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diff --git a/7227-h/7227-h.htm b/7227-h/7227-h.htm new file mode 100644 index 0000000..2ebfbe5 --- /dev/null +++ b/7227-h/7227-h.htm @@ -0,0 +1,5507 @@ +<?xml version="1.0" encoding="iso-8859-1"?> + +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en"> + <head> + <title> + Mornings in Florence, by John Ruskin, M.a. + </title> + <style type="text/css" xml:space="preserve"> + + body { margin:5%; background:#faebd0; text-align:justify} + P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; } + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + div.fig { display:block; margin:0 auto; text-align:center; } + div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + .pagenum {display:inline; font-size: 70%; font-style:normal; + margin: 0; padding: 0; position: absolute; right: 1%; + text-align: right;} + .side { float: right; font-size: 75%; width: 25%; padding-left: 0.8em; + border-left: dashed thin; margin-left: 0.8em; text-align: left; + text-indent: 0; font-weight: bold; font-style: italic; + font-weight: bold; color: black; background: #eeeeee; border: solid 1px;} + pre { font-style: italic; font-size: 90%; margin-left: 10%;} + +</style> + </head> + <body> + + +<pre> + +The Project Gutenberg EBook of Mornings in Florence, by John Ruskin + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Mornings in Florence + +Author: John Ruskin + + +Release Date: January, 2005 [EBook #7227] +This file was first posted on March 28, 2003 +Last Updated: May 21, 2013 + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK MORNINGS IN FLORENCE *** + + + + +Text file produced by Michelle Shephard, Eric Eldred, Charles Franks +and the Online Distributed Proofreading Team + +HTML file produced by David Widger + + + + +</pre> + + <div style="height: 8em;"> + <br /><br /><br /><br /><br /><br /><br /><br /> + </div> + <h1> + MORNINGS IN FLORENCE + </h1> + <h2> + By John Ruskin, M.A. + </h2> + <p> + <br /><br /> + </p> + <hr /> + <p> + <br /><br /> + </p> + <p> + <b>CONTENTS</b> + </p> + <p class="toc"> + <a href="#link2H_4_0001"> <b>MORNINGS IN FLORENCE.</b> </a> + </p> + <p class="toc"> + <a href="#link2H_4_0002"> THE FIRST MORNING. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0003"> THE SECOND MORNING. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0004"> THE THIRD MORNING. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0005"> THE FOURTH MORNING. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0006"> THE FIFTH MORNING. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0007"> THE SIXTH MORNING. </a> + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0001" id="link2H_4_0001"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h1> + MORNINGS IN FLORENCE. + </h1> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0002" id="link2H_4_0002"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE FIRST MORNING. + </h2> + <h3> + SANTA CROCE. + </h3> + <p> + If there is one artist, more than another, whose work it is desirable that + you should examine in Florence, supposing that you care for old art at + all, it is Giotto. You can, indeed, also see work of his at Assisi; but it + is not likely you will stop there, to any purpose. At Padua there is much; + but only of one period. At Florence, which is his birthplace, you can see + pictures by him of every date, and every kind. But you had surely better + see, first, what is of his best time and of the best kind. He painted very + small pictures and very large—painted from the age of twelve to + sixty—painted some subjects carelessly which he had little interest + in—some carefully with all his heart. You would surely like, and it + would certainly be wise, to see him first in his strong and earnest work,—to + see a painting by him, if possible, of large size, and wrought with his + full strength, and of a subject pleasing to him. And if it were, also, a + subject interesting to yourself,—better still. + </p> + <p> + Now, if indeed you are interested in old art, you cannot but know the + power of the thirteenth century. You know that the character of it was + concentrated in, and to the full expressed by, its best king, St. Louis. + You know St. Louis was a Franciscan, and that the Franciscans, for whom + Giotto was continually painting under Dante's advice, were prouder of him + than of any other of their royal brethren or sisters. If Giotto ever would + imagine anybody with care and delight, it would be St. Louis, if it + chanced that anywhere he had St. Louis to paint. + </p> + <p> + Also, you know that he was appointed to build the Campanile of the Duomo, + because he was then the best master of sculpture, painting, and + architecture in Florence, and supposed to be without superior in the + world. [Footnote: "Cum in universe orbe non reperiri dicatur quenquam qui + sufficientior sit in his et aliis multis artibus magistro Giotto Bondonis + de Florentia, pictore, et accipiendus sit in patriâ, velut magnus + magister."—(Decree of his appointment, quoted by Lord Lindsay, vol. + ii., p. 247.)] + </p> + <p> + And that this commission was given him late in life, (of course he could + not have designed the Campanile when he was a boy;) so therefore, if you + find any of his figures painted under pure campanile architecture, and the + architecture by his hand, you know, without other evidence, that the + painting must be of his strongest time. + </p> + <p> + So if one wanted to find anything of his to begin with, especially, and + could choose what it should be, one would say, "A fresco, life size, with + campanile architecture behind it, painted in an important place; and if + one might choose one's subject, perhaps the most interesting saint of all + saints—for him to do for us—would be St. Louis." + </p> + <p> + Wait then for an entirely bright morning; rise with the sun, and go to + Santa Croce, with a good opera-glass in your pocket, with which you shall + for once, at any rate, see an opus; and, if you have time, several opera. + Walk straight to the chapel on the right of the choir ("k" in your + Murray's guide). When you first get into it, you will see nothing but a + modern window of glaring glass, with a red-hot cardinal in one pane—which + piece of modern manufacture takes away at least seven-eighths of the light + (little enough before) by which you might have seen what is worth sight. + Wait patiently till you get used to the gloom. Then, guarding your eyes + from the accursed modern window as best you may, take your opera-glass and + look to the right, at the uppermost of the two figures beside it. It is + St. Louis, under campanile architecture, painted by—Giotto? or the + last Florentine painter who wanted a job—over Giotto? That is the + first question you have to determine; as you will have henceforward, in + every case in which you look at a fresco. + </p> + <p> + Sometimes there will be no question at all. These two grey frescos at the + bottom of the walls on the right and left, for instance, have been + entirely got up for your better satisfaction, in the last year or two—over + Giotto's half-effaced lines. But that St. Louis? Re-painted or not, it is + a lovely thing,—there can be no question about that; and we must + look at it, after some preliminary knowledge gained, not inattentively. + </p> + <p> + Your Murray's Guide tells you that this chapel of the Bardi della Libertà, + in which you stand, is covered with frescos by Giotto; that they were + whitewashed, and only laid bare in 1853; that they were painted between + 1296 and 1304; that they represent scenes in the life of St. Francis; and + that on each side of the window are paintings of St. Louis of Toulouse, + St. Louis king of France, St. Elizabeth, of Hungary, and St. Claire,—"all + much restored and repainted." Under such recommendation, the frescos are + not likely to be much sought after; and accordingly, as I was at work in + the chapel this morning, Sunday, 6th September, 1874, two nice-looking + Englishmen, under guard of their valet de place, passed the chapel without + so much as looking in. + </p> + <p> + You will perhaps stay a little longer in it with me, good reader, and find + out gradually where you are. Namely, in the most interesting and perfect + little Gothic chapel in all Italy—so far as I know or can hear. + There is no other of the great time which has all its frescos in their + place. The Arena, though far larger, is of earlier date—not pure + Gothic, nor showing Giotto's full force. The lower chapel at Assisi is not + Gothic at all, and is still only of Giotto's middle time. You have here, + developed Gothic, with Giotto in his consummate strength, and nothing + lost, in form, of the complete design. + </p> + <p> + By restoration—judicious restoration, as Mr. Murray usually calls it—there + is no saying how much you have lost, Putting the question of restoration + out of your mind, however, for a while, think where you are, and what you + have got to look at. + </p> + <p> + You are in the chapel next the high altar of the great Franciscan church + of Florence. A few hundred yards west of you, within ten minutes' walk, is + the Baptistery of Florence. And five minutes' walk west of that is the + great Dominican church of Florence, Santa Maria Novella. + </p> + <p> + Get this little bit of geography, and architectural fact, well into your + mind. There is the little octagon Baptistery in the middle; here, ten + minutes' walk east of it, the Franciscan church of the Holy Cross; there, + five minutes walk west of it, the Dominican church of St. Mary. + </p> + <p> + Now, that little octagon Baptistery stood where it now stands (and was + finished, though the roof has been altered since) in the eighth century. + It is the central building of Etrurian Christianity,—of European + Christianity. + </p> + <p> + From the day it was finished, Christianity went on doing her best, in + Etruria and elsewhere, for four hundred years,—and her best seemed + to have come to very little,—when there rose up two men who vowed to + God it should come to more. And they made it come to more, forthwith; of + which the immediate sign in Florence was that she resolved to have a fine + new cross-shaped cathedral instead of her quaint old little octagon one; + and a tower beside it that should beat Babel:—which two buildings + you have also within sight. + </p> + <p> + But your business is not at present with them; but with these two earlier + churches of Holy Cross and St. Mary. The two men who were the effectual + builders of these were the two great religious Powers and Reformers of the + thirteenth century;—St. Francis, who taught Christian men how they + should behave, and St. Dominic, who taught Christian men what they should + think. In brief, one the Apostle of Works; the other of Faith. Each sent + his little company of disciples to teach and to preach in Florence: St. + Francis in 1212; St. Dominic in 1220. + </p> + <p> + The little companies were settled—one, ten minutes' walk east of the + old Baptistery; the other five minutes' walk west of it. And after they + had stayed quietly in such lodgings as were given them, preaching and + teaching through most of the century; and had got Florence, as it were, + heated through, she burst out into Christian poetry and architecture, of + which you have heard much talk:—burst into bloom of Arnolfo, Giotto, + Dante, Orcagna, and the like persons, whose works you profess to have come + to Florence that you may see and understand. + </p> + <p> + Florence then, thus heated through, first helped her teachers to build + finer churches. The Dominicans, or White Friars the Teachers of Faith, + began their church of St. Mary's in 1279. The Franciscans, or Black + Friars, the teachers of Works, laid the first stone of this church of the + Holy Cross in 1294. And the whole city laid the foundations of its new + cathedral in 1298. The Dominicans designed their own building; but for the + Franciscans and the town worked the first great master of Gothic art, + Arnolfo; with Giotto at his side, and Dante looking on, and whispering + sometimes a word to both. + </p> + <p> + And here you stand beside the high altar of the Franciscans' church, under + a vault of Arnolfo's building, with at least some of Giotto's colour on it + still fresh; and in front of you, over the little altar, is the only + reportedly authentic portrait of St. Francis, taken from life by Giotto's + master. Yet I can hardly blame my two English friends for never looking + in. Except in the early morning light, not one touch of all this art can + be seen. And in any light, unless you understand the relations of Giotto + to St. Francis, and of St. Francis to humanity, it will be of little + interest. + </p> + <p> + Observe, then, the special character of Giotto among the great painters of + Italy is his being a practical person. Whatever other men dreamed of, he + did. He could work in mosaic; he could work in marble; he could paint; and + he could build; and all thoroughly: a man of supreme faculty, supreme + common sense. Accordingly, he ranges himself at once among the disciples + of the Apostle of Works, and spends most of his time in the same + apostleship. + </p> + <p> + Now the gospel of Works, according to St. Francis, lay in three things. + You must work without money, and be poor. You must work without pleasure, + and be chaste. You must work according to orders, and be obedient. + </p> + <p> + Those are St. Francis's three articles of Italian opera. By which grew the + many pretty things you have come to see here. + </p> + <p> + And now if you will take your opera-glass and look up to the roof above + Arnolfo's building, you will see it is a pretty Gothic cross vault, in + four quarters, each with a circular medallion, painted by Giotto. That + over the altar has the picture of St. Francis himself. The three others, + of his Commanding Angels. In front of him, over the entrance arch, + Poverty. On his right hand, Obedience. On his left, Chastity. + </p> + <p> + Poverty, in a red patched dress, with grey wings, and a square nimbus of + glory above her head, is flying from a black hound, whose head is seen at + the corner of the medallion. + </p> + <p> + Chastity, veiled, is imprisoned in a tower, while angels watch her. + </p> + <p> + Obedience bears a yoke on her shoulders, and lays her hand on a book. + </p> + <p> + Now, this same quatrefoil, of St. Francis and his three Commanding Angels, + was also painted, but much more elaborately, by Giotto, on the cross vault + of the lower church of Assisi, and it is a question of interest which of + the two roofs was painted first. + </p> + <p> + Your Murray's Guide tells you the frescos in this chapel were painted + between 1296 and 1304. But as they represent, among other personages, St. + Louis of Toulouse, who was not canonized till 1317, that statement is not + altogether tenable. Also, as the first stone of the church was only laid + in 1294, when Giotto was a youth of eighteen, it is little likely that + either it would have been ready to be painted, or he ready with his scheme + of practical divinity, two years later. + </p> + <p> + Farther, Arnolfo, the builder of the main body of the church, died in + 1310. And as St. Louis of Toulouse was not a saint till seven years + afterwards, and the frescos therefore beside the window not painted in + Arnolfo's day, it becomes another question whether Arnolfo left the + chapels or the church at all, in their present form. + </p> + <p> + On which point—now that I have shown you where Giotto's St. Louis is—I + will ask you to think awhile, until you are interested; and then I will + try to satisfy your curiosity. There fore, please leave the little chapel + for the moment, and walk down the nave, till you come to two sepulchral + slabs near the west end, and then look about you and see what sort of a + church Santa Croce is. + </p> + <p> + Without looking about you at all, you may find, in your Murray, the useful + information that it is a church which "consists of a very wide nave and + lateral aisles, separated by seven fine pointed arches." And as you will + be—under ordinary conditions of tourist hurry—glad to learn so + much, <i>without</i> looking, it is little likely to occur to you that + this nave and two rich aisles required also, for your complete present + comfort, walls at both ends, and a roof on the top. It is just possible, + indeed, you may have been struck, on entering, by the curious disposition + of painted glass at the east end;—more remotely possible that, in + returning down the nave, you may this moment have noticed the extremely + small circular window at the west end; but the chances are a thousand to + one that, after being pulled from tomb to tomb round the aisles and + chapels, you should take so extraordinary an additional amount of pains as + to look up at the roof,—unless you do it now, quietly. It will have + had its effect upon you, even if you don't, without your knowledge. You + will return home with a general impression that Santa Croce is, somehow, + the ugliest Gothic church you ever were in. Well, that is really so; and + now, will you take the pains to see why? + </p> + <p> + There are two features, on which, more than on any others, the grace and + delight of a fine Gothic building depends; one is the springing of its + vaultings, the other the proportion and fantasy of its traceries. <i>This</i> + church of Santa Croce has no vaultings at all, but the roof of a + farm-house barn. And its windows are all of the same pattern,—the + exceedingly prosaic one of two pointed arches, with a round hole above, + between them. + </p> + <p> + And to make the simplicity of the roof more conspicuous, the aisles are + successive sheds, built at every arch. In the aisles of the Campo Santo of + Pisco, the unbroken flat roof leaves the eye free to look to the + traceries; but here, a succession of up-and-down sloping beam and lath + gives the impression of a line of stabling rather than a church aisle. And + lastly, while, in fine Gothic buildings, the entire perspective concludes + itself gloriously in the high and distant apse, here the nave is cut + across sharply by a line of ten chapels, the apse being only a tall recess + in the midst of them, so that, strictly speaking, the church is not of the + form of a cross, but of a letter T. + </p> + <p> + Can this clumsy and ungraceful arrangement be indeed the design of the + renowned Arnolfo? + </p> + <p> + Yes, this is purest Arnolfo-Gothic; not beautiful by any means; but + deserving, nevertheless, our thoughtfullest examination. We will trace its + complete character another day; just now we are only concerned with this + pre-Christian form of the letter T, insisted upon in the lines of chapels. + </p> + <p> + Respecting which you are to observe, that the first Christian churches in + the catacombs took the form of a blunt cross naturally; a square chamber + having a vaulted recess on each side; then the Byzantine churches were + structurally built in the form of an equal cross; while the heraldic and + other ornamental equal-armed crosses are partly signs of glory and + victory, partly of light, and divine spiritual presence. [Footnote: See, + on this subject generally, Mr. R. St. J. Tyrwhitt's "Art-Teaching of the + Primitive Church." S. P. B. K., 1874.] + </p> + <p> + But the Franciscans and Dominicans saw in the cross no sign of triumph, + but of trial.[Footnote: I have never obtained time for any right study of + early Christian church-discipline,—nor am I sure to how many other + causes, the choice of the form of the basilica may be occasionally + attributed, or by what other communities it may be made. Symbolism, for + instance, has most power with the Franciscans, and convenience for + preaching with the Dominicans; but in all cases, and in all places, the + transition from the close tribune to the brightly-lighted apse, indicates + the change in Christian feeling between regarding a church as a place for + public judgment or teaching, or a place for private prayer and + congregational praise. The following passage from the Dean of + Westminster's perfect history of his Abbey ought to be read also in the + Florentine church:—"The nearest approach to Westminster Abbey in + this aspect is the church of Santa Croce at Florence. There, as here, the + present destination of the building was no part of the original design, + but was the result of various converging causes. As the church of one of + the two great preaching orders, it had a nave large beyond all proportion + to its choir. That order being the Franciscan, bound by vows of poverty, + the simplicity of the worship preserved the whole space clear from any + adventitious ornaments. The popularity of the Franciscans, especially in a + convent hallowed by a visit from St. Francis himself, drew to it not only + the chief civic festivals, but also the numerous families who gave alms to + the friars, and whose connection with their church was, for this reason, + in turn encouraged by them. In those graves, piled with standards und + achievements of the noble families of Florence, were successively interred—not + because of their eminence, but as members or friends of those families—some + of the most illustrious personages of the fifteenth century. Thus it came + to pass, as if by accident, that in the vault of the Buonarotti was laid + Michael Angelo; in the vault of the Viviani the preceptor of one of their + house, Galileo. From those two burials the church gradually be same the + recognized shrine of Italian genius."] The wounds of their Master were to + be their inheritance. So their first aim was to make what image to the + cross their church might present, distinctly that of the actual instrument + of death. + </p> + <p> + And they did this most effectually by using the form of the letter T, that + of the Furca or Gibbet,—not the sign of peace. + </p> + <p> + Also, their churches were meant for use; not show, nor self-glorification, + nor town-glorification. They wanted places for preaching, prayer, + sacrifice, burial; and had no intention of showing how high they could + build towers, or how widely they could arch vaults. Strong walls, and the + roof of a barn,—these your Franciscan asks of his Arnolfo. These + Arnolfo gives,—thoroughly and wisely built; the successions of gable + roof being a new device for strength, much praised in its day. + </p> + <p> + This stern humor did not last long. Arnolfo himself had other notions; + much more Cimabue and Giotto; most of all, Nature and Heaven. Something + else had to be taught about Christ than that He was wounded to death. + Nevertheless, look how grand this stern form would be, restored to its + simplicity. It is not the old church which is in itself unimpressive. It + is the old church defaced by Vasari, by Michael Angelo, and by modern + Florence. See those huge tombs on your right hand and left, at the sides + of the aisles, with their alternate gable and round tops, and their + paltriest of all possible sculpture, trying to be grand by bigness, and + pathetic by expense. Tear them all down in your imagination; fancy the + vast hall with its massive pillars,—not painted calomel-pill colour, + as now, but of their native stone, with a rough, true wood for roof,—and + a people praying beneath them, strong in abiding, and pure in life, as + their rocks and olive forests That was Arnolfo's Santa Croce. Nor did his + work remain long without grace. + </p> + <p> + That very line of chapels in which we found our St. Louis shows signs of + change in temper. <i>They</i> have no pent-house roofs, but true Gothic + vaults: we found our four-square type of Franciscan Law on one of them. + </p> + <p> + It is probable, then, that these chapels may be later than the rest—even + in their stonework. In their decoration, they are so, assuredly; belonging + already to the time when the story of St. Francis was becoming a + passionate tradition, told and painted everywhere with delight. + </p> + <p> + And that high recess, taking the place of apse, in the centre,—see + how noble it is in the coloured shade surrounding and joining the glow of + its windows, though their form be so simple. You are not to be amused here + by patterns in balanced stone, as a French or English architect would + amuse you, says Arnolfo. "You are to read and think, under these severe + walls of mine; immortal hands will write upon them." We will go back, + therefore, into this line of manuscript chapels presently; but first, look + at the two sepulchral slabs by which you are standing. That farther of the + two from the west end is one of the most beautiful pieces of fourteenth + century sculpture in this world; and it contains simple elements of + excellence, by your understanding of which you may test your power of + understanding the more difficult ones you will have to deal with + presently. + </p> + <p> + It represents an old man, in the high deeply-folded cap worn by scholars + and gentlemen in Florence from 1300—1500, lying dead, with a book in + his breast, over which his hands are folded. At his feet is this + inscription: "Temporibus hic suis phylosophye atq. medicine culmen fuit + Galileus de Galileis olim Bonajutis qui etiam summo in magistratu miro + quodam modo rempublicam dilexit, cujus sancte memorie bene acte vite pie + benedictus filius hunc tumulum patri sibi suisq. posteris edidit." + </p> + <p> + Mr. Murray tells you that the effigies "in low relief" (alas, yes, low + enough now—worn mostly into flat stones, with a trace only of the + deeper lines left, but originally in very bold relief,) with which the + floor of Santa Croce is inlaid, of which this by which you stand is + characteristic, are "interesting from the costume," but that, "except in + the case of John Ketterick, Bishop of St. David's, few of the other names + have any interest beyond the walls of Florence." As, however, you are at + present within the walls of Florence, you may perhaps condescend to take + some interest in this ancestor or relation of the Galileo whom Florence + indeed left to be externally interesting, and would not allow to enter in + her walls. + </p> +<pre xml:space="preserve"> +[Footnote: "Seven years a prisoner at the city gate, + Let in but his grave-clothes." + <i>Rogers' "Italy</i>."] +</pre> + <p> + I am not sure if I rightly place or construe the phrase in the above + inscription, "cujus sancte memorie bene acte;" but, in main purport, the + legend runs thus: "This Galileo of the Galilei was, in his times, the head + of philosophy and medicine; who also in the highest magistracy loved the + republic marvellously; whose son, blessed in inheritance of his holy + memory and well-passed and pious life, appointed this tomb for his father, + for himself, and for his posterity." + </p> + <p> + There is no date; but the slab immediately behind it, nearer the western + door, is of the same style, but of later and inferior work, and bears date—I + forget now of what early year in the fifteenth century. + </p> + <p> + But Florence was still in her pride; and you may observe, in this epitaph, + on what it was based. That her philosophy was studied <i>together with + useful arts,</i> and as a part of them; that the masters in these became + naturally the masters in public affairs; that in such magistracy, they + loved the State, and neither cringed to it nor robbed it; that the sons + honoured their fathers, and received their fathers' honour as the most + blessed inheritance. Remember the phrase "vite pie bene dictus filius," to + be compared with the "nos nequiores" of the declining days of all states,—chiefly + now in Florence, France and England. + </p> + <p> + Thus much for the local interest of name. Next for the universal interest + of the art of this tomb. + </p> + <p> + It is the crowning virtue of all great art that, however little is left of + it by the injuries of time, that little will be lovely. As long as you can + see anything, you can see—almost all;—so much the hand of the + master will suggest of his soul. + </p> + <p> + And here you are well quit, for once, of restoration. No one cares for + this sculpture; and if Florence would only thus put all her old sculpture + and painting under her feet, and simply use them for gravestones and + oilcloth, she would be more merciful to them than she is now. Here, at + least, what little is left is true. + </p> + <p> + And, if you look long, you will find it is not so little. That worn face + is still a perfect portrait of the old man, though like one struck out at + a venture, with a few rough touches of a master's chisel. And that falling + drapery of his cap is, in its few lines, faultless, and subtle beyond + description. + </p> + <p> + And now, here is a simple but most useful test of your capacity for + understanding Florentine sculpture or painting. If you can see that the + lines of that cap are both right, and lovely; that the choice of the folds + is exquisite in its ornamental relations of line; and that the softness + and ease of them is complete,—though only sketched with a few dark + touches,—then you can understand Giotto's drawing, and Botticelli's;—Donatello's + carving and Luca's. But if you see nothing in <i>this</i> sculpture, you + will see nothing in theirs, <i>of</i> theirs. Where they choose to imitate + flesh, or silk, or to play any vulgar modern trick with marble—(and + they often do)—whatever, in a word, is French, or American, or + Cockney, in their work, you can see; but what is Florentine, and for ever + great—unless you can see also the beauty of this old man in his + citizen's cap,—you will see never. + </p> + <p> + There is more in this sculpture, however, than its simple portraiture and + noble drapery. The old man lies on a piece of embroidered carpet; and, + protected by the higher relief, many of the finer lines of this are almost + uninjured; in particular, its exquisitely-wrought fringe and tassels are + nearly perfect. And if you will kneel down and look long at the tassels of + the cushion under the head, and the way they fill the angles of the stone, + you will,—or may—know, from this example alone, what noble + decorative sculpture is, and was, and must be, from the days of earliest + Greece to those of latest Italy. + </p> + <p> + "Exquisitely sculptured fringe!" and you have just been abusing sculptors + who play tricks with marble! Yes, and you cannot find a better example, in + all the museums of Europe, of the work of a man who does <i>not</i> play + tricks with it—than this tomb. Try to understand the difference: it + is a point of quite cardinal importance to all your future study of + sculpture. + </p> + <p> + I <i>told</i> you, observe, that the old Galileo was lying on a piece of + embroidered carpet. I don't think, if I had not told you, that you would + have found it out for yourself. It is not so like a carpet as all that + comes to. + </p> + <p> + But had it been a modern trick-sculpture, the moment you came to the tomb + you would have said, "Dear me! how wonderfully that carpet is done,—it + doesn't look like stone in the least—one longs to take it up and + beat it, to get the dust off." + </p> + <p> + Now whenever you feel inclined to speak so of a sculptured drapery, be + assured, without more ado, the sculpture is base, and bad. You will merely + waste your time and corrupt your taste by looking at it. Nothing is so + easy as to imitate drapery in marble. You may cast a piece any day; and + carve it with such subtlety that the marble shall be an absolute image of + the folds. But that is not sculpture. That is mechanical manufacture. + </p> + <p> + No great sculptor, from the beginning of art to the end of it, has ever + carved, or ever will, a deceptive drapery. He has neither time nor will to + do it. His mason's lad may do that if he likes. A man who can carve a limb + or a face never finishes inferior parts, but either with a hasty and + scornful chisel, or with such grave and strict selection of their lines as + you know at once to be imaginative, not imitative. + </p> + <p> + But if, as in this case, he wants to oppose the simplicity of his central + subject with a rich background,—a labyrinth of ornamental lines to + relieve the severity of expressive ones,—he will carve you a carpet, + or a tree, or a rose thicket, with their fringes and leaves and thorns, + elaborated as richly as natural ones; but always for the sake of the + ornamental form, never of the imitation; yet, seizing the natural + character in the lines he gives, with twenty times the precision and + clearness of sight that the mere imitator has. Examine the tassels of the + cushion, and the way they blend with the fringe, thoroughly; you cannot + possibly see finer ornamental sculpture. Then, look at the same tassels in + the same place of the slab next the west end of the church, and you will + see a scholar's rude imitation of a master's hand, though in a fine + school. (Notice, however, the folds of the drapery at the feet of this + figure: they are cut so as to show the hem of the robe within as well as + without, and are fine.) Then, as you go back to Giotto's chapel, keep to + the left, and just beyond the north door in the aisle is the much + celebrated tomb of C. Marsuppini, by Desiderio of Settignano. It is very + fine of its kind; but there the drapery is chiefly done to cheat you, and + chased delicately to show how finely the sculptor could chisel it. It is + wholly vulgar and mean in cast of fold. Under your feet, as you look at + it, you will tread another tomb of the fine time, which, looking last at, + you will recognize the difference between the false and true art, as far + as there is capacity in you at present to do so. And if you really and + honestly like the low-lying stones, and see more beauty in them, you have + also the power of enjoying Giotto, into whose chapel we will return + to-morrow;—not to-day, for the light must have left it by this time; + and now that you have been looking at these sculptures on the floor you + had better traverse nave and aisle across and across; and get some idea of + that sacred field of stone. In the north transept you will find a + beautiful knight, the finest in chiselling of all these tombs, except one + by the same hand in the south aisle just where it enters the south + transept. + </p> + <p> + Examine the lines of the Gothic niches traced above them; and what is left + of arabesque on their armour. They are far more beautiful and tender in + chivalric conception than Donatello's St. George, which is merely a piece + of vigorous naturalism founded on these older tombs. If you will drive in + the evening to the Chartreuse in Val d'Ema, you may see there an uninjured + example of this slab-tomb by Donatello himself; very beautiful; but not so + perfect as the earlier ones on which it is founded. And you may see some + fading light and shade of monastic life, among which if you stay till the + fireflies come out in the twilight, and thus get to sleep when you come + home, you will be better prepared for to-morrow morning's walk—if + you will take another with me—than if you go to a party, to talk + sentiment about Italy, and hear the last news from London and New York. