¢ rae 26, 155 n. 106

mility, 139, Fig. 142 . (fe B a Ww: hi Na Collection), Rinuccini Master (?),

Master of the Straus Madonna sity asvnies Gio nee del Bi. Baronci triptych, 53

(Sienese), Annunciation (no. sada ory): ena . a Venice, Cini Collection . (formerly 1142), 21 n. 28, 141 1. 71 L fon British Mu 1] MS Y. Milan, Hoepli, U., Collection), Simone Martini—Follower, Ma- ondon, Dritisn Museum, ates Miniature, Bolognese, Resurrec-

donna of Humility, 41, 132 n. Thompson 13 (formerly London, tion, 38, n. 103 3, 199ff., 197, 155ff. Fig. 128 Yates Thompson, Henry, Collec: Venice, Cini Collection (formerly Zeitblom, Sudarium, 37 Nn. 97 tion), Taymouth Hours, 121 n. 64 Milan, Hoepli, U., Collection) Brussels, Feron-Stoclet Collection London, Chamberlain, W. B., Col- miniature, Bolognese, Resurrec(formerly Brussels, Stoclet, A., lection (formerly Sale, Christie's, tion, 38, n. 108

Collection) Feb. 25+ 1938, no. 2 '), Giovannt miniature, 13th century, Man of

Simone Martini—Follower, Virgin del Biondo, Virgin Annunciate, Sorrows, 124 n. 75

Annunciate, 149 n. 71 168 n. 4 (not, as listed in original Niccolo di Ser Sozzo Tegliacci, Vitale da Bologna (?), Coronation index, Jacopo di Cione) miniature, Resurrection, 39 n. of the Virgin, 150 n. 75 Munich, Haniel, Dr. Franz, Collec- 107

Brussels, Stoclet Collection (former- tion (formerly Berlin, Moll Col- Pacino di Bonaguida—Shop, mini-

ly Brussels, Stoclet, A., Collec- lection), Orcagna—Follower, Pres- ature, Martyrdom of St. Thom-

tion) entation in the Temple, 18 n. 22, as of Canterbury, 175 n. 4

Andrea di Bartolo, Madonna of 27, Fig. 18 ; Washington, National Gallery (for-

Humility, 134 n. 6 Naples, Museo di S. Martino (for- merly New York, Wildenstein &

Giovanni di Paolo: Marriage of merly Naples, S. Antonio), Nic- Company), Paolo di Giovanni St. Catherine of Siena, 113, cold di Tommaso, Triptych, 167, Fei, Presentation of the Virgin,

Fig. 104; St. Catherine of Siena 169 oo. 28, Fig. 165

Offering Christ Her Heart, New Haven, Yale University, Gal- Wiesbaden, Henckel Collection (for-

. 114, Fig. 112 lery of Fine Arts (formerly Ra- merly Frankfurt, Ad. Schaeffer Italian Master, late 1gth-early binowitz, Louis, Collection), Duc- Collection), Angelico, Fra—Fol-

tion, 149 n. 70 146 n. 58 n. 32

14th cent., Nativity and Adora- cio—Follower, Madonna del Latte, lower, Madonna of Humility, 140 195