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She had examined at Santa Maria-Novella the frescoes of Ghirlandajo, the stalls of the choir, the Virgin of Cimabue, the paintings in the cloister. She had done this carefully, in memory of her husband, who had greatly liked Italian art. She was tired. Choulette sat by her and said: "Madame, could you tell me whether it is true that the Pope's gowns are made by Worth?" Madame Marmet thought not.
She had examined at Santa Maria-Novella the frescoes of Ghirlandajo, the stalls of the choir, the Virgin of Cimabue, the paintings in the cloister. She had done this carefully, in memory of her husband, who had greatly liked Italian art. She was tired. Choulette sat by her and said: "Madame, could you tell me whether it is true that the Pope's gowns are made by Worth?" Madame Marmet thought not.
She had examined at Santa Maria-Novella the frescoes of Ghirlandajo, the stalls of the choir, the Virgin of Cimabue, the paintings in the cloister. She had done this carefully, in memory of her husband, who had greatly liked Italian art. She was tired. Choulette sat by her and said: "Madame, could you tell me whether it is true that the Pope's gowns are made by Worth?" Madame Marmet thought not.
The fine fresco by Mainardi, in the Baroncelli Chapel, is an instance; and I must cite one yet finer, that by Ghirlandajo in the choir of S. Maria-Novella: in this last-mentioned example, the Virgin stands erect in star-bespangled drapery and closely veiled. We now proceed to other examples of the treatment of the Assumption. Taddeo Bartoli, 1413.
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