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0003" id="link2H_4_0003"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE SECOND MORNING. + </h2> + <h3> + THE GOLDEN GATE. + </h3> + <p> + To-day, as early as you please, and at all events before doing anything + else, let us go to Giotto's own parish-church, Santa Maria Novella. If, + walking from the Strozzi Palace, you look on your right for the "Way of + the Beautiful Ladies," it will take you quickly there. + </p> + <p> + Do not let anything in the way of acquaintance, sacristan, or chance + sight, stop you in doing what I tell you. Walk straight up to the church, + into the apse of it;—(you may let your eyes rest, as you walk, on + the glow of its glass, only mind the step, half way;)—and lift the + curtain; and go in behind the grand marble altar, giving anybody who + follows you anything they want, to hold their tongues, or go away. + </p> + <p> + You know, most probably, already, that the frescos on each side of you are + Ghirlandajo's. You have been told they are very fine, and if you know + anything of painting, you know the portraits in them are so. Nevertheless, + somehow, you don't really enjoy these frescos, nor come often here, do + you? + </p> + <p> + The reason of which is, that if you are a nice person, they are not nice + enough for you; and if a vulgar person, not vulgar enough. But if you are + a nice person, I want you to look carefully, to-day, at the two lowest, + next the windows, for a few minutes, that you may better feel the art you + are really to study, by its contrast with these. + </p> + <p> + On your left hand is represented the birth of the Virgin, On your right, + her meeting with Elizabeth. + </p> + <p> + You can't easily see better pieces—nowhere more pompous pieces—of + flat goldsmiths' work. Ghirlandajo was to the end of his life a mere + goldsmith, with a gift of portraiture. And here he has done his best, and + has put a long wall in wonderful perspective, and the whole city of + Florence behind Elizabeth's house in the hill country; and a splendid + bas-relief, in the style of Luca della Robbia, in St. Anne's bedroom; and + he has carved all the pilasters, and embroidered all the dresses, and + flourished and trumpeted into every corner; and it is all done, within + just a point, as well as it can be done; and quite as well as Ghirlandajo + could do it. But the point in which it <i>just</i> misses being as well as + it can be done, is the vital point. And it is all simply—good for + nothing. + </p> + <p> + Extricate yourself from the goldsmith's rubbish of it, and look full at + the Salutation. You will say, perhaps, at first, "What grand and graceful + figures!" Are you sure they are graceful? Look again and you will see + their draperies hang from them exactly as they would from two + clothes-pegs. Now, fine drapery, really well drawn, as it hangs from a + clothes-peg, is always rather impressive, especially if it be disposed in + large breadths and deep folds; but that is the only grace of their + figures. + </p> + <p> + Secondly. Look at the Madonna, carefully. You will find she is not the + least meek—only stupid,—as all the other women in the picture + are. + </p> + <p> + "St. Elizabeth, you think, is nice"? Yes; "and she says, 'Whence is this + to me, that the mother of my Lord should come to me?' really with a great + deal of serious feeling?" Yes, with a great deal. Well, you have looked + enough at those two. Now—just for another minute—look at the + birth of the Virgin. "A most graceful group, (your Murray's Guide tells + you,) in the attendant servants." Extremely so. Also, the one holding the + child is rather pretty. Also, the servant pouring out the water does it + from a great height, without splashing, most cleverly. Also, the lady + coming to ask for St. Anne, and see the baby, walks majestically and is + very finely dressed. And as for that bas-relief in the style of Luca della + Robbia, you might really almost think it <i>was</i> Luca! The very best + plated goods, Master Ghirlandajo, no doubt—always on hand at your + shop. + </p> + <p> + Well, now you must ask for the Sacristan, who is civil and nice enough, + and get him to let you into the green cloister, and then go into the less + cloister opening out of it on the right, as you go down the steps; and you + must ask for the tomb of the Marcheza Stiozzi Ridolfi; and in the recess + behind the Marcheza's tomb—very close to the ground, and in + excellent light, if the day is fine—you will see two small frescos, + only about four feet wide each, in odd-shaped bits of wall—quarters + of circles; representing—that on the left, the Meeting of Joachim + and Anna at the Golden Gate; and that on the right, the Birth of the + Virgin. + </p> + <p> + No flourish of trumpets here, at any rate, you think! No gold on the gate; + and, for the birth of the Virgin—is this all! Goodness!—nothing + to be seen, whatever, of bas-reliefs, nor fine dresses, nor graceful + pourings out of water, nor processions of visitors? + </p> + <p> + No. There's but one thing you can see, here, which you didn't in + Ghirlandajo's fresco, unless you were very clever and looked hard for it—the + Baby! And you are never likely to see a more true piece of Giotto's work + in this world. + </p> + <p> + A round-faced, small-eyed little thing, tied up in a bundle! + </p> + <p> + Yes, Giotto was of opinion she must have appeared really not much else + than that. But look at the servant who has just finished dressing her;—awe-struck, + full of love and wonder, putting her hand softly on the child's head, who + has never cried. The nurse, who has just taken her, is—the nurse, + and no more: tidy in the extreme, and greatly proud and pleased: but would + be as much so with any other child. + </p> + <p> + Ghirlandajo's St. Anne (I ought to have told you to notice that,—you + can afterwards) is sitting strongly up in bed, watching, if not directing, + all that is going on. Giotto's lying down on the pillow, leans her face on + her hand; partly exhausted, partly in deep thought. She knows that all + will be well done for the child, either by the servants, or God; she need + not look after anything. + </p> + <p> + At the foot of the bed is the midwife, and a servant who has brought drink + for St. Anne. The servant stops, seeing her so quiet; asking the midwife, + Shall I give it her now? The midwife, her hands lifted under her robe, in + the attitude of thanksgiving, (with Giotto distinguishable always, though + one doesn't know how, from that of prayer,) answers, with her look, "Let + be—she does not want anything." + </p> + <p> + At the door a single acquaintance is coming in, to see the child. Of + ornament, there is only the entirely simple outline of the vase which the + servant carries; of colour, two or three masses of sober red, and pure + white, with brown and gray. + </p> + <p> + That is all. And if you can be pleased with this, you can see Florence. + But if not, by all means amuse yourself there, if you find it amusing, as + long as you like; you can never see it. + </p> + <p> + But if indeed you are pleased, ever so little, with this fresco, think + what that pleasure means. I brought you, on purpose, round, through the + richest overture, and farrago of tweedledum and tweedledee, I could find + in Florence; and here is a tune of four notes, on a shepherd's pipe, + played by the picture of nobody; and yet you like it! You know what music + is, then. Here is another little tune, by the same player, and sweeter. I + let you hear the simplest first. + </p> + <p> + The fresco on the left hand, with the bright blue sky, and the rosy + figures! Why, anybody might like that! + </p> + <p> + Yes; but, alas, all the blue sky is repainted. It <i>was</i> blue always, + however, and bright too; and I dare say, when the fresco was first done, + anybody <i>did</i> like it. + </p> + <p> + You know the story of Joachim and Anna, I hope? Not that I do, myself, + quite in the ins and outs; and if you don't I'm not going to keep you + waiting while I tell it. All you need know, and you scarcely, before this + fresco, need know so much, is, that here are an old husband and old wife, + meeting again by surprise, after losing each other, and being each in + great fear;—meeting at the place where they were told by God each to + go, without knowing what was to happen there. + </p> + <p> + "So they rushed into one another's arms, and kissed each other." + </p> + <p> + No, says Giotto,—not that. + </p> + <p> + "They advanced to meet, in a manner conformable to the strictest laws of + composition; and with their draperies cast into folds which no one until + Raphael could have arranged better." + </p> + <p> + No, says Giotto,—not that. + </p> + <p> + St. Anne has moved quickest; her dress just falls into folds sloping + backwards enough to tell you so much. She has caught St. Joachim by his + mantle, and draws him to her, softly, by that. St. Joachim lays his hand + under her arm, seeing she is like to faint, and holds her up. They do not + kiss each other—only look into each other's eyes. And God's angel + lays his hand on their heads. + </p> + <p> + Behind them, there are two rough figures, busied with their own affairs,—two + of Joachim's shepherds; one, bare headed, the other wearing the wide + Florentine cap with the falling point behind, which is exactly like the + tube of a larkspur or violet; both carrying game, and talking to each + other about—Greasy Joan and her pot, or the like. Not at all the + sort of persons whom you would have thought in harmony with the scene;—by + the laws of the drama, according to Racine or Voltaire. + </p> + <p> + No, but according to Shakespeare, or Giotto, these are just the kind of + persons likely to be there: as much as the angel is likely to be there + also, though you will be told nowadays that Giotto was absurd for putting + <i>him</i> into the sky, of which an apothecary can always produce the + similar blue, in a bottle. And now that you have had Shakespeare, and + sundry other men of head and heart, following the track of this shepherd + lad, <i>you</i> can forgive him his grotesques in the corner. But that he + should have forgiven them to himself, after the training he had, this is + the wonder! <i>We</i> have seen simple pictures enough in our day; and + therefore we think that of course shepherd boys will sketch shepherds: + what wonder is there in that? + </p> + <p> + I can show you how in <i>this</i> shepherd boy it was very wonderful + indeed, if you will walk for five minutes back into the church with me, + and up into the chapel at the end of the south transept,—at least if + the day is bright, and you get the Sacristan to undraw the window-curtain + in the transept itself. For then the light of it will be enough to show + you the entirely authentic and most renowned work of Giotto's master; and + you will see through what schooling the lad had gone. + </p> + <p> + A good and brave master he was, if ever boy had one; and, as you will find + when you know really who the great men are, the master is half their life; + and well they know it—always naming themselves from their master, + rather than their families. See then what kind of work Giotto had been + first put to. There is, literally, not a square inch of all that panel—some + ten feet high by six or seven wide—which is not wrought in gold and + colour with the fineness of a Greek manuscript. There is not such an + elaborate piece of ornamentation in the first page of any Gothic king's + missal, as you will find in that Madonna's throne;—the Madonna + herself is meant to be grave and noble only; and to be attended only by + angels. + </p> + <p> + And here is this saucy imp of a lad declares his people must do without + gold, and without thrones; nay, that the Golden Gate itself shall have no + gilding that St. Joachim and St. Anne shall have only one angel between + them: and their servants shall have their joke, and nobody say them nay! + </p> + <p> + It is most wonderful; and would have been impossible, had Cimabue been a + common man, though ever so great in his own way. Nor could I in any of my + former thinking understand how it was, till I saw Cimabue's own work at + Assisi; in which he shows himself, at heart, as independent of his gold as + Giotto,—even more intense, capable of higher things than Giotto, + though of none, perhaps, so keen or sweet. But to this day, among all the + Mater Dolorosas of Christianity, Cimabue's at Assisi is the noblest; nor + did any painter after him add one link to the chain of thought with which + he summed the creation of the earth, and preached its redemption. + </p> + <p> + He evidently never checked the boy, from the first day he found him. + Showed him all he knew: talked with him of many things he felt himself + unable to paint: made him a workman and a gentleman,—above all, a + Christian,—yet left him—a shepherd. And Heaven had made him + such a painter, that, at his height, the words of his epitaph are in + nowise overwrought: "Ille ego sum, per quem pictura extincta revixit." + </p> + <p> + A word or two, now, about the repainting by which <i>this</i> pictura + extincta has been revived to meet existing taste. The sky is entirely + daubed over with fresh blue; yet it leaves with unusual care the original + outline of the descending angel, and of the white clouds about his body. + This idea of the angel laying his hands on the two heads—(as a + bishop at Confirmation does, in a hurry; and I've seen one sweep four + together, like Arnold de Winkelied),—partly in blessing, partly as a + symbol of their being brought together to the same place by God,—was + afterwards repeated again and again: there is one beautiful little echo of + it among the old pictures in the schools of Oxford. This is the first + occurrence of it that I know in pure Italian painting; but the idea is + Etruscan-Greek, and is used by the Etruscan sculptors of the door of the + Baptistery of Pisa, of the <i>evil</i> angel, who "lays the heads + together" of two very different persons from these—Herodias and her + daughter. + </p> + <p> + Joachim, and the shepherd with the larkspur cap, are both quite safe; the + other shepherd a little reinforced; the black bunches of grass, hanging + about are retouches. They were once bunches of plants drawn with perfect + delicacy and care; you may see one left, faint, with heart-shaped leaves, + on the highest ridge of rock above the shepherds. The whole landscape is, + however, quite undecipherably changed and spoiled. + </p> + <p> + You will be apt to think at first, that if anything has been restored, + surely the ugly shepherd's uglier feet have. No, not at all. Restored feet + are always drawn with entirely orthodox and academical toes, like the + Apollo Belvidere's. You would have admired them very much. These are + Giotto's own doing, every bit; and a precious business he has had of it, + trying again and again—in vain. Even hands were difficult enough to + him, at this time; but feet, and bare legs! Well, he'll have a try, he + thinks, and gets really a fair line at last, when you are close to it; + but, laying the light on the ground afterwards, he dare not touch this + precious and dear-bought outline. Stops all round it, a quarter of an inch + off, [Footnote: Perhaps it is only the restorer's white on the ground that + stops; but I think a restorer would never have been so wise, but have gone + right up to the outline, and spoiled all.] with such effect as you see. + But if you want to know what sort of legs and feet he <i>can</i> draw, + look at our <i>lambs</i>, in the corner of the fresco under the arch on + your left! + </p> + <p> + And there is one on your right, though more repainted—the little + Virgin presenting herself at the Temple,—about which I could also + say much. The stooping figure, kissing the hem of her robe without her + knowing, is, as far as I remember, first in this fresco; the origin, + itself, of the main design in all the others you know so well; (and with + its steps, by the way, in better perspective already than most of them). + </p> + <p> + "<i>This</i> the original one!" you will be inclined to exclaim, if you + have any general knowledge of the subsequent art. "<i>This</i> Giotto! why + it's a cheap rechauffé of Titian!" No, my friend. The boy who tried so + hard to draw those steps in perspective had been carried down others, to + his grave, two hundred years before Titian ran alone at Cadore. But, as + surely as Venice looks on the sea, Titian looked upon this, and caught the + reflected light of it forever. + </p> + <p> + What kind of boy is this, think you, who can make Titian his copyist,—Dante + his friend? What new power is here which is to change the heart of Italy?—can + you see it, feel it, writing before you these words on the faded wall? + </p> + <p> + "You shall see things—as they Are." + </p> + <p> + "And the least with the greatest, because God made them." + </p> + <p> + "And the greatest with the least, because God made <i>you</i>, and gave + you eyes and a heart." + </p> + <p> + I. You shall see things—as they are. So easy a matter that, you + think? So much more difficult and sublime to paint grand processions and + golden thrones, than St. Anne faint on her pillow, and her servant at + pause? + </p> + <p> + Easy or not, it is all the sight that is required of you in this world,—to + see things, and men, and yourself,—as they are. + </p> + <p> + II. And the least with the greatest, because God made them,—shepherd, + and flock, and grass of the field, no less than the Golden Gate. + </p> + <p> + III. But also the golden gate of Heaven itself, open, and the angels of + God coming down from it. + </p> + <p> + These three things Giotto taught, and men believed, in his day. Of which + Faith you shall next see brighter work; only before we leave the cloister, + I want to sum for you one or two of the instant and evident technical + changes produced in the school of Florence by this teaching. + </p> + <p> + One of quite the first results of Giotto's simply looking at things as + they were, was his finding out that a red thing was red, and a brown thing + brown, and a white thing white—all over. + </p> + <p> + The Greeks had painted anything anyhow,—gods black, horses red, lips + and cheeks white; and when the Etruscan vase expanded into a Cimabue + picture, or a Tafi mosaic, still,—except that the Madonna was to + have a blue dress, and everything else as much gold on it as could be + managed,—there was very little advance in notions of colour. + Suddenly, Giotto threw aside all the glitter, and all the conventionalism; + and declared that he saw the sky blue, the tablecloth white, and angels, + when he dreamed of them, rosy. And he simply founded the schools of colour + in Italy—Venetian and all, as I will show you to-morrow morning, if + it is fine. And what is more, nobody discovered much about colour after + him. + </p> + <p> + But a deeper result of his resolve to look at things as they were, was his + getting so heartily interested in them that he couldn't miss their + decisive <i>moment</i>. There is a decisive instant in all matters; and if + you look languidly, you are sure to miss it. Nature seems always, somehow, + trying to make you miss it. "I will see that through," you must say, "with + out turning my head"; or you won't see the trick of it at all. And the + most significant thing in all his work, you will find hereafter, is his + choice of moments. I will give you at once two instances in a picture + which, for other reasons, you should quickly compare with these frescos. + Return by the Via delle Belle Donne; keep the Casa Strozzi on your right; + and go straight on, through the market. The Florentines think themselves + so civilized, forsooth, for building a nuovo Lung-Arno, and three + manufactory chimneys opposite it: and yet sell butchers' meat, dripping + red, peaches, and anchovies, side by side: it is a sight to be seen. Much + more, Luca della Robbia's Madonna in the circle above the chapel door. + Never pass near the market without looking at it; and glance from the + vegetables underneath to Luca's leaves and lilies, that you may see how + honestly he was trying to make his clay like the garden-stuff. But to-day, + you may pass quickly on to the Uffizii, which will be just open; and when + you enter the great gallery, turn to the right, and there, the first + picture you come at will be No. 6, Giotto's "Agony in the garden." + </p> + <p> + I used to think it so dull that I could not believe it was Giotto's. That + is partly from its dead colour, which is the boy's way of telling you it + is night:—more from the subject being one quite beyond his age, and + which he felt no pleasure in trying at. You may see he was still a boy, + for he not only cannot draw feet yet, in the least, and scrupulously hides + them therefore; but is very hard put to it for the hands, being obliged to + draw them mostly in the same position,—all the four fingers + together. But in the careful bunches of grass and weeds you will see what + the fresco foregrounds were before they got spoiled; and there are some + things he can understand already, even about that Agony, thinking of it in + his own fixed way. Some things,—not altogether to be explained by + the old symbol of the angel with the cup. He will try if he cannot explain + them better in those two little pictures below; which nobody ever looks + at; the great Roman sarcophagus being put in front of them, and the light + glancing on the new varnish so that you must twist about like a lizard to + see anything. Nevertheless, you may make out what Giotto meant. + </p> + <p> + "The cup which my Father hath given me, shall I not drink it?" In what was + its bitterness?—thought the boy. "Crucifixion?—Well, it hurts, + doubtless; but the thieves had to bear it too, and many poor human + wretches have to bear worse on our battlefields. But"—and he thinks, + and thinks, and then he paints his two little pictures for the predella. + </p> + <p> + They represent, of course, the sequence of the time in Gethsemane; but see + what choice the youth made of his moments, having two panels to fill. + Plenty of choice for him—in pain. The Flagellation—the Mocking—the + Bearing of the Cross;—all habitually given by the Margheritones, and + their school, as extremes of pain. + </p> + <p> + "No," thinks Giotto. "There was worse than all that. Many a good man has + been mocked, spitefully entreated, spitted on, slain. But who was ever so + betrayed? Who ever saw such a sword thrust in his mother's heart?" + </p> + <p> + He paints, first, the laying hands on Him in the garden, but with only two + principal figures,—Judas and Peter, of course; Judas and Peter were + always principal in the old Byzantine composition,—Judas giving the + kiss—Peter cutting off the servant's ear. But the two are here, not + merely principal, but almost alone in sight, all the other figures thrown + back; and Peter is not at all concerned about the servant, or his struggle + with him. He has got him down,—but looks back suddenly at Judas + giving the kiss. What!—<i>you</i> are the traitor, then—you! + </p> + <p> + "Yes," says Giotto; "and you, also, in an hour more." + </p> + <p> + The other picture is more deeply felt, still. It is of Christ brought to + the foot of the cross. There is no wringing of hands or lamenting crowd—no + haggard signs of fainting or pain in His body. Scourging or fainting, + feeble knee and torn wound,—he thinks scorn of all that, this + shepherd-boy. One executioner is hammering the wedges of the cross harder + down. The other—not ungently—is taking Christ's red robe off + His shoulders. And St. John, a few yards off, is keeping his mother from + coming nearer. She looks <i>down</i>, not at Christ; but tries to come. + </p> + <p> + And now you may go on for your day's seeings through the rest of the + gallery, if you will—Fornarina, and the wonderful cobbler, and all + the rest of it. I don't want you any more till to-morrow morning. + </p> + <p> + But if, meantime, you will sit down,—say, before Sandro Botticelli's + "Fortitude," which I shall want you to look at, one of these days; (No. + 1299, innermost room from the Tribune,) and there read this following + piece of one of my Oxford lectures on the relation of Cimabue to Giotto, + you will be better prepared for our work to-morrow morning in Santa Croce; + and may find something to consider of, in the room you are in. Where, by + the way, observe that No. 1288 is a most true early Lionardo, of extreme + interest: and the savants who doubt it are—never mind what; but sit + down at present at the feet of Fortitude, and read. + </p> + <p> + Those of my readers who have been unfortunate enough to interest + themselves in that most profitless of studies—the philosophy of art—have + been at various times teased or amused by disputes respecting the relative + dignity of the contemplative and dramatic schools. + </p> + <p> + Contemplative, of course, being the term attached to the system of + painting things only for the sake of their own niceness—a lady + because she is pretty, or a lion because he is strong: and the dramatic + school being that which cannot be satisfied unless it sees something going + on: which can't paint a pretty lady unless she is being made love to, or + being murdered; and can't paint a stag or a lion unless they are being + hunted, or shot, or the one eating the other. + </p> + <p> + You have always heard me—or, if not, will expect by the very tone of + this sentence to hear me, now, on the whole recommend you to prefer the + Contemplative school. But the comparison is always an imperfect and unjust + one, unless quite other terms are introduced. + </p> + <p> + The real greatness or smallness of schools is not in their preference of + inactivity to action, nor of action to inactivity. It is in their + preference of worthy things to unworthy, in rest; and of kind action to + unkind, in business. + </p> + <p> + A Dutchman can be just as solemnly and entirely contemplative of a lemon + pip and a cheese paring, as an Italian of the Virgin in Glory. An English + squire has pictures, purely contemplative, of his favorite horse—and + a Parisian lady, pictures, purely contemplative, of the back and front of + the last dress proposed to her in La Mode Artistique. All these works + belong to the same school of silent admiration;—the vital question + concerning them is, "What do you admire?" + </p> + <p> + Now therefore, when you hear me so often saying that the Northern races—Norman + and Lombard,—are active, or dramatic, in their art; and that the + Southern races—Greek and Arabian,—are contemplative, you ought + instantly to ask farther, Active in what? Contemplative of what? And the + answer is, The active art—Lombardic,—rejoices in hunting and + fighting; the contemplative art—Byzantine,—contemplates the + mysteries of the Christian faith. + </p> + <p> + And at first, on such answer, one would be apt at once to conclude—All + grossness must be in the Lombard; all good in the Byzantine. But again we + should be wrong,—and extremely wrong. For the hunting and fighting + did practically produce strong, and often virtuous, men; while the + perpetual and inactive contemplation of what it was impossible to + understand, did not on the whole render the contemplative persons, + stronger, wiser, or even more amiable. So that, in the twelfth century, + while the Northern art was only in need of direction, the Southern was in + need of life. The North was indeed spending its valour and virtue on + ignoble objects; but the South disgracing the noblest objects by its want + of valour and virtue. + </p> + <p> + Central stood Etruscan Florence—her root in the earth, bound with + iron and brass—wet with the dew of heaven. Agriculture in + occupation, religious in thought, she accepted, like good ground, the + good; refused, like the Rock of Fesole, the evil; directed the industry of + the Northman into the arts of peace; kindled the dreams of the Byzantine + with the fire of charity. Child of her peace, and exponent of her passion, + her Cimabue became the interpreter to mankind of the meaning of the Birth + of Christ. + </p> + <p> + We hear constantly, and think naturally, of him as of a man whose peculiar + genius in painting suddenly reformed its principles; who suddenly painted, + out of his own gifted imagination, beautiful instead of rude pictures; and + taught his scholar Giotto to carry on the impulse; which we suppose + thenceforward to have enlarged the resources and bettered the achievements + of painting continually, up to our own time,—when the triumphs of + art having been completed, and its uses ended, something higher is offered + to the ambition of mankind; and Watt and Faraday initiate the Age of + Manufacture and Science, as Cimabue and Giotto instituted that of Art and + Imagination. + </p> + <p> + In this conception of the History of Mental and Physical culture, we much + overrate the influence, though we cannot overrate the power, of the men by + whom the change seems to have been effected. We cannot overrate their + power,—for the greatest men of any age, those who become its leaders + when there is a great march to be begun, are indeed separated from the + average intellects of their day by a distance which is immeasurable in any + ordinary terms of wonder. + </p> + <p> + But we far overrate their influence; because the apparently sudden result + of their labour or invention is only the manifested fruit of the toil and + thought of many who preceded them, and of whose names we have never heard. + The skill of Cimabue cannot be extolled too highly; but no Madonna by his + hand could ever have rejoiced the soul of