JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. College Art Association is collaborating with JSTOR to digitize, preserve and extend access to The Art Bulletin. All use subject to JSTOR Terms and Conditions 148 THE ART BULLETIN adopted judgment, but that it may rather be seen as the painter's solution and adjustment to a special purpose. In view of their specific qualities, one may visualize these three Passion scenes as once forming parts of painted wings of a large carved altar shrine with a sculptured Crucifixion in the center. We know that Bosch's paintings were placed in various churches not only in his home-town but also in Ghent and Bonn.Setting aside some disagreements, I feel Reuterswird's book is a contribution to Boschian literature as a solid, serious study concerned mainly with iconographic interpretation. It is not a revolutionary study but one which crystallizes and refines the author's own as well as gathered hypotheses. Composition 1350-I450, Oxford, Oxford University Press, 1971. Pp.-198. $12.75.This latest volume in the Oxford-Warburg series is dedicated to the memory of Gertrude Bing and is close to her interests and those of the Institute which she directed. It must be said at the outset that the title is somewhat misleading: the reader may be led to expect a fuller discussion of Giotto's art than is actually given. Brief as they are, however, the references to Giotto by Petrarch, Vergerio, and Alberti, among others, do serve as a thread by which to follow the discussion of the visual arts by the early humanists.Recently there has been what might be called a rediscovery of the importance of rhetoric in many aspects of Italian humanism. Mr. Baxandall here studies the relation between terms inherited from the classical manuals, such as "invention," "copiousness," "variety," and the perception and criticism of fourteenth-and early fifteenth-century painting. He shows how visual metaphors from Classical Latinoften much more sophisticated and subtle than the vernacularwere applied to the judgment of a work of art. His analysis reveals three main strands in the development of humanist criticism. The first is the Ciceronian-Petrarchan tradition, built on analogies between painting and writing. The second is the establishment of the canonical account of the revival of painting, with Cimabue as the forerunner, Giotto as the master and his pupils as the continuators. Third is the element introduced from the Greek and Byzantine tradition by Chrysoloras, emphasizing ekphrasis, the formal and stylized description of a painting. Surveying the literature of the first half of the fifteenth century, Mr. Baxandall interestingly and convincingly concludes that Pisanello, rather than a great innovator like Masaccio, was the a...
