entertaining tenth-rate painter may be found in articles by Hans
Makowsky, Mary Logan, and Herbert Horne.

The most important event of the last ten years, in the study of Italian
art, has been the rediscovery of an all but forgotten great master,
Pietro Cavallini. The study of his fresco at S. Cecilia in Rome, and of
the other works that readily group themselves with it, has illuminated
with an unhoped-for light the problem of Giotto's origin and
development. I felt stimulated to a fresh consideration of the subject.
The results will be noted here in the inclusion, for the first time, of
Cimabue, and in the lists of paintings ascribed to Giotto and his
immediate assistants.

B. B.

_Boston, November, 1908._




PREFACE TO THE SECOND EDITION


The lists have been thoroughly revised, and some of them considerably
increased. Botticini, Pier Francesco Fiorentino, and Amico di Sandro
have been added, partly for the intrinsic value of their work, and
partly because so many of their pictures are exposed to public
admiration under greater names. Botticini sounds too much like
Botticelli not to have been confounded with him, and Pier Francesco has
similarly been confused with Piero della Francesca. Thus, Botticini's