Italy, unless for a thousand + years before, many a nameless Greek and nameless Goth had adorned the + traditions, and lived in the love, of the Virgin. + </p> + <p> + In like manner, it is impossible to overrate the sagacity, patience, or + precision, of the masters in modern mechanical and scientific discovery. + But their sudden triumph, and the unbalancing of all the world by their + words, may not in any wise be attributed to their own power, or even to + that of the facts they have ascertained. They owe their habits and methods + of industry to the paternal example, no less than the inherited energy, of + men who long ago prosecuted the truths of nature, through the rage of war, + and the adversity of superstition; and the universal and overwhelming + consequences of the facts which their followers have now proclaimed, + indicate only the crisis of a rapture produced by the offering of new + objects of curiosity to nations who had nothing to look at; and of the + amusement of novel motion and action to nations who had nothing to do. + </p> + <p> + Nothing to look at! That is indeed—you will find, if you consider of + it—our sorrowful case. The vast extent of the advertising frescos of + London, daily refreshed into brighter and larger frescos by its + billstickers, cannot somehow sufficiently entertain the popular eyes. The + great Mrs. Allen, with her flowing hair, and equally flowing promises, + palls upon repetition, and that Madonna of the nineteenth century smiles + in vain above many a borgo unrejoiced; even the excitement of the + shop-window, with its unattainable splendours, or too easily attainable + impostures, cannot maintain itself in the wearying mind of the populace, + and I find my charitable friends inviting the children, whom the streets + educate only into vicious misery, to entertainments of scientific vision, + in microscope or magic lantern; thus giving them something to look at, + such as it is;—fleas mostly; and the stomachs of various vermin; and + people with their heads cut off and set on again;—still <i>something</i>, + to look at. + </p> + <p> + The fame of Cimabue rests, and justly, on a similar charity. He gave the + populace of his day something to look at; and satisfied their curiosity + with science of something they had long desired to know. We have + continually imagined in our carelessness, that his triumph consisted only + in a new pictorial skill; recent critical writers, unable to comprehend + how any street populace could take pleasure in painting, have ended by + denying his triumph altogether, and insisted that he gave no joy to + Florence; and that the "Joyful quarter" was accidentally so named—or + at least from no other festivity than that of the procession attending + Charles of Anjou. I proved to you, in a former lecture, that the old + tradition was true, and the delight of the people unquestionable. But that + delight was not merely in the revelation of an art they had not known how + to practise; it was delight in the revelation of a Madonna whom they had + not known how to love. + </p> + <p> + Again; what was revelation to <i>them</i>—we suppose farther and as + unwisely, to have been only art in <i>him</i>; that in better laying of + colours,—in better tracing of perspectives—in recovery of + principles, of classic composition—he had manufactured, as our + Gothic Firms now manufacture to order, a Madonna—in whom he believed + no more than they. + </p> + <p> + Not so. First of the Florentines, first of European men—he attained + in thought, and saw with spiritual eyes, exercised to discern good from + evil,—the face of her who was blessed among women; and with his + following hand, made visible the Magnificat of his heart. + </p> + <p> + He magnified the Maid; and Florence rejoiced in her Queen. But it was left + for Giotto to make the queenship better beloved, in its sweet humiliation. + </p> + <p> + You had the Etruscan stock in Florence—Christian, or at least + semi-Christian; the statue of Mars still in its streets, but with its + central temple built for Baptism in the name of Christ. It was a race + living by agriculture; gentle, thoughtful, and exquisitely fine in + handiwork. The straw bonnet of Tuscany—the Leghorn—is pure + Etruscan art, young ladies:—only plaited gold of God's harvest, + instead of the plaited gold of His earth. + </p> + <p> + You had then the Norman and Lombard races coming down on this: kings, and + hunters—splendid in war—insatiable of action. You had the + Greek and Arabian races flowing from the east, bringing with them the law + of the City, and the dream of the Desert. + </p> + <p> + Cimabue—Etruscan born, gave, we saw, the life of the Norman to the + tradition of the Greek: eager action to holy contemplation. And what more + is left for his favourite shepherd boy Giotto to do, than this, except to + paint with ever-increasing skill? We fancy he only surpassed Cimabue—eclipsed + by greater brightness. + </p> + <p> + Not so. The sudden and new applause of Italy would never have been won by + mere increase of the already-kindled light. Giotto had wholly another work + to do. The meeting of the Norman race with the Byzantine is not merely + that of action with repose—not merely that of war with religion,—it + is the meeting of <i>domestic</i> life with <i>monastic</i>, and of + practical household sense with unpractical Desert insanity. + </p> + <p> + I have no other word to use than this last. I use it reverently, meaning a + very noble thing; I do not know how far I ought to say—even a divine + thing. Decide that for yourselves. Compare the Northern farmer with St. + Francis; the palm hardened by stubbing Thornaby waste, with the palm + softened by the imagination of the wounds of Christ. To my own thoughts, + both are divine; decide that for yourselves; but assuredly, and without + possibility of other decision, one is, humanly speaking, healthy; the + other <i>un</i>healthy; one sane, the other—insane. + </p> + <p> + To reconcile Drama with Dream, Cimabue's task was comparatively an easy + one. But to reconcile Sense with—I still use even this following + word reverently—Nonsense, is not so easy; and he who did it first,—no + wonder he has a name in the world. + </p> + <p> + I must lean, however, still more distinctly on the word "domestic." For it + is not Rationalism and commercial competition—Mr. Stuart Mill's" + other career for woman than that of wife and mother "—which are + reconcilable, by Giotto, or by anybody else, with divine vision. But + household wisdom, labour of love, toil upon earth according to the law of + Heaven—these are reconcilable, in one code of glory, with revelation + in cave or island, with the endurance of desolate and loveless days, with + the repose of folded hands that wait Heaven's time. + </p> + <p> + Domestic and monastic. He was the first of Italians—the first of + Christians—who <i>equally</i> knew the virtue of both lives; and who + was able to show it in the sight of men of all ranks,—from the + prince to the shepherd; and of all powers,—from the wisest + philosopher to the simplest child. + </p> + <p> + For, note the way in which the new gift of painting, bequeathed to him by + his great master, strengthened his hands. Before Cimabue, no beautiful + rendering of human form was possible; and the rude or formal types of the + Lombard and Byzantine, though they would serve in the tumult of the chase, + or as the recognized symbols of creed, could not represent personal and + domestic character. Faces with goggling eyes and rigid lips might be + endured with ready help of imagination, for gods, angels, saints, or + hunters—or for anybody else in scenes of recognized legend, but + would not serve for pleasant portraiture of one's own self—or of the + incidents of gentle, actual life. And even Cimabue did not venture to + leave the sphere of conventionally reverenced dignity. He still painted—though + beautifully—only the Madonna, and the St. Joseph, and the Christ. + These he made living,—Florence asked no more: and "Credette Cimabue + nella pintura tener lo campo." + </p> + <p> + But Giotto came from the field, and saw with his simple eyes a lowlier + worth. And he painted—the Madonna, and St. Joseph, and the Christ,—yes, + by all means if you choose to call them so, but essentially,—Mamma, + Papa, and the Baby. And all Italy threw up its cap,—"Ora ha Giotto + il grido." + </p> + <p> + For he defines, explains, and exalts, every sweet incident of human + nature; and makes dear to daily life every mystic imagination of natures + greater than our own. He reconciles, while he intensifies, every virtue of + domestic and monastic thought. He makes the simplest household duties + sacred, and the highest religious passions serviceable and just. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0004" id="link2H_4_0004"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE THIRD MORNING. + </h2> + <h3> + BEFORE THE SOLDAN. + </h3> + <p> + I promised some note of Sandro's Fortitude, before whom I asked you to sit + and read the end of my last letter; and I've lost my own notes about her, + and forget, now, whether she has a sword, or a mace;—it does not + matter. What is chiefly notable in her is—that you would not, if you + had to guess who she was, take her for Fortitude at all. Everybody else's + Fortitudes announce themselves clearly and proudly. They have tower-like + shields, and lion-like helmets—and stand firm astride on their legs,—and + are confidently ready for all comers. Yes;—that is your common + Fortitude. Very grand, though common. But not the highest, by any means. + </p> + <p> + Ready for all comers, and a match for them,—thinks the universal + Fortitude;—no thanks to her for standing so steady, then! + </p> + <p> + But Botticelli's Fortitude is no match, it may be, for any that are + coming. Worn, somewhat; and not a little weary, instead of standing ready + for all comers, she is sitting,—apparently in reverie, her fingers + playing restlessly and idly—nay, I think—even nervously, about + the hilt of her sword. + </p> + <p> + For her battle is not to begin to-day; nor did it begin yesterday. Many a + morn and eve have passed since it began—and now—is this to be + the ending day of it? And if this—by what manner of end? + </p> + <p> + That is what Sandro's Fortitude is thinking. And the playing fingers about + the sword-hilt would fain let it fall, if it might be: and yet, how + swiftly and gladly will they close on it, when the far-off trumpet blows, + which she will hear through all her reverie! + </p> + <p> + There is yet another picture of Sandro's here, which you must look at + before going back to Giotto: the small Judith in the room next the + Tribune, as you return from this outer one. It is just under Lionardo's + Medusa. She is returning to the camp of her Israel, followed by her maid + carrying the head of Holofernes. And she walks in one of Botticelli's + light dancing actions, her drapery all on flutter, and her hand, like + Fortitude's, light on the sword-hilt, but daintily—not nervously, + the little finger laid over the cross of it. + </p> + <p> + And at the first glance—you will think the figure merely a piece of + fifteenth-century affectation. 'Judith, indeed!—say rather the + daughter of Herodias, at her mincingest.' + </p> + <p> + Well, yes—Botticelli <i>is</i> affected, in the way that all men in + that century necessarily were. Much euphuism, much studied grace of + manner, much formal assertion of scholarship, mingling with his force of + imagination. And he likes twisting the fingers of hands about, just as + Correggio does. But he never does it like Correggio, without cause. + </p> + <p> + Look at Judith again,—at her face, not her drapery,—and + remember that when a man is base at the heart, he blights his virtues into + weaknesses; but when he is true at the heart, he sanctifies his weaknesses + into virtues. It is a weakness of Botticelli's, this love of dancing + motion and waved drapery; but why has he given it full flight here? + </p> + <p> + Do you happen to know anything about Judith yourself, except that she cut + off Holofernes' head; and has been made the high light of about a million + of vile pictures ever since, in which the painters thought they could + surely attract the public to the double show of an execution, and a pretty + woman,—especially with the added pleasure of hinting at previously + ignoble sin? + </p> + <p> + When you go home to-day, take the pains to write out for yourself, in the + connection I here place them, the verses underneath numbered from the book + of Judith; you will probably think of their meaning more carefully as you + write. + </p> + <p> + Begin thus: + </p> + <p> + "Now at that time, Judith heard thereof, which was the daughter of Merari, + ... the son of Simeon, the son of Israel." And then write out, + consecutively, these pieces— + </p> + <p> + Chapt. viii., verses 2 to 8. (Always inclusive,) and read the whole + chapter. + </p> + <p> + Chapt. ix., verses 1 and 5 to 7, beginning this piece with the previous + sentence, "Oh God, oh my God, hear me also, a widow." + </p> + <p> + Chapt. ix., verses 11 to 14. Chapter x., verses 1 to 5. Chapter xiii., + verses 6 to 10. Chapter xv., verses 11 to 13. Chapter xvi., verses 1 to 6. + Chapter xvi., verses 11 to 15. Chapter xvi., verses 18 and 19. Chapter + xvi., verses 23 to 25. + </p> + <p> + Now, as in many other cases of noble history, apocryphal and other, I do + not in the least care how far the literal facts are true. The conception + of facts, and the idea of Jewish womanhood, are there, grand and real as a + marble statue,—possession for all ages. And you will feel, after you + have read this piece of history, or epic poetry, with honourable care, + that there is somewhat more to be thought of and pictured in Judith, than + painters have mostly found it in them to show you; that she is not merely + the Jewish Delilah to the Assyrian Samson; but the mightiest, purest, + brightest type of high passion in severe womanhood offered to our human + memory. Sandro's picture is but slight; but it is true to her, and the + only one I know that is; and after writing out these verses, you will see + why he gives her that swift, peaceful motion, while you read in her face, + only sweet solemnity of dreaming thought. "My people delivered, and by my + hand; and God has been gracious to His handmaid!" The triumph of Miriam + over a fallen host, the fire of exulting mortal life in an immortal hour, + the purity and severity of a guardian angel—all are here; and as her + servant follows, carrying indeed the head, but invisible—(a mere + thing to be carried—no more to be so much as thought of)—she + looks only at her mistress, with intense, servile, watchful love. + Faithful, not in these days of fear only, but hitherto in all her life, + and afterwards forever. + </p> + <p> + After you have seen it enough, look also for a little while at Angelico's + Marriage and Death of the Virgin, in the same room; you may afterwards + associate the three pictures always together in your mind. And, looking at + nothing else to-day in the Uffizi, let us go back to Giotto's chapel. + </p> + <p> + We must begin with this work on our left hand, the Death of St. Francis; + for it is the key to all the rest. Let us hear first what Mr. Crowe + directs us to think of it. "In the composition of this scene, Giotto + produced a masterpiece, which served as a model but too often feebly + imitated by his successors. Good arrangement, variety of character and + expression in the heads, unity and harmony in the whole, make this an + exceptional work of its kind. As a composition, worthy of the fourteenth + century, Ghirlandajo and Benedetto da Majano both imitated, without being + able to improve it. No painter ever produced its equal except Raphael; nor + could a better be created except in so far as regards improvement in the + mere rendering of form." + </p> + <p> + To these inspiring observations by the rapturous Crowe, more cautious + Cavalcasella [Footnote: I venture to attribute the wiser note to Signor + Cavalcasella because I have every reason to put real confidence in his + judgment. But it was impossible for any man, engaged as he is, to go over + all the ground covered by so extensive a piece of critical work as these + three volumes contain, with effective attention.] appends a refrigerating + note, saying, "The St. Francis in the glory is new, but the angels are in + part preserved. The rest has all been more or less retouched; and no + judgment can be given as to the colour of this—or any other (!)—of + these works." + </p> + <p> + You are, therefore—instructed reader—called upon to admire a + piece of art which no painter ever produced the equal of except Raphael; + but it is unhappily deficient, according to Crowe, in the "mere rendering + of form"; and, according to Signor Cavalcasella, "no opinion can be given + as to its colour." + </p> + <p> + Warned thus of the extensive places where the ice is dangerous, and + forbidden to look here either for form or colour, you are to admire "the + variety of character and expression in the heads." I do not myself know + how these are to be given without form or colour; but there appears to me, + in my innocence, to be only one head in the whole picture, drawn up and + down in different positions. + </p> + <p> + The "unity and harmony" of the whole—which make this an exceptional + work of its kind—mean, I suppose, its general look of having been + painted out of a scavenger's cart; and so we are reduced to the last + article of our creed according to Crowe,— + </p> + <p> + "In the composition of this scene Giotto produced a masterpiece." + </p> + <p> + Well, possibly. The question is, What you mean by 'composition.' Which, + putting modern criticism now out of our way, I will ask the reader to + think, in front of this wreck of Giotto, with some care. + </p> + <p> + Was it, in the first place, to Giotto, think you, the "composition of a + scene," or the conception of a fact? You probably, if a fashionable + person, have seen the apotheosis of Margaret in Faust? You know what care + is taken, nightly, in the composition of that scene,—how the + draperies are arranged for it; the lights turned off, and on; the + fiddlestrings taxed for their utmost tenderness; the bassoons exhorted to + a grievous solemnity. + </p> + <p> + You don't believe, however, that any real soul of a Margaret ever appeared + to any mortal in that manner? + </p> + <p> + <i>Here</i> is an apotheosis also. Composed!—yes; figures high on + the right and left, low in the middle, etc., etc., etc. + </p> + <p> + But the important questions seem to me, Was there ever a St. Francis?—<i>did</i> + he ever receive stigmata?—<i>did</i>his soul go up to heaven—did + any monk see it rising—and did Giotto mean to tell us so? If you + will be good enough to settle these few small points in your mind first, + the "composition" will take a wholly different aspect to you, according to + your answer. + </p> + <p> + Nor does it seem doubtful to me what your answer, after investigation + made, must be. + </p> + <p> + There assuredly was a St. Francis, whose life and works you had better + study than either to-day's Galignani, or whatever, this year, may supply + the place of the Tichborne case, in public interest. + </p> + <p> + His reception of the stigmata is, perhaps, a marvellous instance of the + power of imagination over physical conditions; perhaps an equally + marvellous instance of the swift change of metaphor into tradition; but + assuredly, and beyond dispute, one of the most influential, significant, + and instructive traditions possessed by the Church of Christ. And, that, + if ever soul rose to heaven from the dead body, his soul did so rise, is + equally sure. + </p> + <p> + And, finally, Giotto believed that all he was called on to represent, + concerning St. Francis, really had taken place, just as surely as you, if + you are a Christian, believe that Christ died and rose again; and he + represents it with all fidelity and passion: but, as I just now said, he + is a man of supreme common sense;—has as much humour and clearness + of sight as Chaucer, and as much dislike of falsehood in clergy, or in + professedly pious people: and in his gravest moments he will still see and + say truly that what is fat, is fat—and what is lean, lean—and + what is hollow, empty. + </p> + <p> + His great point, however, in this fresco, is the assertion of the reality + of the stigmata against all question. There is not only one St. Thomas to + be convinced; there are five;—one to each wound. Of these, four are + intent only on satisfying their curiosity, and are peering or probing; one + only kisses the hand he has lifted. The rest of the picture never was much + more than a grey drawing of a noble burial service; of all concerned in + which, one monk, only, is worthy to see the soul taken up to heaven; and + he is evidently just the monk whom nobody in the convent thought anything + of. (His face is all repainted; but one can gather this much, or little, + out of it, yet.) + </p> + <p> + Of the composition, or "unity and harmony of the whole," as a burial + service, we may better judge after we have looked at the brighter picture + of St. Francis's Birth—birth spiritual, that is to say, to his + native heaven; the uppermost, namely, of the three subjects on this side + of the chapel. It is entirely characteristic of Giotto; much of it by his + hand—all of it beautiful. All important matters to be known of + Giotto you may know from this fresco. + </p> + <p> + 'But we can't see it, even with our opera-glasses, but all foreshortened + and spoiled. What is the use of lecturing us on this?' + </p> + <p> + That is precisely the first point which is essentially Giottesque in it; + its being so out of the way! It is this which makes it a perfect specimen + of the master. I will tell you next something about a work of his which + you can see perfectly, just behind you on the opposite side of the wall; + but that you have half to break your neck to look at this one, is the very + first thing I want you to feel. + </p> + <p> + It is a characteristic—(as far as I know, quite a universal one)—of + the greatest masters, that they never expect you to look at them; seem + always rather surprised if you want to; and not overpleased. Tell them you + are going to hang their picture at the upper end of the table at the next + great City dinner, and that Mr. So and So will make a speech about it; you + produce no impression upon them whatever, or an unfavourable one. The + chances are ten to one they send you the most rubbishy thing they can find + in their lumber-room. But send for one of them in a hurry, and tell him + the rats have gnawed a nasty hole behind the parlor door, and you want it + plastered and painted over;—and he does you a masterpiece which the + world will peep behind your door to look at for ever. + </p> + <p> + I have no time to tell you why this is so; nor do I know why, altogether; + but so it is. + </p> + <p> + Giotto, then, is sent for, to paint this high chapel: I am not sure if he + chose his own subjects from the life of St. Francis: I think so,—but + of course can't reason on the guess securely. At all events, he would have + much of his own way in the matter. + </p> + <p> + Now you must observe that painting a Gothic chapel rightly is just the + same thing as painting a Greek vase rightly. The chapel is merely the vase + turned upside-down, and outside-in. The principles of decoration are + exactly the same. Your decoration is to be proportioned to the size of + your vase; to be together delightful when you look at the cup, or chapel, + as a whole; to be various and entertaining when you turn the cup round; + (you turn <i>yourself</i> round in the chapel;) and to bend its heads and + necks of figures about, as it best can, over the hollows, and ins and + outs, so that anyhow, whether too long or too short-possible or impossible—they + may be living, and full of grace. You will also please take it on my word + today—in another morning walk you shall have proof of it—that + Giotto was a pure Etruscan-Greek of the thirteenth century: converted + indeed to worship St. Francis instead of Heracles; but as far as + vase-painting goes, precisely the Etruscan he was before. This is nothing + else than a large, beautiful, coloured Etruscan vase you have got, + inverted over your heads like a diving-bell.' [Footnote: I observe that + recent criticism is engaged in proving all Etruscan vases to be of late + manufacture, in imitation of archaic Greek. And I therefore must briefly + anticipate a statement which I shall have to enforce in following letters. + Etruscan art remains in its own Italian valleys, of the Arno and upper + Tiber, in one unbroken series of work, from the seventh century before + Christ, to this hour, when the country whitewasher still scratches his + plaster in Etruscan patterns. All Florentine work of the finest kind—Luca + della Robbia's, Ghiberti's, Donatello's, Filippo Lippi's, Botticelli's, + Fra Angelico's—is absolutely pure Etruscan, merely changing its + subjects, and representing the Virgin instead of Athena, and Christ + instead of Jupiter. Every line of the Florentine chisel in the fifteenth + century is based on national principles of art which existed in the + seventh century before Christ; and Angelico, in his convent of St. + Dominic, at the foot of the hill of Fésole, is as true an Etruscan as the + builder who laid the rude stones of the wall along its crest—of + which modern civilization has used the only arch that remained for cheap + building stone. Luckily, I sketched it in 1845. but alas, too carelessly,—never + conceiving of the brutalities of modern Italy as possible.] + </p> + <p> + Accordingly, after the quatrefoil ornamentation of the top of the bell, + you get two spaces at the sides under arches, very difficult to cramp + one's picture into, if it is to be a picture only; but entirely + provocative of our old Etruscan instinct of ornament. And, spurred by the + difficulty, and pleased by the national character of it, we put our best + work into these arches, utterly neglectful of the public below,—who + will see the white and red and blue spaces, at any rate, which is all they + will want to see, thinks Giotto, if he ever looks down from his scaffold. + </p> + <p> + Take the highest compartment, then, on the left, looking towards the + window. It was wholly impossible to get the arch filled with figures, + unless they stood on each other's heads; so Giotto ekes it out with a + piece of fine architecture. Raphael, in the Sposalizio, does the same, for + pleasure. + </p> + <p> + Then he puts two dainty little white figures, bending, on each flank, to + stop up his corners. But he puts the taller inside on the right, and + outside on the left. And he puts his Greek chorus of observant and + moralizing persons on each side of his main action. + </p> + <p> + Then he puts one Choragus—or leader of chorus, supporting the main + action—on each side. Then he puts the main action in the middle—which + is a quarrel about that white bone of contention in the centre. Choragus + on the right, who sees that the bishop is going to have the best of it, + backs him serenely. Choragus on the left, who sees that his impetuous + friend is going to get the worst of it, is pulling him back, and trying to + keep him quiet. The subject of the picture, which, after you are quite + sure it is good as a decoration, but not till then, you may be allowed to + understand, is the following. One of St. Francis's three great virtues + being Obedience, he begins his spiritual life by quarreling with his + father. He, I suppose in modern terms I should say, commercially invests + some of his father's goods in charity. His father objects to that + investment; on which St. Francis runs away, taking what he can find about + the house along with him. His father follows to claim his property, but + finds it is all gone, already; and that St. Francis has made friends with + the Bishop of Assisi. His father flies into an indecent passion, and + declares he will disinherit him; on which St. Francis then and there takes + all his clothes off, throws them frantically in his father's face, and + says he has nothing more to do with clothes or father. The good Bishop, in + tears of admiration, embraces St. Francis, and covers him with his own + mantle. + </p> + <p> + I have read the picture to you as, if Mr. Spurgeon knew anything about + art, Mr. Spurgeon would read it,—that is to say, from the plain, + common sense, Protestant side. If you are content with that view of it, + you may leave the chapel, and, as far as any study of history is + concerned, Florence also; for you can never know anything either about + Giotto, or her. + </p> + <p> + Yet do not be afraid of my re-reading it to you from the mystic, + nonsensical, and Papistical side. I am going to read it to you—if + after many and many a year of thought, I am able—as Giotto meant it; + Giotto being, as far as we know, then the man of strongest brain and hand + in Florence; the best friend of the best religious poet of the world; and + widely differing, as his friend did also, in his views of the world, from + either Mr. Spurgeon, or Pius IX. + </p> + <p> + The first duty of a child is to obey its father and mother; as the first + duty of a citizen to obey the laws of his state. And this duty is so + strict that I believe the only limits to it are those fixed by Isaac and + Iphigenia. On the other hand, the father and mother have also a fixed duty + to the child—not to provoke it to wrath. I have never heard this + text explained to fathers and mothers from the pulpit, which is curious. + For it appears to me that God will expect the parents to understand their + duty to their children, better even than children can be expected to know + their duty to their parents. + </p> + <p> + But farther. A <i>child's</i> duty is to obey its parents. It is never + said anywhere in the Bible, and never was yet said in any good or wise + book, that a man's, or woman's, is. <i>When,</i> precisely, a child + becomes a man or a woman, it can no more be said, than when it should + first stand on its legs. But a time assuredly comes when it should. In + great states, children are always trying to remain children, and the + parents wanting to make men and women of them. In vile states, the + children are always wanting to be men and women, and the parents to keep + them children. It may be—and happy the house in which it is so—that + the father's at least equal intellect, and older experience, may remain to + the end of his life a law to his children, not of force, but of perfect + guidance, with perfect love. Rarely it is so; not often possible. It is as + natural for the old to be prejudiced as for the young to be presumptuous; + and, in the change of centuries, each generation has something to judge of + for itself. + </p> + <p> + But this scene, on which Giotto has dwelt with so great force, represents, + not the child's assertion of his independence, but his adoption of another + Father. + </p> + <p> + You must not confuse the desire of this boy of Assisi to obey God rather + than man, with the desire of your young cockney Hopeful to have a + latch-key, and a separate allowance. + </p> + <p> + No point of duty has been more miserably warped and perverted by false + priests, in all churches, than this duty of the young to choose whom they + will serve. But the duty itself does not the less exist; and if there be + any truth in Christianity at all, there will come, for all true disciples, + a time when they have to take that saying to heart, "He that loveth father + or mother more than me, is not worthy of me." + </p> + <p> + '<i>Loveth</i>'—observe. There is no talk of disobeying fathers or + mothers whom you do not love, or of running away from a home where you + would rather not stay. But to leave the home which is your peace, and to + be at enmity with those who are most dear to you,—this, if there be + meaning in Christ's words, one day or other will be demanded of His true + followers. + </p> + <p> + And there is meaning in Christ's words. Whatever misuse may have been made + of them,—whatever false prophets—and Heaven knows there have + been many—have called the young children to them, not to bless, but + to curse, the assured fact remains, that if you will obey God, there will + come a moment when the voice of man will be raised, with all its holiest + natural authority, against you. The friend and the wise adviser—the + brother and the sister—the father and the master—the entire + voice of your prudent and keen-sighted acquaintance—the entire + weight of the scornful stupidity of the vulgar world—for <i>once</i>, + they will be against you, all at one. You have to obey God rather than + man. The human race, with all its wisdom and love, all its indignation and + folly, on one side,—God alone on the other. You have to choose. + </p> + <p> + That is the meaning of St. Francis's renouncing his inheritance; and it is + the beginning of Giotto's gospel of Works. Unless this hardest of deeds be + done first,—this inheritance of mammon and the world cast away,—all + other deeds are useless. You cannot serve, cannot obey, God and mammon. No + charities, no obediences, no self-denials, are of any use, while you are + still at heart in conformity with the world. You go to church, because the + world goes. You keep Sunday, because your neighbours keep it. But you + dress ridiculously, because your neighbours ask it; and you dare not do a + rough piece of work, because your neighbours despise it. You must renounce + your neighbour, in his riches and pride, and remember him in his distress. + That is St. Francis's 'disobedience.' + </p> + <p> + And now you can understand the relation of subjects throughout the chapel, + and Giotto's choice of them. + </p> + <p> + The roof has the symbols of the three virtues of labour—Poverty, + Chastity, Obedience. + </p> + <p> + A. Highest on the left side, looking to the window. The life of St. + Francis begins in his renunciation of the world. + </p> + <p> + B. Highest on the right side. His new life is approved and ordained by the + authority of the church. + </p> + <p> + C. Central on the left side. He preaches to his own disciples. + </p> + <p> + D. Central on the right side. He preaches to the heathen. + </p> + <p> + E. Lowest on the left side. His burial. + </p> + <p> + F. Lowest on the right side. His power after death. + </p> + <p> + Besides these six subjects, there are, on the sides of the window, the + four great Franciscan saints, St. Louis of France, St. Louis of Toulouse, + St. Clare, and St. Elizabeth of Hungary. + </p> + <p> + So that you have in the whole series this much given you to think of: + first, the law of St. Francis's conscience; then, his own adoption of it; + then, the ratification of it by the Christian Church; then, his preaching + it in life; then, his preaching it in death; and then, the fruits of it in + his disciples. + </p> + <p> + I have only been able myself to examine, or in any right sense to see, of + this code of subjects, the first, second, fourth, and the St. Louis and + Elizabeth. I will ask <i>you</i> only to look at two more of them, namely, + St. Francis before the Soldan, midmost on your right, and St. Louis. + </p> + <p> + The Soldan, with an ordinary opera-glass, you may see clearly enough; and + I think it will be first well to notice some technical points in it. + </p> + <p> + If the little virgin on the stairs of the temple reminded you of one + composition of Titian's, this Soldan should, I think, remind you of all + that is greatest in Titian; so forcibly, indeed, that for my own part, if + I had been told that a careful early fresco by Titian had been recovered + in Santa Croce, I could have believed both report and my own eyes, more + quickly than I have been able to admit that this is indeed by Giotto. It + is so great that—had its principles been understood-there was in + reality nothing more to be taught of art in Italy; nothing to be invented + afterwards, except Dutch effects of light. + </p> + <p> + That there is no 'effect of light' here arrived at, I beg you at once to + observe as a most important lesson. The subject is St. Francis challenging + the Soldan's Magi,—fire-worshippers—to pass with him through + the fire, which is blazing red at his feet. It is so hot that the two Magi + on the other side of the throne shield their faces. But it is represented + simply as a red mass of writhing forms of flame; and casts no firelight + whatever. There is no ruby colour on anybody's nose: there are no black + shadows under anybody's chin; there are no Rembrandtesque gradations of + gloom, or glitterings of sword-hilt and armour. + </p> + <p> + Is this ignorance, think you, in Giotto, and pure artlessness? He was now + a man in middle life, having passed all his days in painting, and + professedly, and almost contentiously, painting things as he saw them. Do + you suppose he never saw fire cast firelight?