After hearing the words "Gotto" and "14th century", the others immediately gathered in front of the painting and began to look closely at the whisper.

"Is this Giotto's work?"

"If this is indeed something from the fourteenth century, it is probably Giotto's painting..."

Naoto Asayama looked at the painting, was silent for a while, and turned curiously to ask the person next to him, "Who is Giotto you are talking about? Is this painting valuable?"

The person talking was neatly absent-mindedly, looking at Naoto Asayama with a speechless look on his face.

There is a strange thing here that is out of place, but if it is facing the mountain, it doesn't seem very strange...

"Don't look at me like this. I have never been interested in history, art, and other things. In my eyes, I am not as good as the new agricultural planting technology. I used to take art appreciation classes when I was in school, but I only remember Leonardo da Vinci, Monet, etc.," Naoto Asayama spread his hands at others and looked at the painting. "This painting looks happy, and that's a good painting, so I'll ask you, otherwise even if you drag me to appreciate it, I can't appreciate it."

The man next to Naoto Toyama sighed helplessly and explained patiently, "To put it simply, before the 14th century, most of the paintings were religious paintings left on the walls of the church. The Virgin Saints were always surrounded by golden light and inlaid with gems, which looked luxurious and cold. Giotto would use real people as models. The saints in his paintings were full of vitality and various vivid expressions and emotions, such as his work "Escape to Egypt" is the Bible

In the story, the news that Mary gave birth to Jesus was leaked. She fled to Egypt during the pursuit of King Herod. The background on the painting was full of hills and trees. Under the guidance of the angels, the Virgin Mary and Jesus were just ordinary mothers and sons. Mary's skirt was even stained. This painting that was close to reality made people have a different view of the painting. Even after seeing his works, many people lost their enthusiasm for the gorgeous Byzantine paintings…”

"Realism..." Naoto Asayama paused, "No, in painting, it should be said to be realistic, then he is the founder of this style."

"Yes, he started the realism of Renaissance art," the man nodded and joked, "The Leonardo da Vinci mentioned is more than a hundred years later, and he also attaches great importance to learning from him."

"Although it is realistic, it was inevitable that it was religious during that period," Chi Shinosuke spoke out, indicating that he was different from his old friend. Although he had no interest in art, he was influenced by his wife. "Just like the figure of an angel made of wind whirlpool behind the girl in this painting."

"Yes, the seller at that time seemed to call this painting "Sanctuary". As for how long the painting had been passed down and how it came about, he couldn't explain clearly," Chi Kana looked at the painting, "But strangely, in that period, there were not many cases of painting on canvas, and they also had religious significance. This painting was not only painted on canvas, but also could not check which scene in the biblical story..."

One of the older men thought about it seriously, "There does not seem to be a similar story in the Bible."

Chi Feichi just looked at the painting without making a sound.

That's of course.

This is not a story in the Bible at all.

When Diana was a girl, she was a casual baggage and left her hometown to travel around. One day, she was sitting on the valley pile outside the city and singing, and was seen by an old man passing by in a carriage.

He still remembers that day.

The old man, like a missionary, sat in the carriage, staring at Diana, whose eyes were too focused, which immediately made him "bone-knock warning".

After seeing the carriage, Diana jumped out of the valley and walked over, "Hey! If you want to rob, I'm penniless, maybe not as rich as you."

The old man looked at Diana's smiling face and asked seriously, "Happy girl, I just want to know what makes you so happy."

"I'm often so happy. Sometimes when I'm unhappy, I'll tell my bones or help others, so that I'll be happy again."

"I wonder... can I let me draw a picture for you?"

"For me? I am not the Holy Son, or something, how can you draw for me?"

"I don't know either, but you are like an angel-protected girl. I suddenly want more people to see your happiness. This may be the meaning of painting."

"Well, you're an interesting person, I promise you!"

This painting lasted for more than a month, and Giotto lived in that city, and Diana was temporarily settled in the same place, but she was still not very peaceful.

Giotto's coachman was sick. Giotto watched Diana pinch the coachman's chin and pour medicine. He lowered his head and looked at the girl with a bright smile on the canvas, with a little ladylike appearance. He probably understood how Diana helped her "help others" and hesitated in her eyes.

Giotto's neighbor couple quarreled. Diana climbed onto the wall and sat down. She looked at it with relish for a while until the other couple was embarrassed to continue arguing, and then she smiled and persuaded her to make peace.

No matter what happens in the city, Diana will not let go when she encounters it. Sometimes she looks like a cute pistachio, sometimes she looks like an irritable ghost doctor. Most of the time, Diana likes to run wild outside the city, either knocking on the door of Giotto's temporary residence late at night, or leaving a letter and running out for several days. Giotto's face is so angry that he often has red and white.

