Abstract

This essay concerns the relationship among Giotto and some Riminese painters of the first half of fourteenth century; the specific theory of the author asserts that the St. Cecilia Master, an anonymous Florentine disciple of Giotto was of great importance for painters such as Giovanni da Rimini, Pietro da Rimini and Giovanni Baronzio, because he worked in Rimini with Giotto. This is an old idea currently abandoned by most scholars, but the author attempts to demonstrate it with a sequence of stylistic comparisons. This theory brings a preview of whole chronology of Pietro da Rimini.