—and he the friend of + Dante! who of all poets is the most subtle in his sense of every kind of + effect of light—though he has been thought by the public to know + that of fire only. Again and again, his ghosts wonder that there is no + shadow cast by Dante's body; and is the poet's friend, <i>because</i> a + painter, likely, therefore, not to have known that mortal substance casts + shadow, and terrestrial flame, light? Nay, the passage in the 'Purgatorio' + where the shadows from the morning sunshine make the flames redder, + reaches the accuracy of Newtonian science; and does Giotto, think you, all + the while, see nothing of the sort? + </p> + <p> + The fact was, he saw light so intensely that he never for an instant + thought of painting it. He knew that to paint the sun was as impossible as + to stop it; and he was no trickster, trying to find out ways of seeming to + do what he did not. I can paint a rose,—yes; and I will. I can't + paint a red-hot coal; and I won't try to, nor seem to. This was just as + natural and certain a process of thinking with <i>him</i>, as the honesty + of it, and true science, were impossible to the false painters of the + sixteenth century. + </p> + <p> + Nevertheless, what his art can honestly do to make you feel as much as he + wants you to feel, about this fire, he will do; and that studiously. That + the fire be <i>luminous</i> or not, is no matter just now. But that the + fire is <i>hot</i>, he would have you to know. Now, will you notice what + colours he has used in the whole picture. First, the blue background, + necessary to unite it with the other three subjects, is reduced to the + smallest possible space. St. Francis must be in grey, for that is his + dress; also the attendant of one of the Magi is in grey; but so warm, + that, if you saw it by itself, you would call it brown. The shadow behind + the throne, which Giotto knows he <i>can</i> paint, and therefore does, is + grey also. The rest of the picture [Footnote: The floor has been + repainted; but though its grey is now heavy and cold, it cannot kill the + splendour of the rest.] in at least six-sevenths of its area—is + either crimson, gold, orange, purple, or white, all as warm as Giotto + could paint them; and set off by minute spaces only of intense black,—the + Soldan's fillet at the shoulders, his eyes, beard, and the points + necessary in the golden pattern behind. And the whole picture is one glow. + </p> + <p> + A single glance round at the other subjects will convince you of the + special character in this; but you will recognize also that the four upper + subjects, in which St. Francis's life and zeal are shown, are all in + comparatively warm colours, while the two lower ones—of the death, + and the visions after it—have been kept as definitely sad and cold. + </p> + <p> + Necessarily, you might think, being full of monks' dresses. Not so. Was + there any need for Giotto to have put the priest at the foot of the dead + body, with the black banner stooped over it in the shape of a grave? Might + he not, had he chosen, in either fresco, have made the celestial visions + brighter? Might not St. Francis have appeared in the centre of a celestial + glory to the dreaming Pope, or his soul been seen of the poor monk, rising + through more radiant clouds? Look, however, how radiant, in the small + space allowed out of the blue, they are in reality. You cannot anywhere + see a lovelier piece of Giottesque colour, though here, you have to mourn + over the smallness of the piece, and its isolation. For the face of St. + Francis himself is repainted, and all the blue sky; but the clouds and + four sustaining angels are hardly retouched at all, and their iridescent + and exquisitely graceful wings are left with really very tender and + delicate care by the restorer of the sky. And no one but Giotto or Turner + could have painted them. + </p> + <p> + For in all his use of opalescent and warm colour, Giotto is exactly like + Turner, as, in his swift expressional power, he is like Gainsborough. All + the other Italian religious painters work out their expression with toil; + he only can give it with a touch. All the other great Italian colourists + see only the beauty of colour, but Giotto also its brightness. And none of + the others, except Tintoret, understood to the full its symbolic power; + but with those—Giotto and Tintoret—there is always, not only a + colour harmony, but a colour secret. It is not merely to make the picture + glow, but to remind you that St. Francis preaches to a fire-worshipping + king, that Giotto covers the wall with purple and scarlet;—and + above, in the dispute at Assisi, the angry father is dressed in red, + varying like passion; and the robe with which his protector embraces St. + Francis, blue, symbolizing the peace of Heaven, Of course certain + conventional colours were traditionally employed by all painters; but only + Giotto and Tintoret invent a symbolism of their own for every picture. + Thus in Tintoret's picture of the fall of the manna, the figure of God the + Father is entirely robed in white, contrary to all received custom: in + that of Moses striking the rock, it is surrounded by a rainbow. Of + Giotto's symbolism in colour at Assisi, I have given account elsewhere. + [Footnote: 'Fors Clavigera' for September, 1874.] + </p> + <p> + You are not to think, therefore, the difference between the colour of the + upper and lower frescos unintentional. The life of St. Francis was always + full of joy and triumph. His death, in great suffering, weariness, and + extreme humility. The tradition of him reverses that of Elijah; living, he + is seen in the chariot of fire; dying, he submits to more than the common + sorrow of death. + </p> + <p> + There is, however, much more than a difference in colour between the upper + and lower frescos. There is a difference in manner which I cannot account + for; and above all, a very singular difference in skill,—indicating, + it seems to me, that the two lower were done long before the others, and + afterwards united and harmonized with them. It is of no interest to the + general reader to pursue this question; but one point he can notice + quickly, that the lower frescos depend much on a mere black or brown + outline of the features, while the faces above are evenly and completely + painted in the most accomplished Venetian manner:—and another, + respecting the management of the draperies, contains much interest for us. + </p> + <p> + Giotto never succeeded, to the very end of his days, in representing a + figure lying down, and at ease. It is one of the most curious points in + all his character. Just the thing which he could study from nature without + the smallest hindrance, is the thing he never can paint; while subtleties + of form and gesture, which depend absolutely on their momentariness, and + actions in which no model can stay for an instant, he seizes with + infallible accuracy. + </p> + <p> + Not only has the sleeping Pope, in the right hand lower fresco, his head + laid uncomfortably on his pillow, but all the clothes on him are in + awkward angles, even Giotto's instinct for lines of drapery failing him + altogether when he has to lay it on a reposing figure. But look at the + folds of the Soldan's robe over his knees. None could be more beautiful or + right; and it is to me wholly inconceivable that the two paintings should + be within even twenty years of each other in date—the skill in the + upper one is so supremely greater. We shall find, however, more than mere + truth in its casts of drapery, if we examine them. + </p> + <p> + They are so simply right, in the figure of the Soldan, that we do not + think of them;—we see him only, not his dress But we see dress + first, in the figures of the discomfited Magi. Very fully draped + personages these, indeed,—with trains, it appears, four yards long, + and bearers of them. + </p> + <p> + The one nearest the Soldan has done his devoir as bravely as he could; + would fain go up to the fire, but cannot; is forced to shield his face, + though he has not turned back. Giotto gives him full sweeping breadth of + fold; what dignity he can;—a man faithful to his profession, at all + events. + </p> + <p> + The next one has no such courage. Collapsed altogether, he has nothing + more to say for himself or his creed. Giotto hangs the cloak upon him, in + Ghirlandajo's fashion, as from a peg, but with ludicrous narrowness of + fold. Literally, he is a 'shut-up' Magus—closed like a fan. He turns + his head away, hopelessly. And the last Magus shows nothing but his back, + disappearing through the door. + </p> + <p> + Opposed to them, in a modern work, you would have had a St. Francis + standing as high as he could in his sandals, contemptuous, denunciatory; + magnificently showing the Magi the door. No such thing, says Giotto. A + somewhat mean man; disappointing enough in presence-even in feature; I do + not understand his gesture, pointing to his forehead—perhaps + meaning, 'my life, or my head, upon the truth of this.' The attendant monk + behind him is terror-struck; but will follow his master. The dark Moorish + servants of the Magi show no emotion—will arrange their masters' + trains as usual, and decorously sustain their retreat. + </p> + <p> + Lastly, for the Soldan himself. In a modern work, you would assuredly have + had him staring at St. Francis with his eyebrows up, or frowning + thunderously at his Magi, with them bent as far down as they would go. + Neither of these aspects does he bear, according to Giotto. A perfect + gentleman and king, he looks on his Magi with quiet eyes of decision; he + is much the noblest person in the room—though an infidel, the true + hero of the scene, far more than St. Francis. It is evidently the Soldan + whom Giotto wants you to think of mainly, in this picture of Christian + missionary work. + </p> + <p> + He does not altogether take the view of the Heathen which you would get in + an Exeter Hall meeting. Does not expatiate on their ignorance, their + blackness, or their nakedness. Does not at all think of the Florentine + Islington and Pentonville, as inhabited by persons in every respect + superior to the kings of the East; nor does he imagine every other + religion but his own to be log-worship. Probably the people who really + worship logs—whether in Persia or Pentonville—will be left to + worship logs to their hearts' content, thinks Giotto. But to those who + worship <i>God</i>, and who have obeyed the laws of heaven written in + their hearts, and numbered the stars of it visible to them,—to + these, a nearer star may rise; and a higher God be revealed. + </p> + <p> + You are to note, therefore, that Giotto's Soldan is the type of all + noblest religion and law, in countries where the name of Christ has not + been preached. There was no doubt what king or people should be chosen: + the country of the three Magi had already been indicated by the miracle of + Bethlehem; and the religion and morality of Zoroaster were the purest, and + in spirit the oldest, in the heathen world. Therefore, when Dante, in the + nineteenth and twentieth books of the Paradise, gives his final + interpretation of the law of human and divine justice in relation to the + gospel of Christ—the lower and enslaved body of the heathen being + represented by St. Philip's convert, ("Christians like these the Ethiop + shall condemn")—the noblest state of heathenism is at once chosen, + as by Giotto: "What may the <i>Persians</i> say unto <i>your</i> kings?" + Compare also Milton,— + </p> +<pre xml:space="preserve"> + "At the Soldan's chair, + Defied the best of Paynim chivalry." +</pre> + <p> + And now, the time is come for you to look at Giotto's St. Louis, who is + the type of a Christian king. + </p> + <p> + You would, I suppose, never have seen it at all, unless I had dragged you + here on purpose. It was enough in the dark originally—is trebly + darkened by the modern painted glass—and dismissed to its oblivion + contentedly by Mr. Murray's "Four saints, all much restored and + repainted," and Messrs. Crowe and Cavalcasella's serene "The St. Louis is + quite new." + </p> + <p> + Now, I am the last person to call any restoration whatever, judicious. Of + all destructive manias, that of restoration is the frightfullest and + foolishest. Nevertheless, what good, in its miserable way, it can bring, + the poor art scholar must now apply his common sense to take; there is no + use, because a great work has been restored, in now passing it by + altogether, not even looking for what instruction we still may find in its + design, which will be more intelligible, if the restorer has had any + conscience at all, to the ordinary spectator, than it would have been in + the faded work. When, indeed, Mr. Murray's Guide tells you that a <i>building</i> + has been 'magnificently restored,' you may pass the building by in + resigned despair; for <i>that</i> means that every bit of the old + sculpture has been destroyed, and modern vulgar copies put up in its + place. But a restored picture or fresco will often be, to <i>you</i>, more + useful than a pure one; and in all probability—if an important piece + of art—it will have been spared in many places, cautiously completed + in others, and still assert itself in a mysterious way—as Leonardo's + Cenacolo does—through every phase of reproduction. [Footnote: For a + test of your feeling in the matter, having looked well at these two lower + frescos in this chapel, walk round into the next, and examine the lower + one on your left hand as you enter that. You will find in your Murray that + the frescos in this chapel "were also till lately, (1862) covered with + whitewash"; but I happen to have a long critique of this particular + picture written in the year 1845, and I see no change in it since then. + Mr. Murray's critic also tells you to observe in it that "the daughter of + Herodias playing on a violin is not unlike Perugino's treatment of similar + subjects." By which Mr. Murray's critic means that the male musician + playing on a violin, whom, without looking either at his dress, or at the + rest of the fresco, he took for the daughter of Herodias, has a broad + face. Allowing you the full benefit of this criticism—there is still + a point or two more to be observed. This is the only fresco near the + ground in which Giotto's work is untouched, at least, by the modern + restorer. So felicitously safe it is, that you may learn from it at once + and for ever, what good fresco painting is—how quiet—how + delicately clear—how little coarsely or vulgarly attractive—how + capable of the most tender light and shade, and of the most exquisite and + enduring colour. + </p> + <p> + In this latter respect, this fresco stands almost alone among the works of + Giotto; the striped curtain behind the table being wrought with a variety + and fantasy of playing colour which Paul Veronese could not better at his + best. + </p> + <p> + You will find, without difficulty, in spite of the faint tints, the + daughter of Herodias in the middle of the picture—-slowly <i>moving</i>, + not dancing, to the violin music—she herself playing on a lyre. In + the farther corner of the picture, she gives St. John's head to her + mother; the face of Herodias is almost entirely faded, which may be a + farther guarantee to you of the safety of the rest. The subject of the + Apocalypse, highest on the right, is one of the most interesting mythic + pictures in Florence; nor do I know any other so completely rendering the + meaning of the scene between the woman in the wilderness, and the Dragon + enemy. But it cannot be seen from the floor level: and I have no power of + showing its beauty in words.] + </p> + <p> + But I can assure you, in the first place, that St. Louis is by no means + altogether new. I have been up at it, and found most lovely and true + colour left in many parts: the crown, which you will find, after our + mornings at the Spanish chapel, is of importance, nearly untouched; the + lines of the features and hair, though all more or less reproduced, still + of definite and notable character; and the junction throughout of added + colour so careful, that the harmony of the whole, if not delicate with its + old tenderness, is at least, in its coarser way, solemn and unbroken. Such + as the figure remains, it still possesses extreme beauty—profoundest + interest. And, as you can see it from below with your glass, it leaves + little to be desired, and may be dwelt upon with more profit than nine out + of ten of the renowned pictures of the Tribune or the Pitti. You will + enter into the spirit of it better if I first translate for you a little + piece from the Fioretti di San Francesco. + </p> + <p> + <i>"How St. Louis, King of France, went personally in the guise of a + pilgrim, to Perugia, to visit the holy Brother Giles.</i>—St. Louis, + King of France, went on pilgrimage to visit the sanctuaries of the world; + and hearing the most great fame of the holiness of Brother Giles, who had + been among the first companions of St. Francis, put it in his heart, and + determined assuredly that he would visit him personally; wherefore he came + to Perugia, where was then staying the said brother. And coming to the + gate of the place of the Brothers, with few companions, and being unknown, + he asked with great earnestness for Brother Giles, telling nothing to the + porter who he was that asked. The porter, therefore, goes to Brother + Giles, and says that there is a pilgrim asking for him at the gate. And by + God it was inspired in him and revealed that it was the King of France; + whereupon quickly with great fervour he left his cell and ran to the gate, + and without any question asked, or ever having seen each other before, + kneeling down together with greatest devotion, they embraced and kissed + each other with as much familiarity as if for a long time they had held + great friendship; but all the while neither the one nor the other spoke, + but stayed, so embraced, with such signs of charitable love, in silence. + And so having remained for a great while, they parted from one another, + and St. Louis went on his way, and Brother Giles returned to his cell. And + the King being gone, one of the brethren asked of his companion who he + was, who answered that he was the King of France. Of which the other + brothers being told, were in the greatest melancholy because Brother Giles + had never said a word to him; and murmuring at it, they said, 'Oh, Brother + Giles, wherefore hadst thou so country manners that to so holy a king, who + had come from France to see thee and hear from thee some good word, thou + hast spoken nothing?' + </p> + <p> + "Answered Brother Giles: 'Dearest brothers, wonder not ye at this, that + neither I to him, nor he to me, could speak a word; for so soon as we had + embraced, the light of the divine wisdom revealed and manifested, to me, + his heart, and to him, mine; and so by divine operation we looked each in + the other's heart on what we would have said to one another, and knew it + better far than if we had spoken with the mouth, and with more + consolation, because of the defect of the human tongue, which cannot + clearly express the secrets of God, and would have been for discomfort + rather than comfort. And know, therefore, that the King parted from me + marvellously content, and comforted in his mind.'" + </p> + <p> + Of all which story, not a word, of course, is credible by any rational + person. + </p> + <p> + Certainly not: the spirit, nevertheless, which created the story, is an + entirely indisputable fact in the history of Italy and of mankind. Whether + St. Louis and Brother Giles ever knelt together in the street of Perugia + matters not a whit. That a king and a poor monk could be conceived to have + thoughts of each other which no words could speak; and that indeed the + King's tenderness and humility made such a tale credible to the people,—this + is what you have to meditate on here. + </p> + <p> + Nor is there any better spot in the world,—whencesoever your pilgrim + feet may have journeyed to it, wherein to make up so much mind as you have + in you for the making, concerning the nature of Kinghood and Princedom + generally; and of the forgeries and mockeries of both which are too often + manifested in their room. For it happens that this Christian and this + Persian King are better painted here by Giotto than elsewhere by any one, + so as to give you the best attainable conception of the Christian and + Heathen powers which have both received, in the book which Christians + profess to reverence, the same epithet as the King of the Jews Himself; + anointed, or Christos:—and as the most perfect Christian Kinghood + was exhibited in the life, partly real, partly traditional, of St. Louis, + so the most perfect Heathen Kinghood was exemplified in the life, partly + real, partly traditional, of Cyrus of Persia, and in the laws for human + government and education which had chief force in his dynasty. And before + the images of these two Kings I think therefore it will be well that you + should read the charge to Cyrus, written by Isaiah. The second clause of + it, if not all, will here become memorable to you—literally + illustrating, as it does, the very manner of the defeat of the Zoroastrian + Magi, on which Giotto founds his Triumph of Faith. I write the leading + sentences continuously; what I omit is only their amplification, which you + can easily refer to at home. (Isaiah xliv. 24, to xlv. 13.) + </p> + <p> + "Thus saith the Lord, thy Redeemer, and he that formed thee from the womb. + I the Lord that maketh all; that stretcheth forth the heavens, alone; that + spreadeth abroad the earth, alone; <i>that turneth wise men backward, and + maketh their knowledge, foolish; that confirmeth the word of his Servant, + and fulfilleth the counsel of his messengers</i>: that saith of Cyrus, He + is my Shepherd, and shall perform all my pleasure, even saying to + Jerusalem, 'thou shalt be built,' and to the temple, 'thy foundations + shall be laid." + </p> + <p> + "Thus saith the Lord to his Christ;—to Cyrus, whose right hand I + have holden, to subdue nations before him, and I will loose the loins of + Kings. + </p> + <p> + "I will go before thee, and make the crooked places straight; I will break + in pieces the gates of brass, and cut in sunder the bars of iron; and I + will give <i>thee</i> the treasures of darkness, and hidden riches of + secret places, that thou mayest know that I the Lord, which call thee by + thy name, am the God of Israel. + </p> + <p> + "For Jacob my servant's sake, and Israel mine elect, I have even called + thee by thy name; I have surnamed thee, though thou hast not known me. + </p> + <p> + "I am the Lord, and there is none else; there is no God beside me. I + girded thee, though thou hast not known me. That they may know, from the + <i>rising of the sun</i>, and from the west, that there is none beside me; + I am the Lord and there is none else. <i>I form the light</i>, and create + darkness; I make peace, and create evil. I the Lord do all these things. + </p> + <p> + "I have raised him up in Righteousness, and will direct all his ways; he + shall build my city, and let go my captives, not for price nor reward, + saith the Lord of Nations." + </p> + <p> + To this last verse, add the ordinance of Cyrus in fulfilling it, that you + may understand what is meant by a King's being "raised up in + Righteousness," and notice, with respect to the picture under which you + stand, the Persian King's thought of the Jewish temple. + </p> + <p> + "In the first year of the reign of Cyrus, [Footnote: 1st Esdras vi. 24.] + King Cyrus commanded that the house of the Lord at Jerusalem should be + built again, <i>where they do service with perpetual fire</i>; (the + italicized sentence is Darius's, quoting Cyrus's decree—the decree + itself worded thus), Thus saith Cyrus, King of Persia: [Footnote: Ezra i. + 3, and 2nd Esdras ii. 3.] The Lord God of heaven hath given me all the + kingdoms of the earth, and he hath charged me to build him an house at + Jerusalem. + </p> + <p> + "Who is there among you of all his people?—his God be with him, and + let him go up to Jerusalem which is in Judah, and let the men of his place + help him with silver and with gold, and with goods and with beasts." + </p> + <p> + Between which "bringing the prisoners out of captivity" and modern + liberty, free trade, and anti-slavery eloquence, there is no small + interval. + </p> + <p> + To these two ideals of Kinghood, then, the boy has reached, since the day + he was drawing the lamb on the stone, as Cimabue passed by. You will not + find two other such, that I know of, in the west of Europe; and yet there + has been many a try at the painting of crowned heads,—and King + George III and Queen Charlotte, by Sir Joshua Reynolds, are very fine, no + doubt. Also your black-muzzled kings of Velasquez, and Vandyke's + long-haired and white-handed ones; and Rubens' riders—in those + handsome boots. Pass such shadows of them as you can summon, rapidly + before your memory—then look at this St. Louis. + </p> + <p> + His face—gentle, resolute, glacial-pure, thin-cheeked; so sharp at + the chin that the entire head is almost of the form of a knight's shield—the + hair short on the forehead, falling on each side in the old Greek-Etruscan + curves of simplest line, to the neck; I don't know if you can see without + being nearer, the difference in the arrangement of it on the two sides-the + mass of it on the right shoulder bending inwards, while that on the left + falls straight. It is one of the pretty changes which a modern workman + would never dream of—and which assures me the restorer has followed + the old lines rightly. + </p> + <p> + He wears a crown formed by an hexagonal pyramid, beaded with pearls on the + edges: and walled round, above the brow, with a vertical fortress-parapet, + as it were, rising into sharp pointed spines at the angles: it is chasing + of gold with pearl—beautiful in the remaining work of it; the Soldan + wears a crown of the same general form; the hexagonal outline signifying + all order, strength, and royal economy. We shall see farther symbolism of + this kind, soon, by Simon Memmi, in the Spanish chapel. + </p> + <p> + I cannot tell you anything definite of the two other frescos—for I + can only examine one or two pictures in a day; and never begin with one + till I have done with another; and I had to leave Florence without looking + at these—even so far as to be quite sure of their subjects. The + central one on the left is either the twelfth subject of Assisi—St. + Francis in Ecstacy; [Footnote: "Represented" (next to St. Francis before + the Soldan, at Assisi) "as seen one night by the brethren, praying, + elevated from the ground, his hands extended like the cross, and + surrounded by a shining cloud."—<i>Lord Lindsay</i>.] or the + eighteenth, the Apparition of St. Francis at Arles; [Footnote: "St. + Anthony of Padua was preaching at a general chapter of the order, held at + Arles, in 1224, when St. Francis appeared in the midst, his arms extended, + and in an attitude of benediction."—<i>Lord Lindsay</i>.] while the + lowest on the right may admit choice between two subjects in each half of + it: my own reading of them would be—that they are the twenty-first + and twenty-fifth subjects of Assisi, the Dying Friar [Footnote: "A brother + of the order, lying on his deathbed, saw the spirit of St. Francis rising + to heaven, and springing forward, cried, 'Tarry, Father, I come with + thee!' and fell back dead."—<i>Lord Lindsay</i>.] and Vision of Pope + Gregory IX.; [Footnote: "He hesitated, before canonizing St. Francis; + doubting the celestial infliction of the stigmata. St. Francis appeared to + him in a vision, and with a severe countenance reproving his unbelief, + opened his robe, and, exposing the wound in his side, filled a vial with + the blood that flowed from it, and gave it to the Pope, who awoke and + found it in his hand."