1. How can we talk about the differences we see? How can we articulate the visual changes that separate the Medieval sense of space and form from the late Gothic sense of space and form? What language do we need to describe how artists begin to break away from the medieval sense of space and form? We need to look simultaenously at the articulation of the body and construction of the space which the figures inhabit. Ask yourself these questions: 1.Has the artist created this image using primarily line or tones (shades of light and darks)? Does the artist rely primarily on line or on modeling? 2.Is the space flat? Are the figures pressed against the surface of the frame? Does the figure recede in space? Do the figures seem to inhabit a space that has three-dimensional depth? 3.Is there a body underneath the drapery or does it seem as if there is only a cylinder on which the clothing hangs? Can you read the curves of the body underneath the drapery? Is the cloth responding to a body underneath the drapery? Giotto begins to create monumental forms which have weight and inhabit a seemingly realistic space. Giotto’s work both predicts the Renaissance and makes the Renaissance possible.

2. Chartres Cathedral-- west façade: Royal Portal c. 1145-55 jamb sculptures: Prophets and Ancestors of Christ Chartres Cathedral— south transept entrance: Saint Theodore

3. Cimabue Crucifix 1268-71 tempera on wood San Domenico, Arezzo

4. Giotto Crucifixion 1330s tempera on wood Musées Municipaux, Strasbourg

5. Cimabue Virgin and Christ Enthroned 1280 for the main altar of the Church of Santa Trinita, Florence

6. Giotto Virgin and Christ Enthroned 1310 for the main altar of the Church of the Ognissanti, Florence