Giovanni di Paolo_ The Metropolitan Museum of Art Bulletin, v. 46 ..

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38. Giovanni di Paolo. The Adoration of the Magi. The Jack and Belle Linsky Collection, I982 (I982.60.4)30
39. Giovanni di Paolo. The Nativity. Fogg Art Museum, Harvard University, Grenville L. Winthrop Bequest (I943.1 2)of the kneeling king and the second magus is still showntaking off his crown, the action of the figures is inelegant.Structurally, however, the scene is anything but unsophisticated.It forms part of a predella of which three other panelssurvive, a Nativity in the Fogg Art Museum, Cambridge,Mass., a panel of Christ Teaching in the Temple in theIsabella Stewart Gardner Museum, Boston, and a visionaryCrucifixion at Christ Church, Oxford (figs. 39, 36, 37). Atfirst sight the settings of The Nativity and The Adoration ofthe Magi look very similar. In both the stable appears onthe left, and in both the right side of the panel opens on apatterned landscape peopled by shepherds with their flocksand a vast panorama behind. But when we look at themmore closely, we find that they are different. In the Foggpanel we look into the stable, with its wattle roof and walls,while in the Linsky panel we stand outside it a little to theright. The change involves a change in the projection ofthe stable and its roof, and the means by which this wasachieved is recorded in a complicated system of incisedlines running on each side of the beams, evidently plannedbefore work on the painting proper began.31
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Page 21 and 22: 2 . Giovanni di Paolo. The Baptist
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Page 30 and 31: 35. Giovanni di Paolo. SaintJohn th
Page 34 and 35: 3240. Giovanni di Paolo. Saint Ambr
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Page 42 and 43: 55. Sano di Pietro (I406-I48I). Mad
Page 44 and 45: 57. Giovanni di Paolo. The Crucifix
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Page 48 and 49: 66. Giovanni di Paolo. Pieta. Priva
Page 50 and 51: NOTESPhotography of Robert Lehman C
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Giovanni di Paolo_ The Metropolitan Museum of Art Bulletin, v. 46 ..

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