—<i>Lord Lindsay</i>.] but Crowe and + Cavalcasella may be right in their different interpretation; [Footnote: + "As St. Francis was carried on his bed of sickness to St. Maria degli + Angeli, he stopped at an hospital on the roadside, and ordering his + attendants to turn his head in the direction of Assisi, he rose in his + litter and said, 'Blessed be thou amongst cities! may the blessing of God + cling to thee, oh holy place, for by thee shall many souls be saved;' and, + having said this, he lay down and was carried on to St. Maria degli + Angeli. On the evening of the 4th of October his death was revealed at the + very hour to the bishop of Assisi on Mount Sarzana."—<i>Crowe and + Cavalcasella.</i>] in any case, the meaning of the entire system of work + remains unchanged, as I have given it above. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0005" id="link2H_4_0005"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE FOURTH MORNING. + </h2> + <h3> + THE VAULTED BOOK. + </h3> + <p> + As early as may be this morning, let us look for a minute or two into the + cathedral:—I was going to say, entering by one of the side doors of + the aisles;—but we can't do anything else, which perhaps might not + strike you unless you were thinking specially of it. There are no transept + doors; and one never wanders round to the desolate front. From either of + the side doors, a few paces will bring you to the middle of the nave, and + to the point opposite the middle of the third arch from the west end; + where you will find yourself—if well in the mid-wave—standing + on a circular slab of green porphyry, which marks the former place of the + grave of the bishop Zenobius. The larger inscription, on the wide circle + of the floor outside of you, records the translation of his body; the + smaller one round the stone at your feet—"quiescimus, domum hanc + quum adimus ultimam"—is a painful truth, I suppose, to travellers + like us, who never rest anywhere now, if we can help it. + </p> + <p> + Resting here, at any rate, for a few minutes, look up to the whitewashed + vaulting of the compartment of the roof next the west end. + </p> + <p> + You will see nothing whatever in it worth looking at. Nevertheless, look a + little longer. + </p> + <p> + But the longer you look, the less you will understand why I tell you to + look. It is nothing but a whitewashed ceiling: vaulted indeed,—but + so is many a tailor's garret window, for that matter. Indeed, now that you + have looked steadily for a minute or so, and are used to the form of the + arch, it seems to become so small that you can almost fancy it the ceiling + of a good-sized lumber-room in an attic. + </p> + <p> + Having attained to this modest conception of it, carry your eyes back to + the similar vault of the second compartment, nearer you. Very little + further contemplation will reduce that also to the similitude of a + moderately-sized attic. And then, resolving to bear, if possible—for + it is worth while,—the cramp in your neck for another quarter of a + minute, look right up to the third vault, over your head; which, if not, + in the said quarter of a minute, reducible in imagination to a tailor's + garret, will at least sink, like the two others, into the semblance of a + common arched ceiling, of no serious magnitude or majesty. + </p> + <p> + Then, glance quickly down from it to the floor, and round at the space, + (included between the four pillars), which that vault covers. It is sixty + feet square,[Footnote: Approximately. Thinking I could find the dimensions + of the duomo anywhere, I only paced it myself,—and cannot, at this + moment, lay my hand on English measurements of it.]—four hundred + square yards of pavement,—and I believe you will have to look up + again more than once or twice, before you can convince yourself that the + mean-looking roof is swept indeed over all that twelfth part of an acre. + And still less, if I mistake not, will you, without slow proof, believe, + when you turn yourself round towards the east end, that the narrow niche + (it really looks scarcely more than a niche) which occupies, beyond the + dome, the position of our northern choirs, is indeed the unnarrowed + elongation of the nave, whose breadth extends round you like a frozen + lake. From which experiments and comparisons, your conclusion, I think, + will be, and I am sure it ought to be, that the most studious ingenuity + could not produce a design for the interior of a building which should + more completely hide its extent, and throw away every common advantage of + its magnitude, than this of the Duomo of Florence. + </p> + <p> + Having arrived at this, I assure you, quite securely tenable conclusion, + we will quit the cathedral by the western door, for once, and as quickly + as we can walk, return to the Green cloister of Sta. Maria Novella; and + place ourselves on the south side of it, so as to see as much as we can of + the entrance, on the opposite side, to the so-called 'Spanish Chapel.' + </p> + <p> + There is, indeed, within the opposite cloister, an arch of entrance, plain + enough. But no chapel, whatever, externally manifesting itself as worth + entering. No walls, or gable, or dome, raised above the rest of the + outbuildings—only two windows with traceries opening into the + cloister; and one story of inconspicuous building above. You can't + conceive there should be any effect of <i>magnitude</i> produced in the + interior, however it has been vaulted or decorated. It may be pretty, but + it cannot possibly look large. + </p> + <p> + Entering it, nevertheless, you will be surprised at the effect of height, + and disposed to fancy that the circular window cannot surely be the same + you saw outside, looking so low, I had to go out again, myself, to make + sure that it was. + </p> + <p> + And gradually, as you let the eye follow the sweep of the vaulting arches, + from the small central keystone-boss, with the Lamp carved on it, to the + broad capitals of the hexagonal pillars at the angles,—there will + form itself in your mind, I think, some impression not only of vastness in + the building, but of great daring in the builder; and at last, after + closely following out the lines of a fresco or two, and looking up and up + again to the coloured vaults, it will become to you literally one of the + grandest places you ever entered, roofed without a central pillar. You + will begin to wonder that human daring ever achieved anything so + magnificent. + </p> + <p> + But just go out again into the cloister, and recover knowledge of the + facts. It is nothing like so large as the blank arch which at home we + filled with brickbats or leased for a gin-shop under the last railway we + made to carry coals to Newcastle. And if you pace the floor it covers, you + will find it is three feet less one way, and thirty feet less the other, + than that single square of the Cathedral which was roofed like a tailor's + loft,—accurately, for I did measure here, myself, the floor of the + Spanish chapel is fifty-seven feet by thirty-two. + </p> + <p> + I hope, after this experience, that you will need no farther conviction of + the first law of noble building, that grandeur depends on proportion and + design—not, except in a quite secondary degree, on magnitude. Mere + size has, indeed, under all disadvantage, some definite value; and so has + mere splendour. Disappointed as you may be, or at least ought to be, at + first, by St. Peter's, in the end you will feel its size,—and its + brightness. These are all you <i>can</i> feel in it—it is nothing + more than the pump-room at Leamington built bigger;—but the bigness + tells at last: and Corinthian pillars whose capitals alone are ten feet + high, and their acanthus leaves, three feet six long, give you a serious + conviction of the infallibility of the Pope, and the fallibility of the + wretched Corinthians, who invented the style indeed, but built with + capitals no bigger than hand-baskets. + </p> + <p> + Vastness <i>has</i> thus its value. But the glory of architecture is to be—whatever + you wish it to be,—lovely, or grand, or comfortable,—on such + terms as it can easily obtain. Grand, by proportion—lovely, by + imagination—comfortable, by ingenuity—secure, by honesty: with + such materials and in such space as you have got to give it. + </p> + <p> + Grand—by proportion, I said; but ought to have said by <i>dis</i>proportion. + Beauty is given by the relation of parts—size, by their comparison. + The first secret in getting the impression of size in this chapel is the + <i>dis</i>proportion between pillar and arch. You take the pillar for + granted,—it is thick, strong, and fairly high above your head. You + look to the vault springing from it—and it soars away, nobody knows + where. + </p> + <p> + Another great, but more subtle secret is in the <i>in</i>equality and + immeasurability of the curved lines; and the hiding of the form by the + colour. + </p> + <p> + To begin, the room, I said, is fifty-seven feet wide, and only thirty-two + deep. It is thus nearly one-third larger in the direction across the line + of entrance, which gives to every arch, pointed and round, throughout the + roof, a different spring from its neighbours. + </p> + <p> + The vaulting ribs have the simplest of all profiles—that of a + chamfered beam. I call it simpler than even that of a square beam; for in + barking a log you cheaply get your chamfer, and nobody cares whether the + level is alike on each side: but you must take a larger tree, and use much + more work to get a square. And it is the same with stone. + </p> + <p> + And this profile is—fix the conditions of it, therefore, in your + mind,—venerable in the history of mankind as the origin of all + Gothic tracery-mouldings; venerable in the history of the Christian Church + as that of the roof ribs, both of the lower church of Assisi, bearing the + scroll of the precepts of St. Francis, and here at Florence, bearing the + scroll of the faith of St. Dominic. If you cut it out in paper, and cut + the corners off farther and farther, at every cut, you will produce a + sharper profile of rib, connected in architectural use with differently + treated styles. But the entirely venerable form is the massive one in + which the angle of the beam is merely, as it were, secured and completed + in stability by removing its too sharp edge. + </p> + <p> + Well, the vaulting ribs, as in Giotto's vault, then, have here, under + their painting, this rude profile: but do not suppose the vaults are + simply the shells cast over them. Look how the ornamental borders fall on + the capitals! The plaster receives all sorts of indescribably + accommodating shapes—the painter contracting and stopping his design + upon it as it happens to be convenient. You can't measure anything; you + can't exhaust; you can't grasp,—except one simple ruling idea, which + a child can grasp, if it is interested and intelligent: namely, that the + room has four sides with four tales told upon them; and the roof four + quarters, with another four tales told on those. And each history in the + sides has its correspondent history in the roof. Generally, in good + Italian decoration, the roof represents constant, or essential facts; the + walls, consecutive histories arising out of them, or leading up to them. + Thus here, the roof represents in front of you, in its main quarter, the + Resurrection—the cardinal fact of Christianity; opposite (above, + behind you), the Ascension; on your left hand, the descent of the Holy + Spirit; on your right, Christ's perpetual presence with His Church, + symbolized by His appearance on the Sea of Galilee to the disciples in the + storm. + </p> + <p> + The correspondent walls represent: under the first quarter, (the + Resurrection), the story of the Crucifixion; under the second quarter, + (the Ascension), the preaching after that departure, that Christ will + return—symbolized here in the Dominican church by the consecration + of St. Dominic; under the third quarter, (the descent of the Holy Spirit), + the disciplining power of human virtue and wisdom; under the fourth + quarter, (St. Peter's Ship), the authority and government of the State and + Church. + </p> + <p> + The order of these subjects, chosen by the Dominican monks themselves, was + sufficiently comprehensive to leave boundless room for the invention of + the painter. The execution of it was first intrusted to Taddeo Gaddi, the + best architectural master of Giotto's school, who painted the four + quarters of the roof entirely, but with no great brilliancy of invention, + and was beginning to go down one of the sides, when, luckily, a man of + stronger brain, his friend, came from Siena. Taddeo thankfully yielded the + room to him; he joined his own work to that of his less able friend in an + exquisitely pretty and complimentary way; throwing his own greater + strength into it, not competitively, but gradually and helpfully. When, + however, he had once got himself well joined, and softly, to the more + simple work, he put his own force on with a will and produced the most + noble piece of pictorial philosophy [Footnote: There is no philosophy <i>taught</i> + either by the school of Athens or Michael Angelo's 'Last Judgment,' and + the 'Disputa' is merely a graceful assemblage of authorities, the effects + of such authority not being shown.] and divinity existing in Italy. + </p> + <p> + This pretty, and, according to all evidence by me attainable, entirely + true, tradition has been all but lost, among the ruins of fair old + Florence, by the industry of modern mason-critics—who, without + exception, labouring under the primal (and necessarily unconscious) + disadvantage of not knowing good work from bad, and never, therefore, + knowing a man by his hand or his thoughts, would be in any case + sorrowfully at the mercy of mistakes in a document; but are tenfold more + deceived by their own vanity, and delight in overthrowing a received idea, + if they can. + </p> + <p> + Farther: as every fresco of this early date has been retouched again and + again, and often painted half over,—and as, if there has been the + least care or respect for the old work in the restorer, he will now and + then follow the old lines and match the old colours carefully in some + places, while he puts in clearly recognizable work of his own in others,—two + critics, of whom one knows the first man's work well, and the other the + last's, will contradict each other to almost any extent on the securest + grounds. And there is then no safe refuge for an uninitiated person but in + the old tradition, which, if not literally true, is founded assuredly on + some root of fact which you are likely to get at, if ever, through it + only. So that my general directions to all young people going to Florence + or Rome would be very short: "Know your first volume of Vasari, and your + two first books of Livy; look about you, and don't talk, nor listen to + talking." + </p> + <p> + On those terms, you may know, entering this chapel, that in Michael + Angelo's time, all Florence attributed these frescos to Taddeo Gaddi and + Simon Memmi. + </p> + <p> + I have studied neither of these artists myself with any speciality of + care, and cannot tell you positively, anything about them or their works. + But I know good work from bad, as a cobbler knows leather, and I can tell + you positively the quality of these frescos, and their relation to + contemporary panel pictures; whether authentically ascribed to Gaddi, + Memmi, or any one else, it is for the Florentine Academy to decide. + </p> + <p> + The roof, and the north side, down to the feet of the horizontal line of + sitting figures, were originally third-rate work of the school of Giotto; + the rest of the chapel was originally, and most of it is still, + magnificent work of the school of Siena. The roof and north side have been + heavily repainted in, many places; the rest is faded and injured, but not + destroyed in its most essential qualities. And now, farther, you must bear + with just a little bit of tormenting history of painters. + </p> + <p> + There were two Gaddis, father and son,—Taddeo and Angelo. And there + were two Memmis, brothers,—Simon and Philip. + </p> + <p> + I daresay you will find, in the modern books, that Simon's real name was + Peter, and Philip's real name was Bartholomew; and Angelo's real name was + Taddeo, and Taddeo's real name was Angelo; and Memmi's real name was + Gaddi, and Gaddi's real name was Memmi. You may find out all that at your + leisure, afterwards, if you like. What it is important for you to know + here, in the Spanish Chapel, is only this much that follows:—There + were certainly two persons once called Gaddi, both rather stupid in + religious matters and high art; but one of them, I don't know or care + which, a true decorative painter of the most exquisite skill, a perfect + architect, an amiable person, and a great lover of pretty domestic life. + Vasari says this was the father, Taddeo. He built the Ponte Vecchio; and + the old stones of it—which if you ever look at anything on the Ponte + Vecchio but the shops, you may still see (above those wooden pent-houses) + with the Florentine shield—were so laid by him that they are + unshaken to this day. + </p> + <p> + He painted an exquisite series of frescos at Assisi from the Life of + Christ; in which,—just to show you what the man's nature is,—when + the Madonna has given Christ into Simeon's arms, she can't help holding + out her own arms to him, and saying, (visibly,) "Won't you come back to + mamma?" The child laughs his answer—"I love <i>you</i>, mamma; but + I'm quite happy just now." + </p> + <p> + Well; he, or he and his son together, painted these four quarters of the + roof of the Spanish Chapel. They were very probably much retouched + afterwards by Antonio Veneziano, or whomsoever Messrs. Crowe and + Cavalcasella please; but that architecture in the descent of the Holy + Ghost is by the man who painted the north transept of Assisi, and there + need be no more talk about the matter,—for you never catch a + restorer doing his old architecture right again. And farther, the + ornamentation of the vaulting ribs <i>is</i> by the man who painted the + Entombment, No. 31 in the Galerie des Grands Tableaux, in the catalogue of + the Academy for 1874. Whether that picture is Taddeo Gaddi's or not, as + stated in the catalogue, I do not know; but I know the vaulting ribs of + the Spanish Chapel are painted by the same hand. + </p> + <p> + Again: of the two brothers Memmi, one or other, I don't know or care + which, had an ugly way of turning the eyes of his figures up and their + mouths down; of which you may see an entirely disgusting example in the + four saints attributed to Filippo Memmi on the cross wall of the north + (called always in Murray's guide the south, because he didn't notice the + way the church was built) transept of Assisi. You may, however, also see + the way the mouth goes down in the much repainted, but still + characteristic No. 9 in the Uffizii. [Footnote: This picture bears the + inscription (I quote from the French catalogue, not having verified it + myself), "Simon Martini, et Lippus Memmi de Senis me pinxerunt." I have no + doubt whatever, myself, that the two brothers worked together on these + frescoes of the Spanish Chapel: but that most of the Limbo is Philip's, + and the Paradise, scarcely with his interference, Simon's.] + </p> + <p> + Now I catch the wring and verjuice of this brother again and again, among + the minor heads of the lower frescoes in this Spanish Chapel. The head of + the Queen beneath Noah, in the Limbo,—(see below) is unmistakable. + </p> + <p> + Farther: one of the two brothers, I don't care which, had a way of + painting leaves; of which you may see a notable example in the rod in the + hand of Gabriel in that same picture of the Annunciation in the Uffizii. + No Florentine painter, or any other, ever painted leaves as well as that, + till you get down to Sandro Botticelli, who did them much better. But the + man who painted that rod in the hand of Gabriel, painted the rod in the + right hand of Logic in the Spanish Chapel,—and nobody else in + Florence, or the world, <i>could</i>. + </p> + <p> + Farther (and this is the last of the antiquarian business); you see that + the frescoes on the roof are, on the whole, dark with much blue and red in + them, the white spaces coming out strongly. This is the characteristic + colouring of the partially defunct school of Giotto, becoming merely + decorative, and passing into a colourist school which connected itself + afterwards with the Venetians. There is an exquisite example of all its + specialities in the little Annunciation in the Uffizii, No. 14, attributed + to Angelo Gaddi, in which you see the Madonna is stupid, and the angel + stupid, but the colour of the whole, as a piece of painted glass, lovely; + and the execution exquisite,—at once a painter's and jeweller's; + with subtle sense of chiaroscuro underneath; (note the delicate shadow of + the Madonna's arm across her breast). + </p> + <p> + The head of this school was (according to Vasari) Taddeo Gaddi; and + henceforward, without further discussion, I shall speak of him as the + painter of the roof of the Spanish Chapel,—not without suspicion, + however, that his son Angelo may hereafter turn out to have been the + better decorator, and the painter of the frescoes from the life of Christ + in the north transept of Assisi,—with such assistance as his son or + scholars might give—and such change or destruction as time, Antonio + Veneziano, or the last operations of the Tuscan railroad company, may have + effected on them. + </p> + <p> + On the other hand, you see that the frescos on the walls are of paler + colours, the blacks coming out of these clearly, rather than the whites; + but the pale colours, especially, for instance, the whole of the Duomo of + Florence in that on your right, very tender and lovely. Also, you may feel + a tendency to express much with outline, and draw, more than paint, in the + most interesting parts; while in the duller ones, nasty green and yellow + tones come out, which prevent the effect of the whole from being very + pleasant. These characteristics belong, on the whole, to the school of + Siena; and they indicate here the work <i>assuredly</i> of a man of vast + power and most refined education, whom I shall call without further + discussion, during the rest of this and the following morning's study, + Simon Memmi. + </p> + <p> + And of the grace and subtlety with which he joined his work to that of the + Gaddis, you may judge at once by comparing the Christ standing on the + fallen gate of the Limbo, with the Christ in the Resurrection above. Memmi + has retained the dress and imitated the general effect of the figure in + the roof so faithfully that you suspect no difference of mastership—nay, + he has even raised the foot in the same awkward way: but you will find + Memmi's foot delicately drawn-Taddeo's, hard and rude: and all the folds + of Memmi's drapery cast with unbroken grace and complete gradations of + shade, while Taddeo's are rigid and meagre; also in the heads, generally + Taddeo's type of face is square in feature, with massive and inelegant + clusters or volutes of hair and beard; but Memmi's delicate and long in + feature, with much divided and flowing hair, often arranged with exquisite + precision, as in the finest Greek coins. Examine successively in this + respect only the heads of Adam, Abel, Methuselah, and Abraham, in the + Limbo, and you will not confuse the two designers any more. I have not had + time to make out more than the principal figures in the Limbo, of which + indeed the entire dramatic power is centred in the Adam and Eve. The + latter dressed as a nun, in her fixed gaze on Christ, with her hands + clasped, is of extreme beauty: and however feeble the work of any early + painter may be, in its decent and grave inoffensiveness it guides the + imagination unerringly to a certain point. How far you are yourself + capable of filling up what is left untold and conceiving, as a reality, + Eve's first look on this her child, depends on no painter's skill, but on + your own understanding. Just above Eve is Abel, bearing the lamb: and + behind him, Noah, between his wife and Shem: behind them, Abraham, between + Isaac and Ishmael; (turning from Ishmael to Isaac), behind these, Moses, + between Aaron and David. I have not identified the others, though I find + the white-bearded figure behind Eve called Methuselah in my notes: I know + not on what authority. Looking up from these groups, however, to the roof + painting, you will at once feel the imperfect grouping and ruder features + of all the figures; and the greater depth of colour. We will dismiss these + comparatively inferior paintings at once. + </p> + <p> + The roof and walls must be read together, each segment of the roof forming + an introduction to, or portion of, the subject on the wall below. But the + roof must first be looked at alone, as the work of Taddeo Gaddi, for the + artistic qualities and failures of it. + </p> + <p> + I. In front, as you enter, is the compartment with the subject of the + Resurrection. It is the traditional Byzantine composition: the guards + sleeping, and the two angels in white saying to the women, "He is not + here," while Christ is seen rising with the flag of the Cross. + </p> + <p> + But it would be difficult to find another example of the subject, so + coldly treated—so entirely without passion or action. The faces are + expressionless; the gestures powerless. Evidently the painter is not + making the slightest effort to conceive what really happened, but merely + repeating and spoiling what he could remember of old design, or himself + supply of commonplace for immediate need. The "Noli me tangere," on the + right, is spoiled from Giotto, and others before him; a peacock, woefully + plumeless and colourless, a fountain, an ill drawn toy-horse, and two + toy-children gathering flowers, are emaciate remains of Greek symbols. He + has taken pains with the vegetation, but in vain. Yet Taddeo Gaddi was a + true painter, a very beautiful designer, and a very amiable person. How + comes he to do that Resurrection so badly? + </p> + <p> + In the first place, he was probably tired of a subject which was a great + strain to his feeble imagination; and gave it up as impossible: doing + simply the required figures in the required positions. In the second, he + was probably at the time despondent and feeble because of his master's + death. See Lord Lindsay, II. 273, where also it is pointed out that in the + effect of the light proceeding from the figure of Christ, Taddeo Gaddi + indeed was the first of the Giottisti who showed true sense of light and + shade. But until Lionardo's time the innovation did not materially affect + Florentine art. + </p> + <p> + II. The Ascension (opposite the Resurrection, and not worth looking at, + except for the sake of making more sure our conclusions from the first + fresco). The Madonna is fixed in Byzantine stiffness, without Byzantine + dignity. + </p> + <p> + III. The Descent of the Holy Ghost, on the left hand. The Madonna and + disciples are gathered in an upper chamber: underneath are the Parthians, + Medes, Elamites, etc., who hear them speak in their own tongues. + </p> + <p> + Three dogs are in the foreground—their mythic purpose the same as + that of the two verses which affirm the fellowship of the dog in the + journey and return of Tobias: namely, to mark the share of the lower + animals in the gentleness given by the outpouring of the Spirit of Christ. + </p> + <p> + IV. The Church sailing on the Sea of the World. St. Peter coming to Christ + on the water. + </p> + <p> + I was too little interested in the vague symbolism of this fresco to + examine it with care—the rather that the subject beneath, the + literal contest of the Church with the world, needed more time for study + in itself alone than I had for all Florence. + </p> + <p> + On this, and the opposite side of the chapel, are represented, by Simon + Memmi's hand, the teaching power of the Spirit of God, and the saving + power of the Christ of God, in the world, according to the understanding + of Florence in his time. + </p> + <p> + We will take the side of Intellect first, beneath the pouring forth of the + Holy Spirit. + </p> + <p> + In the point of the arch beneath, are the three Evangelical Virtues. + Without these, says Florence, you can have no science. Without Love, + Faith, and Hope—no intelligence. + </p> + <p> + Under these are the four Cardinal Virtues, the entire group being thus + arranged:— + </p> +<pre xml:space="preserve"> + A + B C + D E F G +</pre> + <p> + A, Charity; flames issuing from her head and hands. B, Faith; holds cross + and shield, quenching fiery darts. This symbol, so frequent in modern + adaptation from St. Paul's address to personal faith, is rare in older + art. C, Hope, with a branch of lilies. D, Temperance; bridles a black + fish, on which she stands. E, Prudence, with a book. F, Justice, with + crown and baton. G, Fortitude, with tower and sword. + </p> + <p> + Under these are the great prophets and apostles; on the left,[Footnote: I + can't find my note of the first one on the left; answering to Solomon, + opposite.] David, St. Paul, St. Mark, St. John; on the right, St. Matthew, + St. Luke, Moses, Isaiah, Solomon. In the midst of the Evangelists, St. + Thomas Aquinas, seated on a Gothic throne. + </p> + <p> + Now observe, this throne, with all the canopies below it, and the complete + representation of the Duomo of Florence opposite, are of finished Gothic + of Orecagna's school—later than Giotto's Gothic. But the building in + which the apostles are gathered at the Pentecost is of the early + Romanesque mosaic school, with a wheel window from the duomo of Assisi, + and square windows from the Baptistery of Florence. And this is always the + type of architecture used by Taddeo Gaddi: while the finished Gothic could + not possibly have been drawn by him, but is absolute evidence of the later + hand. + </p> + <p> + Under the line of prophets, as powers summoned by their voices, are the + mythic figures of the seven theological or spiritual, and the seven <i>ge</i>ological + or natural sciences: and under the feet of each of them, the figure of its + Captain-teacher to the world. + </p> +<pre xml:space="preserve"> +I had better perhaps give you the names of this entire series of figures +from left to right at once. You will see presently why they are numbered +in a reverse order. + + Beneath whom +8. Civil Law. The Emperor Justinian. 9. Canon Law. Pope Clement V. 10. +Practical Theology. Peter Lombard. 11. Contemplative Theology. Dionysius +the Areopagite. 12. Dogmatic Theology. Boethius. 13. Mystic Theology. +St. John Damascene. 14. Polemic Theology. St. Augustine. 7. Arithmetic. +Pythagoras. 6. Geometry. Euclid. 5. Astronomy. Zoroaster. 4. Music. +Tubalcain. 3. Logic. Aristotle. 2. Rhetoric. Cicero. 