“A great work, Maginnis’s book will be an enduring monument of scholarship. It is uncommonly ambitious, synthetic, and revisionary: one of the few truly significant contributions to the understanding of Italian Renaissance art in our generation.” —Paul Barolsky, University of Virginia “This is the most significant treatment of the art of the period since Millard Meiss’s groundbreaking Painting in Florence and Siena after the Black Death. Not only is it a methodologically timely and critically perceptive meditation on the reception of Trecento Tuscan painting, but it is majestic in its sweep and bold in its ideas.” —Andrew Ladis, University of Georgia “The most deeply pondered account of Trecento painting to have been published for many years.” —Burlington Magazine “Provoked by the chasm between what we now know and can see and the baggage of inherited interpretation, Maginnis outlines a new history of the Tuscan Trecento. The result is a consistently thought-provoking book, conservative in the best sense, aiming deliberately and often successfully to provide new and more compelling reasons for old convictions. . . . This is indubitably an important book and a very valuable contribution to an overdue reassessment of one of the seminal periods on Western art.” —Julian Gardner Italian Studies “Hayden Maginnis has produced a steady stream of articles on fourteenth-century painting in Italy during the last twenty years that have earned him a reputation as one of the leading scholars of the Trecento in the world. This book is a synthesis that moves far beyond his previous scholarship. It is also a beacon for Renaissance scholars and will encourage them to take a fresh look at painting in Tuscany during the great period of Dante, Giotto, Duccio, Boccaccio, and Petrarch. All of this adds up to an exciting, fresh view of the early Renaissance, which should create new interest in this important field. Painting in the Age of Giotto is a pleasure to read.” —Paul Barolsky, University of Virginia