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During his vision <>/ the Apocalypse, whose symbols appear in the semicircle in the sky. 52 37. Altarpiece in Bologna, 1330, panels, 91 X 340 cm. Pinacoteca Nazionale, Bologna. An important example c. of Giotto's late work and his relationship with his well- organized workshop. The is important in the development of the Bologna school of painting in the fourteenth century. polyptych The structure of the is overshadowed by the prominence of the whole individual, solid figures of the saints and the Madonna.
The gesture of betrayal can be compared with the embrace of Joachim and Anna, on the same wall. Giotto, who is normally more restrained and deliberate, here confers a dramatic dynamism on the nocturnal scene of the betrayal, heightened by the pikes, torches and leaving in the air. lanterns k 3r r n i . 38 39 Swallowed by the Whale, 1304-1306, fresco. Scrovegni Chapel, Padua. Along the left-hand walls of 24. Jonah the chapel there are behind and the variety of despairing gestures among the oj Christ and His resurrection after three days.
Gnudi, under the entry "Giotto," in the Enciclopedia outside the windows in the apse: so real is the illusion Un iversa le one feels an impulse to and see the swallows swooping down from the nearby eaves of the church that wait of the Eremitani. (R. Longhi, "Giotto spazioso," in Paragone, 31, 1952) Between 1260 and 1290 Cimabue, who worked in Rome and Florence, was undoubtedly an Italian— and even European — painter of outstanding greatness and poetical energy; and he was the external world, meaning landscapes, mountains, trees and rocks, whose aus- the highest and most complex culture in the great medieval tradition.