1. Grammar. +Priscian. +</pre> + <p> + Here, then, you have pictorially represented, the system of manly + education, supposed in old Florence to be that necessarily instituted in + great earthly kingdoms or republics, animated by the Spirit shed down upon + the world at Pentecost. How long do you think it will take you, or ought + to take, to see such a picture? We were to get to work this morning, as + early as might be: you have probably allowed half an hour for Santa Maria + Novella; half an hour for San Lorenzo; an hour for the museum of sculpture + at the Bargello; an hour for shopping; and then it will be lunch time, and + you mustn't be late, because you are to leave by the afternoon train, and + must positively be in Rome to-morrow morning. Well, of your half-hour for + Santa Maria Novella,—after Ghirlandajo's choir, Orcagna's transept, + and Cimabue's Madonna, and the painted windows, have been seen properly, + there will remain, suppose, at the utmost, a quarter of an hour for the + Spanish Chapel. That will give you two minutes and a half for each side, + two for the ceiling, and three for studying Murray's explanations or mine. + Two minutes and a half you have got, then—(and I observed, during my + five weeks' work in the chapel, that English visitors seldom gave so much)—to + read this scheme given you by Simon Memmi of human spiritual education. In + order to understand the purport of it, in any the smallest degree, you + must summon to your memory, in the course of these two minutes and a half, + what you happen to be acquainted with of the doctrines and characters of + Pythagoras, Zoroaster, Aristotle, Dionysius the Areopagite, St. Augustine, + and the emperor Justinian, and having further observed the expressions and + actions attributed by the painter to these personages, judge how far he + has succeeded in reaching a true and worthy ideal of them, and how large + or how subordinate a part in his general scheme of human learning he + supposes their peculiar doctrines properly to occupy. For myself, being, + to my much sorrow, now an old person; and, to my much pride, an + old-fashioned one, I have not found my powers either of reading or memory + in the least increased by any of Mr. Stephenson's or Mr. Wheatstone's + inventions; and though indeed I came here from Lucca in three hours + instead of a day, which it used to take, I do not think myself able, on + that account, to see any picture in Florence in less time than it took + formerly, or even obliged to hurry myself in any investigations connected + with it. + </p> + <p> + Accordingly, I have myself taken five weeks to see the quarter of this + picture of Simon Memmi's: and can give you a fairly good account of that + quarter, and some partial account of a fragment or two of those on the + other walls: but, alas! only of their pictorial qualities in either case; + for I don't myself know anything whatever, worth trusting to, about + Pythagoras, or Dionysius the Areopagite; and have not had, and never shall + have, probably, any time to learn much of them; while in the very feeblest + light only,—in what the French would express by their excellent word + 'lueur,'—I am able to understand something of the characters of + Zoroaster, Aristotle, and Justinian. But this only increases in me the + reverence with which I ought to stand before the work of a painter, who + was not only a master of his own craft, but so profound a scholar and + theologian as to be able to conceive this scheme of picture, and write the + divine law by which Florence was to live. Which Law, written in the + northern page of this Vaulted Book, we will begin quiet interpretation of, + if you care to return hither, to-morrow morning. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0006" id="link2H_4_0006"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE FIFTH MORNING. + </h2> + <h3> + THE STRAIT GATE. + </h3> + <p> + As you return this morning to St. Mary's, you may as well observe—the + matter before us being concerning gates,—that the western façade of + the church is of two periods. Your Murray refers it all to the latest of + these;—I forget when, and do not care;—in which the largest + flanking columns, and the entire effective mass of the walls, with their + riband mosaics and high pediment, were built in front of, and above, what + the barbarian renaissance designer chose to leave of the pure old + Dominican church. You may see his ungainly jointings at the pedestals of + the great columns, running through the pretty, parti-coloured base, which, + with the 'Strait' Gothic doors, and the entire lines of the fronting and + flanking tombs (where not restored by the Devil-begotten brood of modern + Florence), is of pure, and exquisitely severe and refined, fourteenth + century Gothic, with superbly carved bearings on its shields. The small + detached line of tombs on the left, untouched in its sweet colour and + living weed ornament, I would fain have painted, stone by stone: but one + can never draw in front of a church in these republican days; for all the + blackguard children of the neighbourhood come to howl, and throw stones, + on the steps, and the ball or stone play against these sculptured tombs, + as a dead wall adapted for that purpose only, is incessant in the fine + days when I could have worked. + </p> + <p> + If you enter by the door most to the left, or north, and turn immediately + to the right, on the interior of the wall of the façade is an + Annunciation, visible enough because well preserved, though in the dark, + and extremely pretty in its way,—of the decorated and ornamental + school following Giotto:—I can't guess by whom, nor does it much + matter; but it is well To look at it by way of contrast with the delicate, + intense, slightly decorated design of Memmi,—in which, when you + return into the Spanish chapel, you will feel the dependence for its + effect on broad masses of white and pale amber, where the decorative + school would have had mosaic of red, blue, and gold. + </p> + <p> + Our first business this morning must be to read and understand the writing + on the book held open by St. Thomas Aquinas, for that informs us of the + meaning of the whole picture. + </p> + <p> + It is this text from the Book of Wisdom VII. 6. + </p> +<pre xml:space="preserve"> + "Optavi, et datus est mihi sensus. + Invocavi, et venit in me Spiritus Sapientiae, + Et preposui illam regnis et sedibus." + + "I willed, and Sense was given me. + I prayed, and the Spirit of Wisdom came upon me. + And I set her before, (preferred her to,) kingdoms + and thrones." +</pre> + <p> + The common translation in our English Apocrypha loses the entire meaning + of this passage, which—not only as the statement of the experience + of Florence in her own education, but as universally descriptive of the + process of all noble education whatever—we had better take pains to + understand. + </p> + <p> + First, says Florence "I willed, (in sense of resolutely desiring,) and + Sense was given me." You must begin your education with the distinct + resolution to know what is true, and choice of the strait and rough road + to such knowledge. This choice is offered to every youth and maid at some + moment of their life;—choice between the easy downward road, so + broad that we can dance down it in companies, and the steep narrow way, + which we must enter alone. Then, and for many a day afterwards, they need + that form of persistent Option, and Will: but day by day, the 'Sense' of + the rightness of what they have done, deepens on them, not in consequence + of the effort, but by gift granted in reward of it. And the Sense of + difference between right and wrong, and between beautiful and unbeautiful + things, is confirmed in the heroic, and fulfilled in the industrious, + soul. + </p> + <p> + That is the process of education in the earthly sciences, and the morality + connected with them. Reward given to faithful Volition. + </p> + <p> + Next, when Moral and Physical senses are perfect, comes the desire for + education in the higher world, where the senses are no more our Teachers; + but the Maker of the senses. And that teaching, we cannot get by labour, + but only by petition. + </p> + <p> + "Invocavi, et venit in me Spiritus Sapientiae"—"I prayed, and the + Spirit of Wisdom," (not, you observe, <i>was given</i>, [Footnote: I in + careless error, wrote "was given" in 'Fors Clavigera.] but,) "<i>came</i> + upon me." The <i>personal</i> power of Wisdom: the "[Greek: sophia]" or + Santa Sophia, to whom the first great Christian temple was dedicated. This + higher wisdom, governing by her presence, all earthly conduct, and by her + teaching, all earthly art, Florence tells you, she obtained only by + prayer. + </p> + <p> + And these two Earthly and Divine sciences are expressed beneath in the + symbols of their divided powers;—Seven terrestrial, Seven celestial, + whose names have been already indicated to you:—in which figures I + must point out one or two technical matters, before touching their + interpretation. They are all by Simon Memmi originally; but repainted, + many of them all over, some hundred years later,—(certainly after + the discovery of America, as you will see)—by an artist of + considerable power, and some feeling for the general action of the + figures; but of no refinement or carelessness. He dashes massive paint in + huge spaces over the subtle old work, puts in his own chiaro-oscuro where + all had been shadeless, and his own violent colour where all had been + pale, and repaints the faces so as to make them, to his notion, prettier + and more human: some of this upper work has, however, come away since, and + the original outline, at least, is traceable; while in the face of the + Logic, the Music, and one or two others, the original work is very pure. + Being most interested myself in the earthly sciences, I had a scaffolding + put up, made on a level with them, and examined them inch by inch, and the + following report will be found accurate until next repainting. + </p> + <p> + For interpretation of them, you must always take the central figure of the + Science, with the little medallion above it, and the figure below, all + together. Which I proceed to do, reading first from left to right for the + earthly sciences, and then from right to left the heavenly ones, to the + centre, where their two highest powers sit, side by side. + </p> + <p> + We begin, then, with the first in the list given above, (Vaulted Book, + page 75):—Grammar, in the corner farthest from the window. + </p> + <p> + 1. GRAMMAR: more properly Grammaticë, "Grammatic Act" the Art of <i>Letters</i> + or "Literature," or using the word which to some English ears will carry + most weight with it,—"Scripture," and its use. The Art of faithfully + reading what has been written for our learning; and of clearly writing + what we would make immortal of our thoughts. Power which consists first in + recognizing letters; secondly, in forming them; thirdly, in the + understanding and choice of words which errorless shall express our + thought. Severe exercises all, reaching—very few living persons + know, how far: beginning properly in childhood, then only to be truly + acquired. It is wholly impossible—this I say from too sorrowful + experience—to conquer by any effort or time, habits of the hand + (much more of head and soul) with which the vase of flesh has been formed + and filled in youth,—the law of God being that parents shall compel + the child in the day of its obedience into habits of hand, and eye, and + soul, which, when it is old, shall not, by any strength, or any weakness, + be departed from. + </p> + <p> + "Enter ye in," therefore, says Grammaticë, "at the Strait Gate." She + points through it with her rod, holding a fruit(?) for reward, in her left + hand. The gate is very strait indeed—her own waist no less so, her + hair fastened close. She had once a white veil binding it, which is lost. + Not a gushing form of literature, this,—or in any wise disposed to + subscribe to Mudie's, my English friends—or even patronize Tauchnitz + editions of—what is the last new novel you see ticketed up today in + Mr. Goodban's window? She looks kindly down, nevertheless, to the three + children whom she is teaching—two boys and a girl: (Qy. Does this + mean that one girl out of every two should not be able to read or write? I + am quite willing to accept that inference, for my own part,—should + perhaps even say, two girls out of three). This girl is of the highest + classes, crowned, her golden hair falling behind her the Florentine girdle + round her hips—(not waist, the object being to leave the lungs full + play; but to keep the dress always well down in dancing or running). The + boys are of good birth also, the nearest one with luxuriant curly hair—only + the profile of the farther one seen. All reverent and eager. Above, the + medallion is of a figure looking at a fountain. Underneath, Lord Lindsay + says, Priscian, and is, I doubt not, right. + </p> + <p> + <i>Technical Points</i>.—The figure is said by Crowe to be entirely + repainted. The dress is so throughout—both the hands also, and the + fruit, and rod. But the eyes, mouth, hair above the forehead, and outline + of the rest, with the faded veil, and happily, the traces left of the + children, are genuine; the strait gate perfectly so, in the colour + underneath, though reinforced; and the action of the entire figure is well + preserved: but there is a curious question about both the rod and fruit. + Seen close, the former perfectly assumes the shape of folds of dress + gathered up over the raised right arm, and I am not absolutely sure that + the restorer has not mistaken the folds—at the same time changing a + pen or style into a rod. The fruit also I have doubts of, as fruit is not + so rare at Florence that it should be made a reward. It is entirely and + roughly repainted, and is oval in shape. In Giotto's Charity, luckily not + restored, at Assisi, the guide-books have always mistaken the heart she + holds for an apple:—and my own belief is that originally, the + Grammaticë of Simon Memmi made with her right hand the sign which said, + "Enter ye in at the Strait Gate," and with her left, the sign which said, + "My son, give me thine Heart." + </p> + <p> + II. RHETORIC. Next to learning how to read and write, you are to learn to + speak; and, young ladies and gentlemen, observe,—to speak as little + as possible, it is farther implied, till you <i>have</i> learned. + </p> + <p> + In the streets of Florence at this day you may hear much of what some + people call "rhetoric"—very passionate speaking indeed, and quite + "from the heart"—such hearts as the people have got. That is to say, + you never hear a word uttered but in a rage, either just ready to burst, + or for the most part, explosive instantly: everybody—man, woman, or + child—roaring out their incontinent, foolish, infinitely + contemptible opinions and wills, on every smallest occasion, with flashing + eyes, hoarsely shrieking and wasted voices,—insane hope to drag by + vociferation whatever they would have, out of man and God. + </p> + <p> + Now consider Simon Memmi's Rhetoric. The Science of Speaking, primarily; + of making oneself <i>heard</i> therefore: which is not to be done by + shouting. She alone, of all the sciences, carries a scroll: and being a + speaker gives you something to read. It is not thrust forward at you at + all, but held quietly down with her beautiful depressed right hand; her + left hand set coolly and strongly on her side. + </p> + <p> + And you will find that, thus, she alone of all the sciences <i>needs no + use of her hands</i>. All the others have some important business for + them. She none. She can do all with her lips, holding scroll, or bridle, + or what you will, with her right hand, her left on her side. + </p> + <p> + Again, look at the talkers in the streets of Florence, and see how, being + essentially <i>un</i>able to talk, they try to make lips of their fingers! + How they poke, wave, flourish, point, jerk, shake finger and fist at their + antagonists—dumb essentially, all the while, if they knew it; + unpersuasive and ineffectual, as the shaking of tree branches in the wind. + </p> + <p> + You will at first think her figure ungainly and stiff. It is so, partly, + the dress being more coarsely repainted than in any other of the series. + But she is meant to be both stout and strong. What she has to say is + indeed to persuade you, if possible; but assuredly to overpower you. And + <i>she</i> has not the Florentine girdle, for she does not want to move. + She has her girdle broad at the waist—of all the sciences, you would + at first have thought, the one that most needed breath! No, says Simon + Memmi. You want breath to run, or dance, or fight with. But to speak!—If + you know <i>how</i>, you can do your work with few words; very little of + this pure Florentine air will be enough, if you shape it rightly. + </p> + <p> + Note, also, that calm setting of her hand against her side. You think + Rhetoric should be glowing, fervid, impetuous? No, says Simon Memmi. Above + all things,—<i>cool</i>. + </p> + <p> + And now let us read what is written on her scroll:—Mulceo, dum + loquor, varios induta colores. + </p> + <p> + Her chief function, to melt; make soft, thaw the hearts of men with kind + fire; to overpower with peace; and bring rest, with rainbow colours. The + chief mission of all words that they should be of comfort. + </p> + <p> + You think the function of words is to excite? Why, a red rag will do that, + or a blast through a brass pipe. But to give calm and gentle heat; to be + as the south wind, and the iridescent rain, to all bitterness of frost; + and bring at once strength, and healing. This is the work of human lips, + taught of God. + </p> + <p> + One farther and final lesson is given in the medallion above. Aristotle, + and too many modern rhetoricians of his school, thought there could be + good speaking in a false cause. But above Simon Memmi's Rhetoric is <i>Truth</i>, + with her mirror. + </p> + <p> + There is a curious feeling, almost innate in men, that though they are + bound to speak truth, in speaking to a single person, they may lie as much + as they please, provided they lie to two or more people at once. There is + the same feeling about killing: most people would shrink from shooting one + innocent man; but will fire a mitrailleuse contentedly into an innocent + regiment. + </p> + <p> + When you look down from the figure of the Science, to that of Cicero, + beneath, you will at first think it entirely overthrows my conclusion that + Rhetoric has no need of her hands. For Cicero, it appears, has three + instead of two. + </p> + <p> + The uppermost, at his chin, is the only genuine one. That raised, with the + finger up, is entirely false. That on the book, is repainted so as to defy + conjecture of its original action. + </p> + <p> + But observe how the gesture of the true one confirms instead of + overthrowing what I have said above. Cicero is not speaking at all, but + profoundly thinking <i>before</i> he speaks. It is the most abstractedly + thoughtful face to be found among all the philosophers; and very + beautiful. The whole is under Solomon, in the line of Prophets. + </p> + <p> + <i>Technical Points</i>.—These two figures have suffered from + restoration more than any others, but the right hand of Rhetoric is still + entirely genuine, and the left, except the ends of the fingers. The ear, + and hair just above it, are quite safe, the head well set on its original + line, but the crown of leaves rudely retouched, and then faded. All the + lower part of the figure of Cicero has been not only repainted but + changed; the face is genuine—I believe retouched, but so cautiously + and skilfully, that it is probably now more beautiful than at first. + </p> + <p> + III. LOGIC. The science of reasoning, or more accurately Reason herself, + or pure intelligence. + </p> + <p> + Science to be gained after that of Expression, says Simon Memmi; so, young + people, it appears, that though you must not speak before you have been + taught how to speak, you may yet properly speak before you have been + taught how to think. + </p> + <p> + For indeed, it is only by frank speaking that you <i>can</i> learn how to + think. And it is no matter how wrong the first thoughts you have may be, + provided you express them clearly;—and are willing to have them put + right. + </p> + <p> + Fortunately, nearly all of this beautiful figure is practically safe, the + outlines pure everywhere, and the face perfect: the <i>prettiest</i>, as + far as I know, which exists in Italian art of this early date. It is + subtle to the extreme in gradations of colour: the eyebrows drawn, not + with a sweep of the brush, but with separate cross touches in the line of + their growth—exquisitely pure in arch; the nose straight and fine; + the lips—playful slightly, proud, unerringly cut; the hair flowing + in sequent waves, ordered as if in musical time; head perfectly upright on + the shoulders; the height of the brow completed by a crimson frontlet set + with pearls, surmounted by a <i>fleur-de-lys</i>. + </p> + <p> + Her shoulders were exquisitely drawn, her white jacket fitting close to + soft, yet scarcely rising breasts; her arms singularly strong, at perfect + rest; her hands, exquisitely delicate. In her right, she holds a branching + and leaf-bearing rod, (the syllogism); in her left, a scorpion with double + sting, (the dilemma)—more generally, the powers of rational + construction and dissolution. + </p> + <p> + Beneath her, Aristotle,—intense keenness of search in his + half-closed eyes. + </p> + <p> + Medallion above, (less expressive than usual) a man writing, with his head + stooped. + </p> + <p> + The whole under Isaiah, in the line of Prophets. + </p> + <p> + <i>Technical Points</i>.—The only parts of this figure which have + suffered seriously in repainting are the leaves of the rod, and the + scorpion. I have no idea, as I said above, what the background once was; + it is now a mere mess of scrabbled grey, carried over the vestiges, still + with care much redeemable, of the richly ornamental extremity of the rod, + which was a cluster of green leaves on a black ground. But the scorpion is + indecipherably injured, most of it confused repainting, mixed with the + white of the dress, the double sting emphatic enough still, but not on the + first lines. + </p> + <p> + The Aristotle is very genuine throughout, except his hat, and I think that + must be pretty nearly on the old lines, through I cannot trace them. They + are good lines, new or old. + </p> + <p> + IV. MUSIC. After you have learned to reason, young people, of course you + will be very grave, if not dull, you think. No, says Simon Memmi. By no + means anything of the kind. After learning to reason, you will learn to + sing; for you will want to. There is so much reason for singing in the + sweet world, when one thinks rightly of it. None for grumbling, provided + always you <i>have</i> entered in at the strait gate. You will sing all + along the road then, in a little while, in a manner pleasant for other + people to hear. + </p> + <p> + This figure has been one of the loveliest in the series, an extreme + refinement and tender severity being aimed at throughout. She is crowned, + not with laurel, but with small leaves,—I am not sure what they are, + being too much injured: the face thin, abstracted, wistful; the lips not + far open in their low singing; the hair rippling softly on the shoulders. + She plays on a small organ, richly ornamented with Gothic tracery, the + down slope of it set with crockets like those of Santa Maria del Fiore. + Simon Memmi means that <i>all</i> music must be "sacred." Not that you are + never to sing anything but hymns, but that whatever is rightly called + music, or work of the Muses, is divine in help and healing. + </p> + <p> + The actions of both hands are singularly sweet. The right is one of the + loveliest things I ever saw done in painting. She is keeping down one note + only, with her third finger, seen under the raised fourth: the thumb, just + passing under; all the curves of the fingers exquisite, and the pale light + and shade of the rosy flesh relieved against the ivory white and brown of + the notes. Only the thumb and end of the forefinger are seen of the left + hand, but they indicate enough its light pressure on the bellows. + Fortunately, all these portions of the fresco are absolutely intact. + </p> + <p> + Underneath, Tubal-Cain. Not Jubal, as you would expect. Jubal is the + inventor of musical instruments. Tubal-Cain, thought the old Florentines, + invented harmony. They, the best smiths in the world, knew the differences + in tones of hammer strokes on anvil. Curiously enough, the only piece of + true part-singing, done beautifully and joyfully, which I have heard this + year in Italy, (being south of Alps exactly six months, and ranging from + Genoa to Palermo) was out of a busy smithy at Perugia. Of bestial howling, + and entirely frantic vomiting up of hopelessly damned souls through their + still carnal throats, I have heard more than, please God, I will ever + endure the hearing of again in one of His summers. + </p> + <p> + You think Tubal-Cain very ugly? Yes. Much like a shaggy baboon: not + accidentally, but with most scientific understanding of baboon character. + Men must have looked like that, before they had invented harmony, or felt + that one note differed from another, says, and knows Simon Memmi. + Darwinism, like all widely popular and widely mischievous fallacies, has + many a curious gleam and grain of truth in its tissue. + </p> + <p> + Under Moses. + </p> + <p> + Medallion, a youth drinking. Otherwise, you might have thought only church + music meant, and not feast music also. + </p> + <p> + <i>Technical Points</i>.—The Tubal-Cain, one of the most entirely + pure and precious remnants of the old painting, nothing lost: nothing but + the redder ends of his beard retouched. Green dress of Music, in the body + and over limbs entirely repainted: it was once beautifully embroidered; + sleeves, partly genuine, hands perfect, face and hair nearly so. Leaf + crown faded and broken away, but not retouched. + </p> + <p> + V. ASTRONOMY. Properly Astro-logy, as (Theology) the knowledge of so much + of the stars as we can know wisely; not the attempt to define their laws + for them. Not that it is unbecoming of us to find out, if we can, that + they move in ellipses, and so on; but it is no business of ours. What + effects their rising and setting have on man, and beast, and leaf; what + their times and changes are, seen and felt in this world, it is our + business to know, passing our nights, if wakefully, by that divine + candlelight, and no other. + </p> + <p> + She wears a dark purple robe; holds in her left hand the hollow globe with + golden zodiac and meridians: lifts her right hand in noble awe. + </p> + <p> + "When I consider the heavens, the work of Thy fingers, the moon and the + stars, which Thou hast ordained." + </p> + <p> + Crowned with gold, her dark hair in elliptic waves, bound with glittering + chains of pearl. Her eyes dark, lifted. + </p> + <p> + Beneath her, Zoroaster,[Footnote: Atlas! according to poor Vasari, and + sundry modern guides. I find Vasari's mistakes usually of this <i>brightly</i> + blundering kind. In matters needing research, after a while, I find <i>he</i> + is right, usually.] entirely noble and beautiful, the delicate Persian + head made softer still by the elaborately wreathed silken hair, twisted + into the pointed beard, and into tapering plaits, falling on his + shoulders. The head entirely thrown back, he looks up with no distortion + of the delicately arched brow: writing, as he gazes. + </p> + <p> + For the association of the religion of the Magi with their own in the mind + of the Florentines of this time, see "Before the Soldan." + </p> + <p> + The dress must always have been white, because of its beautiful opposition + to the purple above and that of Tubal-Cain beside it. But it has been too + much repainted to be trusted anywhere, nothing left but a fold or two in + the sleeves. The cast of it from the knees down is entirely beautiful, and + I suppose on the old lines; but the restorer could throw a fold well when + he chose. The warm light which relieves the purple of Zoroaster above, is + laid in by him. I don't know if I should have liked it better, flat, as it + was, against the dark purple; it seems to me quite beautiful now. The full + red flush on the face of the Astronomy is the restorer's doing also. She + was much paler, if not quite pale. + </p> + <p> + Under St. Luke. + </p> + <p> + Medallion, a stern man, with sickle and spade. For the flowers, and for + us, when stars have risen and set such and such times;—remember. + </p> + <p> + <i>Technical Points</i>.—Left hand globe, most of the important + folds of the purple dress, eyes, mouth, hair in great part, and crown, + genuine. Golden tracery on border of dress lost; extremity of falling + folds from left sleeve altered and confused, but the confusion prettily + got out of. Right hand and much of face and body of dress repainted. + </p> + <p> + Zoroaster's head quite pure. Dress repainted, but carefully, leaving the + hair untouched. Right hand and pen, now a common feathered quill, entirely + repainted, but dexterously and with feeling. The hand was once slightly + different in position, and held, most probably, a reed. + </p> + <p> + VI. GEOMETRY. You have now learned, young ladies and gentlemen, to read, + to speak, to think, to sing, and to see. You are getting old, and will + have soon to think of being married; you must learn to build your house, + therefore. Here is your carpenter's square for you, and you may safely and + wisely contemplate the ground a little, and the measures and laws relating + to that, seeing you have got to abide upon it:—and that you have + properly looked at the stars; not before then, lest, had you studied the + ground first, you might perchance never have raised your heads from it. + This is properly the science of all laws of practical labour, issuing in + beauty. + </p> + <p> + She looks down, a little puzzled, greatly interested, holding her + carpenter's square in her left hand, not wanting that but for practical + work; following a diagram with her right. + </p> + <p> + Her beauty, altogether soft and in curves, I commend to your notice, as + the exact opposite of what a vulgar designer would have imagined for her. + Note the wreath of hair at the back of her head, which though fastened by + a <i>spiral</i> fillet, escapes at last, and flies off loose in a sweeping + curve. Contemplative Theology is the only other of the sciences who has + such wavy hair. + </p> + <p> + Beneath her, Euclid, in white turban. Very fine and original work + throughout; but nothing of special interest in him. + </p> + <p> + Under St. Matthew. + </p> + <p> + Medallion, a soldier with a straight sword (best for science of defence), + octagon shield, helmet like the beehive of Canton Vaud. As the secondary + use of music in feasting, so the secondary use of geometry in war—her + noble art being all in sweetest peace—is shown in the medallion. + </p> + <p> + <i>Technical Points</i>.—It is more than fortunate that in nearly + every figure, the original outline of the hair is safe. Geometry's has + scarcely been retouched at all, except at the ends, once in single knots, + now in confused double ones. The hands, girdle, most of her dress, and her + black carpenter's square are original. Face and breast repainted. + </p> + <p> + VII. ARITHMETIC. Having built your house, young people, and understanding + the light of heaven, and the measures of earth, you may marry—and + can't do better. And here is now your conclusive science, which you will + have to apply, all your days, to all your affairs. + </p> + <p> + The Science of Number. Infinite in solemnity of use in Italy at this time; + including, of course, whatever was known of the higher abstract + mathematics and mysteries of numbers, but reverenced especially in its + vital necessity to the prosperity of families and kingdoms, and first + fully so understood here in commercial Florence. + </p> + <p> + Her hand lifted, with two fingers bent, two straight, solemnly enforcing + on your attention her primal law—Two and two are—four, you + observe,—not five, as those accursed usurers think. + </p> + <p> + Under her, Pythagoras. + </p> + <p> + Above, medallion of king, with sceptre and globe, counting money. Have you + ever chanced to read carefully Carlyle's account of the foundation of the + existing Prussian empire, in economy? + </p> + <p> + You can, at all events, consider with yourself a little, what empire this + queen of the terrestrial sciences must hold over the rest, if they are to + be put to good use; or what depth and breadth of application there is in + the brief parables of the counted cost of Power, and number of Armies. + </p> + <p> + To give a very minor, but characteristic, instance. I have always felt + that with my intense love of the Alps, I ought to have been able to make a + drawing of Chamouni, or the vale of Cluse, which should give people more + pleasure than a photograph; but I always wanted to do it as I saw it, and + engrave pine for pine, and crag for crag, like Albert Dürer. I broke my + strength down for many a year, always tiring of my work, or finding the + leaves drop off, or the snow come on, before I had well begun what I meant + to do. If I had only <i>counted</i> my pines first, and calculated the + number of hours necessary to do them in the manner of Dürer, I should have + saved the available drawing time of some five years, spent in vain effort. + </p> + <p> + But Turner counted his pines, and did all that could be done for them, and + rested content with that. + </p> + <p> + So in all the affairs of life, the arithmetical part of the business is + the dominant one. How many and how much have we? How many and how much do + we want? How constantly does noble Arithmetic of the finite lose itself in + base Avarice of the Infinite, and in blind imagination of it! In counting + of minutes, is our arithmetic ever solicitous enough? In counting our + days, is she ever severe enough? How we shrink from putting, in their + decades, the diminished store of them! And if we ever pray the solemn + prayer that we may be taught to number them, do we even try to do it after + praying? + </p> + <p> + <i>Technical Points</i>.