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Both during and after the stay of the Florentine painter Giotto di Bondone in Rimini (for a few years) the host of pupils, followers and proselytes was quite whirlwind, most of the works they produced were not signed and being all contemporary, since the mid-19th century critics have been debating to provide clear and irrefutable attributions on the various master followers, precisely, of Giotto, as in the case of Pietro and Giuliano da Rimini who sometimes even collaborated in the execution of a fresco.Suggestive is the all-today undefined diatribe about who was the true and authentic painter who painted the large chapel (the vault) of the basilica of St. Nicholas of Tolentino (Pietro?Giuliano?the Master of Tolentino or of the large chapel).Moreover, the Florentine's mastery had a way of expanding to Ravenna, Forli, and neighboring towns.
About the author
Lorenzo Martini okonchil himicheskij fakul'tet Sienskogo uniwersiteta, i ego perwym otkrytiem stalo tonirowanie natural'nyh i mineral'nyh pigmentow, ispol'zowawshihsq hudozhnikami Srednewekow'q i Vozrozhdeniq.Mnogochislennymi byli i ostaütsq do sih por pigmenty, kotorye wek za wekom dolzhny byli menqt' ottenok, osobenno te, kotorye byli deshewle i kotorymi pol'zowalis' bednqki.
