It is quite conceivable that if Simone Martini had had for master a painter less powerful than Duccio, the example of Giovanni Pisano - excepting perhaps Donatello, the most determining influence in all Italian art - and the example of Giotto as well, with both whose works he certainly was acquainted, would have roused him to a sense of the real issues in the creation of a work of art. In him we might have had another painter with Giotto's feeling for both tactile values and for the materially significant, but with different ideals to reveal and a different message to convey. But Simone ...

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