—The Pythagoras almost entirely genuine. The + upper figures, from this inclusive to the outer wall, I have not been able + to examine thoroughly, my scaffolding not extending beyond the Geometry. + </p> + <p> + Here then we have the sum of sciences,—seven, according to the + Florentine mind—necessary to the secular education of man and woman. + Of these the modern average respectable English gentleman and gentlewoman + know usually only a little of the last, and entirely hate the prudent + applications of that: being unacquainted, except as they chance here and + there to pick up a broken piece of information, with either grammar, + rhetoric, music, [Footnote: Being able to play the piano and admire + Mendelssohn is not knowing music.] astronomy, or geometry; and are not + only unacquainted with logic, or the use of reason, themselves, but + instinctively antagonistic to its use by anybody else. + </p> + <p> + We are now to read the series of the Divine sciences, beginning at the + opposite side, next the window. + </p> + <p> + VIII. CIVIL LAW. Civil, or 'of citizens,' not only as distinguished from + Ecclesiastical, but from Local law. She is the universal Justice of the + peaceful relations of men throughout the world, therefore holds the globe, + with its <i>three</i> quarters, white, as being justly governed, in her + left hand. + </p> + <p> + She is also the law of eternal equity, not erring statute; therefore holds + her sword <i>level</i> across her breast. She is the foundation of all + other divine science. To know anything whatever about God, you must begin + by being Just. + </p> + <p> + Dressed in red, which in these frescoes is always a sign of power, or + zeal; but her face very calm, gentle and beautiful. Her hair bound close, + and crowned by the royal circlet of gold, with pure thirteenth century + strawberry leaf ornament. + </p> + <p> + Under her, the Emperor Justinian, in blue, with conical mitre of white and + gold; the face in profile, very beautiful. The imperial staff in his right + hand, the Institutes in his left. + </p> + <p> + Medallion, a figure, apparently in distress, appealing for justice. + (Trajan's suppliant widow?) + </p> + <p> + <i>Technical Points</i>.—The three divisions of the globe in her + hand were originally inscribed ASIA, AFRICA, EUROPE. The restorer has + ingeniously changed AF into AME—RICA. Faces, both of the science and + emperor, little retouched, nor any of the rest altered. + </p> + <p> + IX. CHRISTIAN LAW. After the justice which rules men, comes that which + rules the Church of Christ. The distinction is not between secular law, + and ecclesiastical authority, but between the equity of humanity, and the + law of Christian discipline. + </p> + <p> + In full, straight-falling, golden robe, with white mantle over it; a + church in her left hand; her right raised, with the forefinger lifted; + (indicating heavenly source of all Christian law? or warning?) + </p> + <p> + Head-dress, a white veil floating into folds in the air. You will find + nothing in these frescoes without significance; and as the escaping hair + of Geometry indicates the infinite conditions of lines of the higher + orders, so the floating veil here indicates that the higher relations of + Christian justice are indefinable. So her golden mantle indicates that it + is a glorious and excellent justice beyond that which unchristian men + conceive; while the severely falling lines of the folds, which form a kind + of gabled niche for the head of the Pope beneath, correspond with the + strictness of true Church discipline firmer as well as more luminous + statute. + </p> + <p> + Beneath, Pope Clement V., in red, lifting his hand, not in the position of + benediction, but, I suppose, of injunction,—only the forefinger + straight, the second a little bent, the two last quite. Note the strict + level of the book; and the vertical directness of the key. + </p> + <p> + The medallion puzzles me. It looks like a figure counting money. + </p> + <p> + <i>Technical Points</i>.—Fairly well preserved; but the face of the + science retouched: the grotesquely false perspective of the Pope's tiara, + one of the most curiously naïve examples of the entirely ignorant feeling + after merely scientific truth of form which still characterized Italian + art. + </p> + <p> + Type of church interesting in its extreme simplicity; no idea of transept, + campanile, or dome. + </p> + <p> + X. PRACTICAL THEOLOGY. The beginning of the knowledge of God being Human + Justice, and its elements defined by Christian Law, the application of the + law so defined follows, first with respect to man, then with respect to + God. + </p> + <p> + "Render unto Caesar the things that are Caesar's—and to God the + things that are God's." + </p> + <p> + We have therefore now two sciences, one of our duty—to men, the + other to their Maker. + </p> + <p> + This is the first: duty to men. She holds a circular medallion, + representing Christ preaching on the Mount, and points with her right hand + to the earth. + </p> + <p> + The sermon on the Mount is perfectly expressed by the craggy pinnacle in + front of Christ, and the high dark horizon. There is curious evidence + throughout all these frescos of Simon Memmi's having read the Gospels with + a quite clear understanding of their innermost meaning. + </p> + <p> + I have called this science Practical Theology:—the instructive + knowledge, that is to say, of what God would have us do, personally, in + any given human relation: and the speaking His Gospel therefore by act. + "Let your light so shine before men." + </p> + <p> + She wears a green dress, like Music her hair in the Arabian arch, with + jewelled diadem. + </p> + <p> + Under David. Medallion, Almsgiving. Beneath her, Peter Lombard, + </p> + <p> + <i>Technical Points</i>.—It is curious that while the instinct of + perspective was not strong enough to enable any painter at this time to + foreshorten a foot, it yet suggested to them the expression of elevation + by raising the horizon. + </p> + <p> + I have not examined the retouching. The hair and diadem at least are + genuine, the face is dignified and compassionate, and much on the old + lines. + </p> + <p> + XI. DEVOTIONAL THEOLOGY.—Giving glory to God, or, more accurately, + whatever feelings He desires us to have towards Him, whether of affection + or awe. + </p> + <p> + This is the science or method of <i>devotion</i> for Christians + universally, just as the Practical Theology is their science or method of + <i>action</i>. + </p> + <p> + In blue and red: a narrow black rod still traceable in the left hand; I am + not sure of its meaning. ("Thy rod and Thy staff, they comfort me?") The + other hand open in admiration, like Astronomy's; but Devotion's is held at + her breast. Her head very characteristic of Memmi, with upturned eyes, and + Arab arch in hair. Under her, Dionysius the Areopagite—mending his + pen! But I am doubtful of Lord Lindsay's identification of this figure, + and the action is curiously common and meaningless. It may have meant that + meditative theology is essentially a writer, not a preacher. + </p> + <p> + The medallion, on the other hand, is as ingenious. A mother lifting her + hands in delight at her child's beginning to take notice. + </p> + <p> + Under St. Paul. + </p> + <p> + <i>Technical Points</i>.—Both figures very genuine, the lower one + almost entirely so. The painting of the red book is quite exemplary in + fresco style. + </p> + <p> + XII. DOGMATIC THEOLOGY.—After action and worship, thought becoming + too wide and difficult, the need of dogma becomes felt; the assertion, + that is, within limited range, of the things that are to be believed. + </p> + <p> + Since whatever pride and folly pollute Christian scholarship naturally + delight in dogma, the science itself cannot but be in a kind of disgrace + among sensible men: nevertheless it would be difficult to overvalue the + peace and security which have been given to humble persons by forms of + creed; and it is evident that either there is no such thing as theology, + or some of its knowledge must be thus, if not expressible, at least + reducible within certain limits of expression, so as to be protected from + misinterpretation. + </p> + <p> + In red,—again the sign of power,—crowned with a black (once + golden?) triple crown, emblematic of the Trinity. The left hand holding a + scoop for winnowing corn; the other points upwards. "Prove all things—hold + fast that which is good, or of God." + </p> + <p> + Beneath her, Boethius. Under St. Mark. Medallion, female figure, laying + hands on breast. + </p> + <p> + <i>Technical Points</i>.—The Boethius entirely genuine, and the + painting of his black book, as of the red one beside it, again worth + notice, showing how pleasant and interesting the commonest things become, + when well painted. + </p> + <p> + I have not examined the upper figure. + </p> + <p> + XIII. MYSTIC THEOLOGY. [Footnote: Blunderingly in the guide-books called + 'Faith!'] Monastic science, above dogma, and attaining to new revelation + by reaching higher spiritual states. + </p> + <p> + In white robes, her left hand gloved (I don't know why)—holding + chalice. She wears a nun's veil fastened under her chin, her hair fastened + close, like Grammar's, showing her necessary monastic life; all states of + mystic spiritual life involving retreat from much that is allowable in the + material and practical world. + </p> + <p> + There is no possibility of denying this fact, infinite as the evils are + which have arisen from misuse of it. They have been chiefly induced by + persons who falsely pretended to lead monastic life, and led it without + having natural faculty for it. But many more lamentable errors have arisen + from the pride of really noble persons, who have thought it would be a + more pleasing thing to God to be a sibyl or a witch, than a useful + housewife. Pride is always somewhat involved even in the true effort: the + scarlet head-dress in the form of a horn on the forehead in the fresco + indicates this, both here, and in the Contemplative Theology. + </p> + <p> + Under St. John. + </p> + <p> + Medallion unintelligible, to me. A woman laying hands on the shoulders of + two small figures. + </p> + <p> + <i>Technical Points</i>.—More of the minute folds of the white dress + left than in any other of the repainted draperies. It is curious that + minute division has always in drapery, more or less, been understood as an + expression of spiritual life, from the delicate folds of Athena's peplus + down to the rippled edges of modern priests' white robes; Titian's breadth + of fold, on the other hand, meaning for the most part bodily power. The + relation of the two modes of composition was lost by Michael Angelo, who + thought to express spirit by making flesh colossal. + </p> + <p> + For the rest, the figure is not of any interest, Memmi's own mind being + intellectual rather than mystic. + </p> + <p> + XIV. POLEMIC THEOLOGY.[Footnote: Blunderingly called 'Charity' in the + guide-books.] + </p> + <p> + "Who goes forth, conquering and to conquer?" "For we war, not with flesh + and blood," etc. + </p> + <p> + In red, as sign of power, but not in armour, because she is herself + invulnerable. A close red cap, with cross for crest, instead of helmet. + Bow in left hand; long arrow in right. + </p> + <p> + She partly means Aggressive Logic: compare the set of her shoulders and + arms with Logic's. + </p> + <p> + She is placed the last of the Divine sciences, not as their culminating + power, but as the last which can be rightly learned. You must know all the + others, before you go out to battle. Whereas the general principle of + modern Christendom is to go out to battle without knowing <i>any one</i> + of the others; one of the reasons for this error, the prince of errors, + being the vulgar notion that truth may be ascertained by debate! Truth is + never learned, in any department of industry, by arguing, but by working, + and observing. And when you have got good hold of one truth, for certain, + two others will grow out of it, in a beautifully dicotyledonous fashion, + (which, as before noticed, is the meaning of the branch in Logic's right + hand). Then, when you have got so much true knowledge as is worth fighting + for, you are bound to fight for it. But not to debate about it, any more. + </p> + <p> + There is, however, one further reason for Polemic Theology being put + beside Mystic. It is only in some approach to mystic science that any man + becomes aware of what St. Paul means by "spiritual wickedness in heavenly + [Footnote: With cowardly intentional fallacy, translated 'high' in the + English Bible.] places;" or, in any true sense, knows the enemies of God + and of man. + </p> + <p> + Beneath St. Augustine. Showing you the proper method of controversy;—perfectly + firm; perfectly gentle. + </p> + <p> + You are to distinguish, of course, controversy from rebuke. The assertion + of truth is to be always gentle: the chastisement of wilful falsehood may + be—very much the contrary indeed. Christ's sermon on the Mount is + full of polemic theology, yet perfectly gentle:—"Ye have heard that + it hath been said—but <i>I</i> say unto you";—"And if ye + salute your brethren only, what do ye more than others?" and the like. But + His "Ye fools and blind, for whether is greater," is not merely the + exposure of error, but rebuke of the avarice which made that error + possible. + </p> + <p> + Under the throne of St. Thomas; and next to Arithmetic, of the terrestrial + sciences. + </p> + <p> + Medallion, a soldier, but not interesting. + </p> + <p> + Technical Points.—Very genuine and beautiful throughout. Note the + use of St. Augustine's red bands, to connect him with the full red of the + upper figures; and compare the niche formed by the dress of Canon Law, + above the Pope, for different artistic methods of attaining the same + object,—unity of composition. + </p> + <p> + But lunch time is near, my friends, and you have that shopping to do, you + know. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0007" id="link2H_4_0007"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE SIXTH MORNING. + </h2> + <h3> + THE SHEPHERD'S TOWER. + </h3> + <p> + I am obliged to interrupt my account of the Spanish chapel by the + following notes on the sculptures of Giotto's Campanile: first because I + find that inaccurate accounts of those sculptures are in course of + publication; and chiefly because I cannot finish my work in the Spanish + chapel until one of my good Oxford helpers, Mr. Caird, has completed some + investigations he has undertaken for me upon the history connected with + it. I had written my own analysis of the fourth side, believing that in + every scene of it the figure of St. Dominic was repeated. Mr. Caird first + suggested, and has shown me already good grounds for his belief,[Footnote: + He wrote thus to me on 11th November last: "The three preachers are + certainly different. The first is Dominic; the second, Peter Martyr, whom + I have identified from his martyrdom on the other wall; and the third, + Aquinas."] that the preaching monks represented are in each scene intended + for a different person. I am informed also of several careless mistakes + which have got into my description of the fresco of the Sciences; and + finally, another of my young helpers, Mr. Charles F. Murray,—one, + however, whose help is given much in the form of antagonism,—informs + me of various critical discoveries lately made, both by himself, and by + industrious Germans, of points respecting the authenticity of this and + that, which will require notice from me: more especially he tells me of + certification that the picture in the Uffizii, of which I accepted the + ordinary attribution to Giotto, is by Lorenzo Monaco,—which indeed + may well be, without in the least diminishing the use to you of what I + have written of its predella, and without in the least, if you think + rightly of the matter, diminishing your confidence in what I tell you of + Giotto generally. There is one kind of knowledge of pictures which is the + artist's, and another which is the antiquary's and the picture-dealer's; + the latter especially acute, and founded on very secure and wide knowledge + of canvas, pigment, and tricks of touch, without, necessarily, involving + any knowledge whatever of the qualities of art itself. There are few + practised dealers in the great cities of Europe whose opinion would not be + more trustworthy than mine, (if you could <i>get</i> it, mind you,) on + points of actual authenticity. But they could only tell you whether the + picture was by such and such a master, and not at all what either the + master or his work were good for. Thus, I have, before now, taken drawings + by Varley and by Cousins for early studies by Turner, and have been + convinced by the dealers that they knew better than I, as far as regarded + the authenticity of those drawings; but the dealers don't know Turner, or + the worth of him, so well as I, for all that. So also, you may find me + again and again mistaken among the much more confused work of the early + Giottesque schools, as to the authenticity of this work or the other; but + you will find (and I say it with far more sorrow than pride) that I am + simply the only person who can at present tell you the real worth of <i>any</i>; + you will find that whenever I tell you to look at a picture, it is worth + your pains; and whenever I tell you the character of a painter, that it <i>is</i> + his character, discerned by me faithfully in spite of all confusion of + work falsely attributed to him in which similar character may exist. Thus, + when I mistook Cousins for Turner, I was looking at a piece of subtlety in + the sky of which the dealer had no consciousness whatever, which was + essentially Turneresque, but which another man might sometimes equal; + whereas the dealer might be only looking at the quality of Whatman's + paper, which Cousins used, and Turner did not. + </p> + <p> + Not, in the meanwhile, to leave you quite guideless as to the main subject + of the fourth fresco in the Spanish chapel,—the Pilgrim's Progress + of Florence,—here is a brief map of it: + </p> + <p> + On the right, in lowest angle, St. Dominic preaches to the group of + Infidels; in the next group towards the left, he (or some one very like + him) preaches to the Heretics: the Heretics proving obstinate, he sets his + dogs at them, as at the fatallest of wolves, who being driven away, the + rescued lambs are gathered at the feet of the Pope. I have copied the head + of the very pious, but slightly weak-minded, little lamb in the centre, to + compare with my rough Cumberland ones, who have had no such grave + experiences. The whole group, with the Pope above, (the niche of the Duomo + joining with and enriching the decorative power of his mitre,) is a quite + delicious piece of design. + </p> + <p> + The Church being thus pacified, is seen in worldly honour under the powers + of the Spiritual and Temporal Rulers. The Pope, with Cardinal and Bishop + descending in order on his right; the Emperor, with King and Baron + descending in order on his left; the ecclesiastical body of the whole + Church on the right side, and the laity,—chiefly its poets and + artists, on the left. + </p> + <p> + Then, the redeemed Church nevertheless giving itself up to the vanities + and temptations of the world, its forgetful saints are seen feasting, with + their children dancing before them, (the Seven Mortal Sins, say some + commentators). But the wise-hearted of them confess their sins to another + ghost of St. Dominic; and confessed, becoming as little children, enter + hand in hand the gate of the Eternal Paradise, crowned with flowers by the + waiting angels, and admitted by St. Peter among the serenely joyful crowd + of all the saints, above whom the white Madonna stands reverently before + the throne. There is, so far as I know, throughout all the schools of + Christian art, no other so perfect statement of the noble policy and + religion of men. + </p> + <p> + I had intended to give the best account of it in my power; but, when at + Florence, lost all time for writing that I might copy the group of the + Pope and Emperor for the schools of Oxford; and the work since done by Mr. + Caird has informed me of so much, and given me, in some of its + suggestions, so much to think of, that I believe it will be best and most + just to print at once his account of the fresco as a supplement to these + essays of mine, merely indicating any points on which I have objections to + raise, and so leave matters till Fors lets me see Florence once more. + </p> + <p> + Perhaps she may, in kindness forbid my ever seeing it more, the wreck of + it being now too ghastly and heartbreaking to any human soul that + remembers the days of old. Forty years ago, there was assuredly no spot of + ground, out of Palestine, in all the round world, on which, if you knew, + even but a little, the true course of that world's history, you saw with + so much joyful reverence the dawn of morning, as at the foot of the Tower + of Giotto. For there the traditions of faith and hope, of both the Gentile + and Jewish races, met for their beautiful labour: the Baptistery of + Florence is the last building raised on the earth by the descendants of + the workmen taught by Dædalus: and the Tower of Giotto is the loveliest of + those raised on earth under the inspiration of the men who lifted up the + tabernacle in the wilderness. Of living Greek work there is none after the + Florentine Baptistery; of living Christian work, none so perfect as the + Tower of Giotto; and, under the gleam and shadow of their marbles, the + morning light was haunted by the ghosts of the Father of Natural Science, + Galileo; of Sacred Art, Angelico, and the Master of Sacred Song. Which + spot of ground the modern Florentine has made his principal hackney-coach + stand and omnibus station. The hackney coaches, with their more or less + farmyard-like litter of occasional hay, and smell of variously mixed + horse-manure, are yet in more permissible harmony with the place than the + ordinary populace of a fashionable promenade would be, with its cigars, + spitting, and harlot-planned fineries: but the omnibus place of call being + in front of the door of the tower, renders it impossible to stand for a + moment near it, to look at the sculptures either of the eastern or + southern side; while the north side is enclosed with an iron railing, and + usually encumbered with lumber as well: not a soul in Florence ever caring + now for sight of any piece of its old artists' work; and the mass of + strangers being on the whole intent on nothing but getting the omnibus to + go by steam; and so seeing the cathedral in one swift circuit, by glimpses + between the puffs of it. + </p> + <p> + The front of Notre Dame of Paris was similarly turned into a coach-office + when I last saw it—1872. [Footnote: See Fors Clavigera in that + year.] Within fifty yards of me as I write, the Oratory of the Holy Ghost + is used for a tobacco-store, and in fine, over all Europe, mere Caliban + bestiality and Satyric ravage staggering, drunk and desperate, into every + once enchanted cell where the prosperity of kingdoms ruled and the + miraculous-ness of beauty was shrined in peace. + </p> + <p> + Deluge of profanity, drowning dome and tower in Stygian pool of vilest + thought,—nothing now left sacred, in the places where once—nothing + was profane. + </p> + <p> + For <i>that</i> is indeed the teaching, if you could receive it, of the + Tower of Giotto; as of all Christian art in its day. Next to declaration + of the facts of the Gospel, its purpose, (often in actual work the + eagerest,) was to show the <i>power</i> of the Gospel. History of Christ + in due place; yes, history of all He did, and how He died: but then, and + often, as I say, with more animated imagination, the showing of His risen + presence in granting the harvests and guiding the labour of the year. All + sun and rain, and length or decline of days received from His hand; all + joy, and grief, and strength, or cessation of labour, indulged or endured, + as in His sight and to His glory. And the familiar employments of the + seasons, the homely toils of the peasant, the lowliest skills of the + craftsman, are signed always on the stones of the Church, as the first and + truest condition of sacrifice and offering. + </p> + <p> + Of these representations of human art under heavenly guidance, the series + of bas-reliefs which stud the base of this tower of Giotto's must be held + certainly the chief in Europe. [Footnote: For account of the series on the + main archivolt of St. Mark's, see my sketch of the schools of Venetian + sculpture in third forthcoming number of 'St. Mark's Rest.'] At first you + may be surprised at the smallness of their scale in proportion to their + masonry; but this smallness of scale enabled the master workmen of the + tower to execute them with their own hands; and for the rest, in the very + finest architecture, the decoration of most precious kind is usually + thought of as a jewel, and set with space round it,—as the jewels of + a crown, or the clasp of a girdle. It is in general not possible for a + great workman to carve, himself, a greatly conspicuous series of ornament; + nay, even his energy fails him in design, when the bas-relief extends + itself into incrustation, or involves the treatment of great masses of + stone. If his own does not, the spectator's will. It would be the work of + a long summer's day to examine the over-loaded sculptures of the Certosa + of Pavia; and yet in the tired last hour, you would be empty-hearted. Read + but these inlaid jewels of Giotto's once with patient following; and your + hour's study will give you strength for all your life. So far as you can, + examine them of course on the spot; but to know them thoroughly you must + have their photographs: the subdued colour of the old marble fortunately + keeps the lights subdued, so that the photograph may be made more tender + in the shadows than is usual in its renderings of sculpture, and there are + few pieces of art which may now be so well known as these, in quiet homes + far away. + </p> + <p> + We begin on the western side. There are seven sculptures on the western, + southern, and northern sides: six on the eastern; counting the Lamb over + the entrance door of the tower, which divides the complete series into two + groups of eighteen and eight. Itself, between them, being the introduction + to the following eight, you must count it as the first of the terminal + group; you then have the whole twenty-seven sculptures divided into + eighteen and nine. + </p> + <p> + Thus lettering the groups on each side for West, South, East, and North, + we have: + </p> +<pre xml:space="preserve"> + W. S. E. N. + 7 + 7 + 6 + 7 = 27; or, + + W. S. E. + 7 + 7 + 4 = 18; and, + + E. N. + 2 + 7 = 9 +</pre> + <p> + There is a very special reason for this division by nines but, for + convenience' sake, I shall number the whole from 1 to 27, + straightforwardly. And if you will have patience with me, I should like to + go round the tower once and again; first observing the general meaning and + connection of the subjects and then going back to examine the technical + points in each, and such minor specialties as it may be well, at the first + time, to pass over. + </p> + <p> + 1. The series begins, then, on the west side, with the Creation of Man. It + is not the beginning of the story of Genesis; but the simple assertion + that God made us, and breathed, and still breathes, into our nostrils the + breath of life. + </p> + <p> + This, Giotto tells you to believe as the beginning of all knowledge and + all power. [Footnote: So also the Master-builder of the Ducal Palace of + Venice. See Fors Clavigera for June of this year.] This he tells you to + believe, as a thing which he himself knows. + </p> + <p> + He will tell you nothing but what he <i>does</i> know. + </p> + <p> + 2. Therefore, though Giovanna Pisano and his fellow sculptors had given, + literally, the taking of the rib out of Adam's side, Giotto merely gives + the mythic expression of the truth he knows,—"they two shall be one + flesh." + </p> + <p> + 3. And though all the theologians and poets of his time would have + expected, if not demanded, that his next assertion, after that of the + Creation of Man, should be of the Fall of Man, he asserts nothing of the + kind. He knows nothing of what man was. What he is, he knows best of + living men at that hour, and proceeds to say. The next sculpture is of Eve + spinning and Adam hewing the ground into clods. Not <i>digging</i>: you + cannot, usually, dig but in ground already dug. The native earth you must + hew. + </p> + <p> + They are not clothed in skins. What would have been the use of Eve + spinning if she could not weave? They wear, each, one simple piece of + drapery, Adam's knotted behind him, Eve's fastened around her neck with a + rude brooch. + </p> + <p> + Above them are an oak and an apple-tree. Into the apple-tree a little bear + is trying to climb. + </p> + <p> + The meaning of which entire myth is, as I read it, that men and women must + both eat their bread with toil. That the first duty of man is to feed his + family, and the first duty of the woman to clothe it. That the trees of + the field are given us for strength and for delight, and that the wild + beasts of the field must have their share with us. [Footnote: The oak and + apple boughs are placed, with the same meaning, by Sandro Botticelli, in + the lap of Zipporah. The figure of the bear is again represented by Jacopo + della Quercia, on the north door of the Cathedral of Florence. I am not + sure of its complete meaning.] + </p> + <p> + 4. The fourth sculpture, forming the centre-piece of the series on the + west side, is nomad pastoral life. + </p> + <p> + Jabal, the father of such as dwell in tents, and of such as have cattle, + lifts the curtain of his tent to look out upon his flock. His dog watches + it. + </p> + <p> + 5. Jubal, the father of all such as handle the harp and organ. + </p> + <p> + That is to say, stringed and wind instruments;—the lyre and reed. + The first arts (with the Jew and Greek) of the shepherd David, and + shepherd Apollo. + </p> + <p> + Giotto has given him the long level trumpet, afterwards adopted so grandly + in the sculptures of La Robbia and Donatello. It is, I think, intended to + be of wood, as now the long Swiss horn, and a long and shorter tube are + bound together. + </p> + <p> + 6. Tubal Cain, the instructor of every artificer in brass and iron. + </p> + <p> + Giotto represents him as sitting, <i>fully robed</i>, turning a wedge of + bronze on the anvil with extreme watchfulness. + </p> + <p> + These last three sculptures, observe, represent the life of the race of + Cain; of those who are wanderers, and have no home. <i>Nomad</i> pastoral + life; Nomad artistic life, Wandering Willie; yonder organ man, whom you + want to send the policeman after, and the gipsy who is mending the old + schoolmistress's kettle on the grass, which the squire has wanted so long + to take into his park from the roadside. + </p> + <p> + 7. Then the last sculpture of the seven begins the story of the race of + Seth, and of home life. The father of it lying drunk under his trellised + vine; such the general image of civilized society, in the abstract, thinks + Giotto. + </p> + <p> + With several other meanings, universally known to the Catholic world of + that day,—too many to be spoken of here. + </p> + <p> + The second side of the tower represents, after this introduction, the + sciences and arts of civilized or home life. + </p> + <p> + 8. Astronomy. In nomad life you may serve yourself of the guidance of the + stars; but to know the laws of <i>their</i> nomadic life, your own must be + fixed. + </p> + <p> + The astronomer, with his sextant revolving on a fixed pivot, looks up to + the vault of the heavens and beholds their zodiac; prescient of what else + with optic glass the Tuscan artist viewed, at evening, from the top of + Fésole. + </p> + <p> + Above the dome of heaven, as yet unseen, are the Lord of the worlds and + His angels. To-day, the Dawn and the Daystar: to-morrow, the Daystar + arising in the heart. + </p> + <p> + 9. Defensive architecture. The building of the watchtower. The beginning + of security in possession. + </p> + <p> + 10. Pottery. The making of pot, cup, and platter. The first civilized + furniture; the means of heating liquid, and serving drink and meat with + decency and economy. + </p> + <p> + 11. Riding. The subduing of animals to domestic service. + </p> + <p> + 12. Weaving. The making of clothes with swiftness, and in precision of + structure, by help of the loom. + </p> + <p> + 13. Law, revealed as directly from heaven. + </p> + <p> + 14. Dædalus (not Icarus, but the father trying the wings). The conquest of + the element of air. + </p> + <p> + As the seventh subject of the first group introduced the arts of home + after those of the savage wanderer, this seventh of the second group + introduces the arts of the missionary, or civilized and gift-bringing + wanderer. + </p> + <p> + 15. The Conquest of the Sea. The helmsman, and two rowers, rowing as + Venetians, face to bow. + </p> + <p> + 16. The Conquest of the Earth. Hercules victor over Antæus. Beneficent + strength of civilization crushing the savageness of inhumanity. + </p> + <p> + 17. Agriculture. The oxen and plough. + </p> + <p> + 18. Trade. The cart and horses. + </p> + <p> + 19. And now the sculpture over the door of the tower. The Lamb of God, + expresses the Law of Sacrifice, and door of ascent to heaven. And then + follow the fraternal arts of the Christian world. + </p> + <p> + 20. Geometry. Again the angle sculpture, introductory to the following + series. We shall see presently why this science must be the foundation of + the rest. + </p> + <p> + 21. Sculpture. + </p> + <p> + 22. Painting. + </p> + <p> + 23. Grammar. + </p> + <p> + 24. Arithmetic. The laws of number, weight, and measures of capacity. + </p> + <p> + 25 Music. The laws of number, weight (or force), and measure, applied to + sound. + </p> + <p> + 26. Logic. The laws of number and measure applied to thought. + </p> + <p> + 27. The Invention of Harmony. + </p> + <p> + You see now—by taking first the great division of pre-Christian and + Christian arts, marked by the door of the Tower; and then the divisions + into four successive historical periods, marked by its angles—that + you have a perfect plan of human civilization. The first side is of the + nomad life, learning how to assert its supremacy over other wandering + creatures, herbs, and beasts. Then the second side is the fixed home life, + developing race and country; then the third side, the human intercourse + between stranger races; then the fourth side, the harmonious arts of all + who are gathered into the fold of Christ. + </p> + <p> + Now let us return to the first angle, and examine piece by piece with + care. + </p> + <p> + 1. <i>Creation of Man.