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About this book

The volume is a scholarly compilation of Giorgio Vasari’s “Lives of the Most Eminent Painters, Sculptors and Architects,” covering the period from Cimabue to Agnolo Gaddi. It opens with a vivid discussion of Cimabue’s fresco of the Crucifixion in Assisi, juxtaposing his reputation with that of his pupil Giotto, and quoting Dante’s Purgatorio to illustrate how Giotto’s brilliance eclipsed his master’s fame. Vasari then moves to a detailed description of a portrait of Cimabue by Simone Sanese, and proceeds to a series of biographical sketches of architects such as Arnolfo di Lapo, interweaving anecdotes about their works, dates, and the evolving techniques of medieval Italian building.

Vasari’s voice is that of a 16th‑century humanist chronicler, rich in classical allusion, rhetorical flourish, and a keen eye for artistic lineage. The prose is dense, peppered with Latin phrases, biblical references, and contemporary commentary, making it especially rewarding for readers who appreciate art‑historical scholarship, Renaissance literary style, and the intricate genealogy of Italian visual culture.

Who appears in this book

  • CimabueElderly 13th‑century Italian painter, long grey beard, simple brown robe, contemplative gaze
  • GiottoYoung Florentine master painter, dark hair, trimmed beard, red‑tunic, confident expression
  • DanteMid‑thirties Dante Alighieri, flowing dark hair, laurel wreath, black scholarly robe, solemn face

Opening lines

CRUCIFIXION ( After the fresco by Cimabue. Assisi: Upper Church of S. Francesco ) View larger image I will not refrain from saying that if to the glory of Cimabue there had not been contrasted the greatness of Giotto, his disciple, his fame would have been greater, as Dante demonstrates in his Commedia , wherein, alluding in the eleventh canto of the Purgatorio to this very inscription on the tomb, he said: Credette Cimabue nella pittura Tener lo campo, ed hora ha Giotto il grido, Si che la fama di colui s' oscura.

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