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II Kindle di Daniela per Mac - The Story of Art
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131. matthew  paris: An elephant and
iij keeper. Drawn in 1255. Cambridge, Corpus Christi College
legs 01 me cicpnani mere is a Latin lnscrip-tion saying: 'By the size of the man portrayed here you may imagine the size of the beast represented here'. To us this elephant may look a little queer, but it does show, I think, that medieval artists, at least in the thirteenth century, were very well aware of such things as proportions, and that, if they ignored them so often, they did so not out of ignorance but simply because they did not think they mattered.
In the thirteenth century, the time of the great cathedrals, France was the richest and most important country in Europe. The University of Paris was the intellectual centre of the Western world. In Italy, which was much disunited, the ideas and methods of the great French cathedral builders, which had been so eagerly imitated in Germany and England, did not at first meet with much response.
132. Nicola I'Isavo: Annunciation, Nativity and Shepherds. From the marble pulpit of the Baptistery in Pisa. Completed in 1260
	
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