</i> + </p> + <p> + Scarcely disengaged from the clods of the earth, he opens his eyes to the + face of Christ. Like all the rest of the sculptures, it is less the + representation of a past fact than of a constant one. It is the continual + state of man, 'of the earth,' yet seeing God. + </p> + <p> + Christ holds the book of His Law—the 'Law of life'—in His left + hand. + </p> + <p> + The trees of the garden above are,—central above Christ, palm + (immortal life); above Adam, oak (human life). Pear, and fig, and a + large-leaved ground fruit (what?) complete the myth of the Food of Life. + </p> + <p> + As decorative sculpture, these trees are especially to be noticed, with + those in the two next subjects, and the Noah's vine as differing in + treatment from Giotto's foliage, of which perfect examples are seen in 16 + and 17. Giotto's branches are set in close sheaf-like clusters; and every + mass disposed with extreme formality of radiation. The leaves of these + first, on the contrary, are arranged with careful concealment of their + ornamental system, so as to look inartificial. This is done so studiously + as to become, by excess, a little unnatural!—Nature herself is more + decorative and formal in grouping. But the occult design is very noble, + and every leaf modulated with loving, dignified, exactly right and + sufficient finish; not done to show skill, nor with mean forgetfulness of + main subject, but in tender completion and harmony with it. + </p> + <p> + Look at the subdivisions of the palm leaves with your magnifying glass. + The others are less finished in this than in the next subject. Man himself + incomplete, the leaves that are created with him, for his life, must not + be so. + </p> + <p> + (Are not his fingers yet short; growing?) + </p> + <p> + 2. <i>Creation of Woman.</i> + </p> + <p> + Far, in its essential qualities, the transcendent sculpture of this + subject, Ghiberti's is only a dainty elaboration and beautification of it, + losing its solemnity and simplicity in a flutter of feminine grace. The + older sculptor thinks of the Uses of Womanhood, and of its dangers and + sins, before he thinks of its beauty; but, were the arm not lost, the + quiet naturalness of this head and breast of Eve, and the bending grace of + the submissive rendering of soul and body to perpetual guidance by the + hand of Christ—(<i>grasping</i> the arm, note, for full support)—would + be felt to be far beyond Ghiberti's in beauty, as in mythic truth. + </p> + <p> + The line of her body joins with that of the serpent-ivy round the tree + trunk above her: a double myth—of her fall, and her support + afterwards by her husband's strength. "Thy desire shall be to thy + husband." The fruit of the tree—double-set filbert, telling + nevertheless the happy equality. + </p> + <p> + The leaves in this piece are finished with consummate poetical care and + precision. Above Adam, laurel (a virtuous woman is a crown to her + husband); the filbert for the two together; the fig, for fruitful + household joy (under thy vine and fig-tree [Footnote: Compare Fors + Clavigera, February, 1877.]—but vine properly the masculine joy); + and the fruit taken by Christ for type of all naturally growing food, in + his own hunger. + </p> + <p> + Examine with lens the ribbing of these leaves, and the insertion on their + stem of the three laurel leaves on extreme right: and observe that in all + cases the sculptor works the moulding <i>with</i> his own part of the + design; look how he breaks variously deeper into it, beginning from the + foot of Christ, and going up to the left into full depth above the + shoulder. + </p> + <p> + 3. <i>Original labour.</i> + </p> + <p> + Much poorer, and intentionally so. For the myth of the creation of + humanity, the sculptor uses his best strength, and shows supremely the + grace of womanhood; but in representing the first peasant state of life, + makes the grace of woman by no means her conspicuous quality. She even + walks awkwardly; some feebleness in foreshortening the foot also + embarrassing the sculptor. He knows its form perfectly—but its + perspective, not quite yet. + </p> + <p> + The trees stiff and stunted—they also needing culture. Their fruit + dropping at present only into beasts' mouths. + </p> + <p> + 4. <i>Jabal.</i> + </p> + <p> + If you have looked long enough, and carefully enough, at the three + previous sculptures, you cannot but feel that the hand here is utterly + changed. The drapery sweeps in broader, softer, but less true folds; the + handling is far more delicate; exquisitely sensitive to gradation over + broad surfaces—scarcely using an incision of any depth but in + outline; studiously reserved in appliance of shadow, as a thing precious + and local—look at it above the puppy's head, and under the tent. + </p> + <p> + This is assuredly painter's work, not mere sculptor's. I have no doubt + whatever it is by the own hand of the shepherd-boy of Fésole. Cimabue had + found him drawing, (more probably <i>scratching</i> with Etrurian point,) + one of his sheep upon a stone. These, on the central foundation-stone of + his tower he engraves, looking back on the fields of life: the time soon + near for him to draw the curtains of his tent. + </p> + <p> + I know no dog like this in method of drawing, and in skill of giving the + living form without one touch of chisel for hair, or incision for eye, + except the dog barking at Poverty in the great fresco of Assisi. + </p> + <p> + Take the lens and look at every piece of the work from corner to corner—note + especially as a thing which would only have been enjoyed by a painter, and + which all great painters do intensely enjoy—the <i>fringe</i> of the + tent, [Footnote: "I think Jabal's tent is made of leather; the relaxed + intervals between the tent-pegs show a curved ragged edge like leather + near the ground" (Mr. Caird). The edge of the opening is still more + characteristic, I think.] and precise insertion of its point in the angle + of the hexagon, prepared for by the archaic masonry indicated in the + oblique joint above; [Footnote: Prints of these photographs which do not + show the masonry all round the hexagon are quite valueless for study.] + architect and painter thinking at once, and <i>doing</i> as they thought. + </p> + <p> + I gave a lecture to the Eton boys a year or two ago, on little more than + the shepherd's dog, which is yet more wonderful in magnified scale of + photograph. The lecture is partly published—somewhere, but I can't + refer to it. + </p> + <p> + 5. <i>Jubal</i>. + </p> + <p> + Still Giotto's, though a little less delighted in; but with exquisite + introduction of the Gothic of his own tower. See the light surface + sculpture of a mosaic design in the horizontal moulding. + </p> + <p> + Note also the painter's freehand working of the complex mouldings of the + table—also resolvedly oblong, not square; see central flower. + </p> + <p> + 6. <i>Tubal Cain</i>. + </p> + <p> + Still Giotto's, and entirely exquisite; finished with no less care than + the shepherd, to mark the vitality of this art to humanity; the spade and + hoe—its heraldic bearing—hung on the hinged door. [Footnote: + Pointed out to me by Mr. Caird, who adds farther, "I saw a forge identical + with this one at Pelago the other day,—the anvil resting on a + tree-stump: the same fire, bellows, and implements; the door in two parts, + the upper part like a shutter, and used for the exposition of finished + work as a sign of the craft; and I saw upon it the same finished work of + the same shape as in the bas-relief—a spade and a hoe."] For + subtlety of execution, note the texture of wooden block under anvil, and + of its iron hoop. + </p> + <p> + The workman's face is the best sermon on the dignity of labour yet spoken + by thoughtful man. Liberal Parliaments and fraternal Reformers have + nothing essential to say more. + </p> + <p> + 7. <i>Noah</i>. + </p> + <p> + Andrea Pisano's again, more or less imitative of Giotto's work. + </p> + <p> + 8. <i>Astronomy</i>. + </p> + <p> + We have a new hand here altogether. The hair and drapery bad; the face + expressive, but blunt in cutting; the small upper heads, necessarily + little more than blocked out, on the small scale; but not suggestive of + grace in completion: the minor detail worked with great mechanical + precision, but little feeling; the lion's head, with leaves in its ears, + is quite ugly; and by comparing the work of the small cusped arch at the + bottom with Giotto's soft handling of the mouldings of his, in 5, you may + for ever know common mason's work from fine Gothic. The zodiacal signs are + quite hard and common in the method of bas-relief, but quaint enough in + design: Capricorn, Aquarius, and Pisces, on the broad heavenly belt; + Taurus upside down, Gemini, and Cancer, on the small globe. + </p> + <p> + I think the whole a restoration of the original panel, or else an inferior + workman's rendering of Giotto's design, which the next piece is, with less + question. + </p> + <p> + 9. <i>Building</i>. + </p> + <p> + The larger figure, I am disposed finally to think, represents civic power, + as in Lorenzetti's fresco at Siena. The extreme rudeness of the minor + figures may be guarantee of their originality; it is the smoothness of + mass and hard edge work that make me suspect the 8th for a restoration. + </p> + <p> + 10. <i>Pottery</i>. + </p> + <p> + Very grand; with much painter's feeling, and fine mouldings again. The <i>tiled</i> + roof projecting in the shadow above, protects the first Ceramicus-home. I + think the women are meant to be carrying some kind of wicker or reed-bound + water-vessel. The Potter's servant explains to them the extreme advantages + of the new invention. I can't make any conjecture about the author of this + piece. + </p> + <p> + 11. <i>Riding</i>. + </p> + <p> + Again Andrea Pisano's, it seems to me. Compare the tossing up of the dress + behind the shoulders, in 3 and 2. The head is grand, having nearly an + Athenian profile: the loss of the horse's fore-leg prevents me from + rightly judging of the entire action. I must leave riders to say. + </p> + <p> + 12. <i>Weaving</i>. + </p> + <p> + Andrea's again, and of extreme loveliness; the stooping face of the woman + at the loom is more like a Leonardo drawing than sculpture. The action of + throwing the large shuttle, and all the structure of the loom and its + threads, distinguishing rude or smooth surface, are quite wonderful. The + figure on the right shows the use and grace of finely woven tissue, under + and upper—that over the bosom so delicate that the line of + separation from the flesh of the neck is unseen. + </p> + <p> + If you hide with your hand the carved masonry at the bottom, the + composition separates itself into two pieces, one disagreeably + rectangular. The still more severely rectangular masonry throws out by + contrast all that is curved and rounded in the loom, and unites the whole + composition; that is its aesthetic function; its historical one is to show + that weaving is queen's work, not peasant's; for this is palace masonry. + </p> + <p> + 13. <i>The Giving of Law</i>. + </p> + <p> + More strictly, of <i>the</i> Book of God's Law: the only one which <i>can</i> + ultimately be obeyed. [Footnote: Mr. Caird convinced me of the real + meaning of this sculpture. I had taken it for the giving of a book, + writing further of it as follows:— + </p> + <p> + All books, rightly so called, are Books of Law, and all Scripture is given + by inspiration of God. (What <i>we</i> now mostly call a book, the + infinite reduplication and vibratory echo of a lie, is not given but + belched up out of volcanic clay by the inspiration of the devil.) On the + Book-giver's right hand the students in cell, restrained by the lifted + right hand: + </p> + <p> + "Silent, you, till you know"; then, perhaps, you also. + </p> + <p> + On the left, the men of the world, kneeling, receive the gift. + </p> + <p> + Recommendable seal, this, for Mr. Mudie! + </p> + <p> + Mr. Caird says: "The book is written law, which is given by Justice to the + inferiors, that they may know the laws regulating their relations to their + superiors—who are also under the hand of law. The vassal is + protected by the accessibility of formularized law. The superior is + restrained by the right hand of power." ] + </p> + <p> + The authorship of this is very embarrassing to me. The face of the central + figure is most noble, and all the work good, but not delicate; it is like + original work of the master whose design No. 8 might be a restoration. + </p> + <p> + 14 <i>Dædalus</i>. + </p> + <p> + Andrea Pisano again; the head superb, founded on Greek models, feathers of + wings wrought with extreme care; but with no precision of arrangement or + feeling. How far intentional in awkwardness, I cannot say; but note the + good mechanism of the whole plan, with strong standing board for the feet. + </p> + <p> + 15. <i>Navigation</i>. + </p> + <p> + An intensely puzzling one; coarse (perhaps unfinished) in work, and done + by a man who could not row; the plaited bands used for rowlocks being + pulled the wrong way. Right, had the rowers been rowing Englishwise: but + the water at the boat's head shows its motion forwards, the way the + oarsmen look. I cannot make out the action of the figure at the stern; it + ought to be steering with the stern oar. + </p> + <p> + The water seems quite unfinished. Meant, I suppose, for surface and + section of sea, with slimy rock at the bottom; but all stupid and + inefficient. + </p> + <p> + 16. <i>Hercules and Antæus.</i> + </p> + <p> + The Earth power, half hidden by the earth, its hair and hand becoming + roots, the strength of its life passing through the ground into the oak + tree. With Cercyon, but first named, (Plato, <i>Laws</i>, book VII., 796), + Antæus is the master of contest without use;—[GREEK: philoneikias + achrestou]—and is generally the power of pure selfishness and its + various inflation to insolence and degradation to cowardice;—finding + its strength only in fall back to its Earth,—he is the master, in a + word, of all such kind of persons as have been writing lately about the + "interests of England." He is, therefore, the Power invoked by Dante to + place Virgil and him in the lowest circle of Hell;—"Alcides whilom + felt,—that grapple, straitened sore," etc. The Antæus in the + sculpture is very grand; but the authorship puzzles me, as of the next + piece, by the same hand. I believe both Giotto's design. + </p> + <p> + 17. <i>Ploughing.</i> + </p> + <p> + The sword in its Christian form. Magnificent: the grandest expression of + the power of man over the earth and its strongest creatures that I + remember in early sculpture,—(or for that matter, in late). It is + the subduing of the bull which the sculptor thinks most of; the plough, + though large, is of wood, and the handle slight. But the pawing and + bellowing labourer he has bound to it!—here is victory. + </p> + <p> + 18. <i>The Chariot.</i> + </p> + <p> + The horse also subdued to draught—Achilles' chariot in its first, + and to be its last, simplicity. The face has probably been grand—the + figure is so still. Andrea's, I think by the flying drapery. + </p> + <p> + 19. <i>The Lamb, with the symbol of Resurrection.</i> + </p> + <p> + Over the door: 'I am the door;—by me, if any man enter in,' etc. Put + to the right of the tower, you see, fearlessly, for the convenience of + staircase ascent; all external symmetry being subject with the great + builders to interior use; and then, out of the rightly ordained infraction + of formal law, comes perfect beauty; and when, as here, the Spirit of + Heaven is working with the designer, his thoughts are suggested in truer + order, by the concession to use. After this sculpture comes the Christian + arts,—those which necessarily imply the conviction of immortality. + Astronomy without Christianity only reaches as far as—'Thou hast + made him a little lower than the angels—and put all <i>things</i> + under His feet':—Christianity says beyond this,—'Know ye not + that we shall judge angels (as also the lower creatures shall judge us!)' + [Footnote: In the deep sense of this truth, which underlies all the bright + fantasy and humour of Mr. Courthope's "Paradise of Birds," that rhyme of + the risen spirit of Aristophanes may well be read under the tower of + Giotto, beside his watch-dog of the fold.] The series of sculptures now + beginning, show the arts which <i>can</i> only be accomplished through + belief in Christ. + </p> + <p> + 20. <i>Geometry</i>. + </p> + <p> + Not 'mathematics': <i>they</i> have been implied long ago in astronomy and + architecture; but the due Measuring of the Earth and all that is on it. + Actually done only by Christian faith—first inspiration of the great + Earth-measurers. Your Prince Henry of Spain, your Columbus, your Captain + Cook, (whose tomb, with the bright artistic invention and religious + tenderness which are so peculiarly the gifts of the nineteenth century, we + have just provided a fence for, of old cannon open-mouthed, straight up + towards Heaven—your modern method of symbolizing the only appeal to + Heaven of which the nineteenth century has left itself capable—'The + voice of thy Brother's blood crieth to me'—your outworn cannon, now + silently agape, but sonorous in the ears of angels with that appeal)—first + inspiration, I say, of these; constant inspiration of all who set true + landmarks and hold to them, knowing their measure; the devil interfering, + I observe, lately in his own way, with the Geometry of Yorkshire, where + the landed proprietors, [Footnote: I mean no accusation against any class; + probably the one-fielded statesman is more eager for his little gain of + fifty yards of grass than the squire for his bite and sup out of the + gypsy's part of the roadside. But it is notable enough to the passing + traveller, to find himself shut into a narrow road between high stone + dykes which he can neither see over nor climb over, (I always deliberately + pitch them down myself, wherever I need a gap,) instead of on a broad road + between low grey walls with all the moor beyond—and the power of + leaping over when he chooses in innocent trespass for herb, or view, or + splinter of grey rock.] when the neglected walls by the roadside tumble + down, benevolently repair the same, with better stonework, <i>outside</i> + always of the fallen heaps;—which, the wall being thus built <i>on</i> + what was the public road, absorb themselves, with help of moss and time, + into the heaving swells of the rocky field-and behold, gain of a couple of + feet—along so much of the road as needs repairing operations. + </p> + <p> + This then, is the first of the Christian sciences: division of land + rightly, and the general law of measuring between wisely-held compass + points. The type of mensuration, circle in square, on his desk, I use for + my first exercise in the laws of Fésole. + </p> + <p> + 21. <i>Sculpture</i>. + </p> + <p> + The first piece of the closing series on the north side of the Campanile, + of which some general points must be first noted, before any special + examination. + </p> + <p> + The two initial ones, Sculpture and Painting, are by tradition the only + ones attributed to Giotto's own hand. The fifth, Song, is known, and + recognizable in its magnificence, to be by Luca della Robbia. The + remaining four are all of Luca's school,—later work therefore, all + these five, than any we have been hitherto examining, entirely different + in manner, and with late flower-work beneath them instead of our hitherto + severe Gothic arches. And it becomes of course instantly a vital question—Did + Giotto die leaving the series incomplete, only its subjects chosen, and + are these two bas-reliefs of Sculpture and Painting among his last works? + or was the series ever completed, and these later bas-reliefs substituted + for the earlier ones, under Luca's influence, by way of conducting the + whole to a grander close, and making their order more representative of + Florentine art in its fulness of power? + </p> + <p> + I must repeat, once more, and with greater insistence respecting Sculpture + than Painting, that I do not in the least set myself up for a critic of + authenticity,—but only of absolute goodness. My readers may trust me + to tell them what is well done or ill; but by whom, is quite a separate + question, needing for any certainty, in this school of much-associated + masters and pupils, extremest attention to minute particulars not at all + bearing on my objects in teaching. + </p> + <p> + Of this closing group of sculptures, then, all I can tell you is that the + fifth is a quite magnificent piece of work, and recognizably, to my + extreme conviction, Luca della Robbia's; that the last, Harmonia, is also + fine work; that those attributed to Giotto are fine in a different way,—and + the other three in reality the poorest pieces in the series, though done + with much more advanced sculptural dexterity. + </p> + <p> + But I am chiefly puzzled by the two attributed to Giotto, because they are + much coarser than those which seem to me so plainly his on the west side, + and slightly different in workmanship—with much that is common to + both, however, in the casting of drapery and mode of introduction of + details. The difference may be accounted for partly by haste or failing + power, partly by the artist's less deep feeling of the importance of these + merely symbolic figures, as compared with those of the Fathers of the + Arts; but it is very notable and embarrassing notwithstanding, complicated + as it is with extreme resemblance in other particulars. + </p> + <p> + You cannot compare the subjects on the tower itself; but of my series of + photographs take 6 and 21, and put them side by side. + </p> + <p> + I need not dwell on the conditions of resemblance, which are instantly + visible; but the <i>difference</i> in the treatment of the heads is + incomprehensible. That of the Tubal Cain is exquisitely finished, and with + a painter's touch; every lock of the hair laid with studied flow, as in + the most beautiful drawing. In the 'Sculpture,' it is struck out with + ordinary tricks of rapid sculptor trade, entirely unfinished, and with + offensively frank use of the drill hole to give picturesque rustication to + the beard. + </p> + <p> + Next, put 22 and 5 back to back. You see again the resemblance in the + earnestness of both figures, in the unbroken arcs of their backs, in the + breaking of the octagon moulding by the pointed angles; and here, even + also in the general conception of the heads. But again, in the one of + Painting, the hair is struck with more vulgar indenting and drilling, and + the Gothic of the picture frame is less precise in touch and later in + style. Observe, however,—and this may perhaps give us some definite + hint for clearing the question,—a picture-frame <i>would be</i> less + precise in making, and later in style, properly, than cusped arches to be + put under the feet of the inventor of all musical sound by breath of man. + And if you will now compare finally the eager tilting of the workman's + seat in 22 and 6, and the working of the wood in the painter's low table + for his pots of colour, and his three-legged stool, with that of Tubal + Cain's anvil block; and the way in which the lines of the forge and upper + triptych are in each composition used to set off the rounding of the head, + I believe you will have little hesitation in accepting my own view of the + matter—namely, that the three pieces of the Fathers of the Arts were + wrought with Giotto's extremest care for the most precious stones of his + tower; that also, being a sculptor and painter, he did the other two, but + with quite definite and wilful resolve that they <i>should be</i>, as mere + symbols of his own two trades, wholly inferior to the other subjects of + the patriarchs; that he made the Sculpture picturesque and bold as you see + it is, and showed all a sculptor's tricks in the work of it; and a + sculptor's Greek subject, Bacchus, for the model of it; that he wrought + the Painting, as the higher art, with more care, still keeping it + subordinate to the primal subjects, but showed, for a lesson to all the + generations of painters for evermore,—this one lesson, like his + circle of pure line containing all others,—'Your soul and body must + be all in every touch.' + </p> + <p> + I can't resist the expression of a little piece of personal exultation, in + noticing that he holds his pencil as I do myself: no writing master, and + no effort (at one time very steady for many months), having ever cured me + of that way of holding both pen and pencil between my fore and second + finger; the third and fourth resting the backs of them on my paper. + </p> + <p> + As I finally arrange these notes for press, I am further confirmed in my + opinion by discovering little finishings in the two later pieces which I + was not before aware of. I beg the masters of High Art, and sublime + generalization, to take a good magnifying glass to the 'Sculpture' and + look at the way Giotto has cut the compasses, the edges of the chisels, + and the keyhole of the lock of the toolbox. For the rest, nothing could be + more probable, in the confused and perpetually false mass of Florentine + tradition, than the preservation of the memory of Giotto's carving his own + two trades, and the forgetfulness, or quite as likely ignorance, of the + part he took with Andrea Pisano in the initial sculptures. I now take up + the series of subjects at the point where we broke off, to trace their + chain of philosophy to its close. To Geometry, which gives to every man + his possession of house and land, succeed 21, Sculpture, and 22, Painting, + the adornments of permanent habitation. And then, the great arts of + education in a Christian home. First— + </p> + <p> + 23. <i>Grammar</i>, or more properly Literature altogether, of which we + have already seen the ancient power in the Spanish Chapel series; then, + </p> + <p> + 24. <i>Arithmetic</i>, central here as also in the Spanish Chapel, for the + same reasons; here, more impatiently asserting, with both hands, that two, + on the right, you observe-and two on the left-do indeed and for ever make + Four. Keep your accounts, you, with your book of double entry, on that + principle; and you will be safe in this world and the next, in your + steward's office. But by no means so, if you ever admit the usurers Gospel + of Arithmetic, that two and two make Five. You see by the rich hem of his + robe that the asserter of this economical first principle is a man well to + do in the world. + </p> + <p> + 25. <i>Logic</i>. The art of Demonstration. Vulgarest of the whole series, + far too expressive of the mode in which argument is conducted by those who + are not masters of its reins. + </p> + <p> + 26. <i>Song.</i> + </p> + <p> + The essential power of music in animal life. Orpheus, the symbol of it + all, the inventor properly of Music, the Law of Kindness, as Dædalus of + Music, the Law of Construction. Hence the "Orphic life" is one of ideal + mercy, (vegetarian,)—Plato, <i>Laws</i>, Book VI., 782,—and he + is named first after Dædalus, and in balance to him as head of the school + of harmonists, in Book III., 677, (Steph.) Look for the two singing birds + clapping their wings in the tree above him; then the five mystic beasts,—closest + to his feet the irredeemable boar; then lion and bear, tiger, unicorn, and + fiery dragon closest to his head, the flames of its mouth mingling with + his breath as he sings. The audient eagle, alas! has lost the beak, and is + only recognizable by his proud holding of himself; the duck, sleepily + delighted after muddy dinner, close to his shoulder, is a true conquest. + Hoopoe, or indefinite bird of crested race, behind; of the other three no + clear certainty. The leafage throughout such as only Luca could do, and + the whole consummate in skill and understanding. + </p> + <p> + 27. <i>Harmony.</i> + </p> + <p> + Music of Song, in the full power of it, meaning perfect education in all + art of the Muses and of civilized life: the mystery of its concord is + taken for the symbol of that of a perfect state; one day, doubtless, of + the perfect world. So prophesies the last corner stone of the Shepherd's + Tower. + </p> + <div style="height: 6em;"> + <br /><br /><br /><br /><br /><br /> + </div> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Mornings in Florence, by John Ruskin + +*** END OF THIS PROJECT GUTENBERG EBOOK MORNINGS IN FLORENCE *** + +***** This file should be named 7227-h.htm or 7227-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/7/2/2/7227/ + + +Text file produced by Michelle Shephard, Eric Eldred, Charles Franks +and the Online Distributed Proofreading Team + +HTML file produced by David Widger + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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