In the era at that time, Diana was a freak, and those constraints on women's rules and regulations were never seen by Diana. He believed that during that time, Giotto's blood pressure had always risen to its peak.

Diana also has a habit of checking the progress from time to time during Giotto's paintings and pointing fingers.

"Draw my bones, it's the one I'm wearing... It's always with me, and I'm the only one who paints it. I don't think it's good, and will it make me look lonely?"

Even though Giotto was already a famous painter at that time, he was still entangled with so much explanation.

"I will draw a huge angel behind you, and it will accompany you behind you, protect you, and you will not be alone..."

Diana's mind was very open, "Can I draw a huge bone behind me?"

Giotto: "…"

Huge bones???

Chi Feichi: "..."

Even if Giotto dares to draw, future generations cannot believe that this is Giotto's painting. If you don't know, you will still think that this is a funny painting drawn by later generations by pranks.

Diana insisted: "What is accompanying me is the bones, and what is protecting me is the bones. You can't be dishonest! Even if it's painting."

Giotto couldn't bear it anymore, "I've never painted any huge bones!"

Diana: "Don't you?"

Giotto: "…"

Diana: "I heard from the people in the city that you are a kind and creative person. You won't and dare not try new things, right?"

Giotto: "Creation is an indispensable thing for human beings, but sometimes, fresh things will be poison, and must be accompanied by thinking, careful consideration, and judgment whether it is suitable for you..."

Diana: "It's so troublesome. I've tried many new, unknown herbs. If this is not the case, I can't find some herbs that are beneficial to people. Of course, it's necessary to think about it, but if anyone is worried about it being a poisonous herb, who will discover the treasures in them?"

Giotto: "…"

Very fallacy.

Why hasn't this girl been poisoned yet... No, it's so difficult for this girl to communicate.

Chi Feichi: "..."

Diana is still showing off? If it weren't for him, she would have died hundreds of times.

In short, Diana was very sad at that time, like a crazy horse that broke away from its reins, and was far from being as steady as it was later. Giotto was also tortured and miserable, but she liked Diana's vitality and unrestrained laughter.

Diana wanted to add bones to the painting, but Giotto reluctantly added Diana to the painting with the posture of holding the necklace and pendant, and coaxed Diana: What if the bones are such a good thing, if someone sees them, what should I do if I want to take them for myself? If I draw this way, the bones in the painting can prevent people from spying on it. Isn’t it better?

That old man was very bad, almost arousing Diana's possessiveness. During that time, he hid his bones under his clothes all day, causing him to be blinded in the dark fabric for a while.

The two of them had always had a dispute over the angel behind them. In order to add the angel, the old man Giotto covered his heart and pretended to be angry during the argument. When he saw Diana running to choose herbs, he quickly said that he was fine.

Afterwards, Giotto was still given two bowls of medicine. He wanted to lie on the bed with a look of indifference, but when he saw Diana's attitude of "You must be sick, you have to take medicine if you are sick," he hurriedly sat up and continued to discuss with Diana.

Diana was not unreasonable. After hearing Giotto talk about her religious beliefs, she still allowed Giotto to paint the shadow of an angel behind the girl in the painting, which was just a shadow, but no specific appearance.

One old and one young have a rare peaceful conversation.

Giotto: "Your bone is like an angel, accompanying you and protecting you..."

Subtext: I have no problem with painting like this.

Diana: "Okay, but don't use other people's faces to draw angels. Bones have no faces, they are just bones."

Chi Feichi: "..."

Haha, who has no face?

Giotto: "I think we should try it out and use the appearance of a baby to be an angel..."

Chi Feichi: "..."

Forget it, these two people go and make trouble, he is tired.

Diana: "Do you think the bones will be babies? I don't think it's that childish."

Giotto: "It's just because of the innocence of the baby."

Diana: "But..."

Giotto: "Then use shadows, just draw a vague shadow of an angel behind you..."

Diana: "It seems...it's not bad."

Giotto: "Dianna, it's been a long time since I've been pointing fingers when I'm painting."

Diana: "It's again now."

Giotto: "…"

Nothing wrong.

Chi Feichi: "..."

He applauded blankly.

The painting was finally completed while stumbling.

Giotto was going to continue to set off home, took away the painting, and wanted to share with his family the happy girl he met on the road, discussing with Diana about setting off together, or agreeing to see him somewhere, and then he would give the painting to Diana.

However, Diana said with no conscience, "The painting you draw is yours, don't give it to me," and embarked on a journey of wandering around again.

In that era, sometimes separation was a farewell, especially when Giotto was no longer young that year. By the time Diana saw this painting again, Giotto had been dead for several years.

He had thought that Diana later joined the school and was keen on communicating with many thoughtful and creative people. In addition to the influence of the times and personality, would there be a reason for Giotto?
Chapter completed!