DOI Page / Citation link:
https://doi.org/10.11588/diglit.57409#0124
108 LIVES OF THE ARTISTS.
jects, from the Old and New Testaments, in the different
chapels of the building. It is said that the passages from the
Apocalypse, which he has painted in one of these chapels,*
were inventions of Dante, as were probably those so highly
eulogized of Assisi, respecting which we have already spoken
at sufficient length. It is true that Dante was then dead, but
it is very probable that these subjects may have been dis-
cussed between Giotto and him: a thing which so frequently
happens among friends.
But to return to Naples. Giotto executed many works in
the Castel dell’ Uovo, particularly in the chapel,f which greatly
pleased the king, by whom Giotto was indeed so much be-
loved, that while at his work he was frequently held in con-
versation by that monarch, who took pleasure in watching
the progress of his labours and in hearing his remarks. Now
Giotto had always a jest ready, and was never at a loss for a
witty reply, so that he amused the king with his hand while
he painted, and also by the acuteness of his pleasant conver-
sation. Thus, one day, the king telling him that he would
make him the first man in Naples, Giotto replied that he
already was the first man in Naples, “ for to that end it is
that I dwell at the Porta Reale”, where the first houses of the
city stand. Another time, the king saying to him, “ Giotto, if
I were in your place, now that it is so hot, I would give up
painting for a time, and take my rest.” “And so I would do,
certainly,” replied Giotto, “ if I were in your place.” Giotto
being thus so acceptable to King Robert, was employed by him
to execute numerous paintings in a hall (which King Alfonso
afterwards destroyed to make room for the castle), and also in
the church of the Incoronata.| Among those of the hall,
were many portraits of celebrated men, Giotto himself being
of the number. One day the king, desiring to amuse him-
self, requested Giotto to depict his kingdom, when the painter,
* All these works have since been whitewashed.—Roman ed. 1759.
f These paintings are also lost.
J For the many controversies to which these paintings, which are
for the most part in tolerably good preservation, have given rise, see
Waagen, Kestner, Kugler, Rumohr, Nagler, Forster, Count Vilani XIV,
and others, who maintain that these works are by Giotto; see also
Aloe, of Berlin, and Domenico Ventimiglia, on the same side. Riccio,
on the contrary, Saggio Storico, §•<?., Naples, 1845, denies them to be by
Giotto—.'.nd his opinion he supports by arguments to which the reader
is referred.
jects, from the Old and New Testaments, in the different
chapels of the building. It is said that the passages from the
Apocalypse, which he has painted in one of these chapels,*
were inventions of Dante, as were probably those so highly
eulogized of Assisi, respecting which we have already spoken
at sufficient length. It is true that Dante was then dead, but
it is very probable that these subjects may have been dis-
cussed between Giotto and him: a thing which so frequently
happens among friends.
But to return to Naples. Giotto executed many works in
the Castel dell’ Uovo, particularly in the chapel,f which greatly
pleased the king, by whom Giotto was indeed so much be-
loved, that while at his work he was frequently held in con-
versation by that monarch, who took pleasure in watching
the progress of his labours and in hearing his remarks. Now
Giotto had always a jest ready, and was never at a loss for a
witty reply, so that he amused the king with his hand while
he painted, and also by the acuteness of his pleasant conver-
sation. Thus, one day, the king telling him that he would
make him the first man in Naples, Giotto replied that he
already was the first man in Naples, “ for to that end it is
that I dwell at the Porta Reale”, where the first houses of the
city stand. Another time, the king saying to him, “ Giotto, if
I were in your place, now that it is so hot, I would give up
painting for a time, and take my rest.” “And so I would do,
certainly,” replied Giotto, “ if I were in your place.” Giotto
being thus so acceptable to King Robert, was employed by him
to execute numerous paintings in a hall (which King Alfonso
afterwards destroyed to make room for the castle), and also in
the church of the Incoronata.| Among those of the hall,
were many portraits of celebrated men, Giotto himself being
of the number. One day the king, desiring to amuse him-
self, requested Giotto to depict his kingdom, when the painter,
* All these works have since been whitewashed.—Roman ed. 1759.
f These paintings are also lost.
J For the many controversies to which these paintings, which are
for the most part in tolerably good preservation, have given rise, see
Waagen, Kestner, Kugler, Rumohr, Nagler, Forster, Count Vilani XIV,
and others, who maintain that these works are by Giotto; see also
Aloe, of Berlin, and Domenico Ventimiglia, on the same side. Riccio,
on the contrary, Saggio Storico, §•<?., Naples, 1845, denies them to be by
Giotto—.'.nd his opinion he supports by arguments to which the reader
is referred.