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This essay examines some theoretical and methodological aspects of Michael Baxandall's book Giotto and the Orators. Humanist observers of painting in Italy and the discovery of pictorial composition of 1971. It includes reflections on the book's reorientations of the scholarly debate over the relationship between Renaissance/Early Modern humanism and painting, as well as consideration of the linguistic theories that either directly or tangentially inform Baxandall's method. Sources such asdoaj:c195799e1da54d1fb4fe8fde51b6d5cc fatcat:uun7yexb2vcovdrix46zylcdwu