The works executed by the great, epochmaking artists in their youth always presnt us a very hard problem to solve. Above all we have the greatest difficulty about Giotto's intercourse with his close artists -Cimabue, Cavallini, the Umbrian school, and the Roman school which, it seems to me, played a part in the erection of the S. Francesco basilica and the decoration of it with wall paintings- is not plain enough to us. It is natural, however, that we should continue to do our best to arrive at an approvable conclusion. Even if our view on the possible authorship of frescos in the above basilica is by mere guess, there is no doubt the existence of some connection between Giotto and the works in Assisi. We cannot but think that Giotto's early works which led to his art in Padua and the establishment of formal principles in early Modern art could be produced only in the S. Francesco basilica. For it was in truth the most suitable place for the growth of young Giotto.
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