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1 The present article was originally intended as one chapter of a book, which was to emphasize and expose in detail the aesthetic transitions of Italian painting from Cimabue through Giotto. Whether or not the original plan will be carried out is uncertain, but a separate book on Cimabue has been written and will shortly appear. Thus the conclusions reached in this article are by no means confined to the works here considered. My gratitude goes to the Berensons for their hospitality and the use of their excellent library, and to Dr. Frank Jewett Mather, Jr., under whose supervision I was first initiated into most of the following problems. The heretofore unpublished photographs were taken by Brogi of Florence.
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