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diff --git a/42952-8.txt b/42952-8.txt deleted file mode 100644 index 8493bfd..0000000 --- a/42952-8.txt +++ /dev/null @@ -1,1794 +0,0 @@ -The Project Gutenberg EBook of Masters in Art, Part 32, v. 3, August, -1902: Giotto, by Anonymous - -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/license - - -Title: Masters in Art, Part 32, v. 3, August, 1902: Giotto - A Series of Illustrated Monographs - -Author: Anonymous - -Release Date: June 15, 2013 [EBook #42952] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK MASTERS IN ART, GIOTTO *** - - - - -Produced by Juliet Sutherland, Steven Calwas and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - - - - - AUGUST, 1902 GIOTTO PRICE, 25 CENTS - - Masters in Art - A Series of Illustrated Monographs - Issued Monthly - - GIOTTO - PART 32 VOLUME 3 - - Bates and Guild Company - Publishers - 144 Congress Street - Boston - - - - - MASTERS IN ART - A SERIES OF ILLUSTRATED MONOGRAPHS: ISSUED MONTHLY - - PART 32 AUGUST, 1902 VOLUME 3 - - - Giotto - CONTENTS - - Plate I. Madonna Enthroned Academy: Florence - Plate II. Allegory of Poverty Lower Church of - St. Francis: Assisi - Plate III. Allegory of Chastity Lower Church of - St. Francis: Assisi - Plate IV. The Nativity Arena Chapel: Padua - Plate V. The Entombment Arena Chapel: Padua - Plate VI. The Resurrection Arena Chapel: Padua - Plate VII. The Death of St. Francis Bardi Chapel, Church - of S. Croce: Florence - Plate VIII. The Birth of St. John the Baptist Peruzzi Chapel, Church - of S. Croce: Florence - Plate IX. The Feast of Herod Peruzzi Chapel, Church - of S. Croce: Florence - Plate X. The Raising of Drusiana Peruzzi Chapel, Church - of S. Croce: Florence - Portrait of Giotto by Paolo Uccello: Louvre, Paris Page 20 - - The Life of Giotto Page 21 - Julia Cartwright - - The Art of Giotto Page 27 - Criticisms by Vasari, Van Dyke, Colvin, Ruskin, - Symonds, E. H. and E. W. Blashfield, Quilter - - The Works of Giotto: Descriptions of the Plates and Page 35 - a List of Paintings - Giotto Bibliography Page 39 - - - _Photo-engravings by Folsom & Sunergren: Boston. Press-work - by the Everett Press: Boston._ - - - PUBLISHERS' ANNOUNCEMENTS - -MASTERS IN ART is a series of concise handbooks, each uniform in style -with this one, devoted to all of the great painters and sculptors. - -THE PRICE, per copy, postage paid to any country in the postal union, is -twenty-five cents. - -REMITTANCES should be made by postal or express money-order, registered -letter, or, in amounts up to $1.00, in one or two cent stamps. On -personal checks drawn on banks outside of Boston or New York, 10 cents -should be added to cover collection charges. - -BOUND VOLUMES of nine complete years are offered at $4.00 for cloth, and -$4.75 for half-morocco, express charges prepaid. - -A FULL LIST OF SUBJECTS, with illustrations of the bound volumes, will -be sent on request. - - BATES & GUILD COMPANY, PUBLISHERS - 144 CONGRESS STREET, BOSTON, MASS. - - _Copyright, 1902, by Bates & Guild Company, Boston_ - - [Illustration: MASTERS IN ART PLATE I - - GIOTTO - MADONNA ENTHRONED - ACADEMY, FLORENCE - ] - - [Illustration: MASTERS IN ART PLATE II - - PHOTOGRAPH BY ALINARI - - GIOTTO - ALLEGORY OF POVERTY - LOWER CHURCH OF ST. FRANCIS, ASSISI - ] - - [Illustration: MASTERS IN ART PLATE III - - PHOTOGRAPH BY ALINARI - - GIOTTO - ALLEGORY OF CHASTITY - LOWER CHURCH OF ST. FRANCIS, ASSISI - ] - - [Illustration: MASTERS IN ART PLATE IV - - GIOTTO - THE NATIVITY - ARENA CHAPEL, PADUA - ] - - [Illustration: MASTERS IN ART PLATE V - - PHOTOGRAPH BY RAYA - - GIOTTO - THE ENTOMBMENT - ARENA CHAPEL, PADUA - ] - - [Illustration: MASTERS IN ART PLATE VI - - PHOTOGRAPH BY RAYA - - GIOTTO - THE RESURRECTION - ARENA CHAPEL, PADUA - ] - - [Illustration: MASTERS IN ART PLATE VII - - PHOTOGRAPH BY ANDERSON - - GIOTTO - THE DEATH OF ST. FRANCIS - BARDI CHAPEL, CHURCH OF S. CROCE, FLORENCE - ] - - [Illustration: MASTERS IN ART PLATE VIII - - PHOTOGRAPH BY ANDERSON - - GIOTTO - THE BIRTH OF ST. JOHN THE BAPTIST - PERUZZI CHAPEL, CHURCH OF S. CROCE, FLORENCE - ] - - [Illustration: MASTERS IN ART PLATE IX - - PHOTOGRAPH BY ANDERSON - - GIOTTO - THE FEAST OF HEROD - PERUZZI CHAPEL, CHURCH OF S. CROCE, FLORENCE - ] - - [Illustration: MASTERS IN ART PLATE X - - PHOTOGRAPH BY ANDERSON - - GIOTTO - THE RAISING OF DRUSIANA - PERUZZI CHAPEL, CHURCH OF S. CROCE, FLORENCE - ] - - [Illustration: PORTRAIT OF GIOTTO BY PAOLO UCCELLO LOUVRE, PARIS - - This portrait of Giotto was painted in the first half of the fifteenth - century by Paolo Uccello, a Florentine artist. It is a detail of a - picture containing five heads, representing, besides Giotto, Uccello - himself, Donatello, Brunelleschi, and Manetti. Vasari took the - engraving for his biography of Giotto from this likeness, which was - probably based upon some older portrait of the artist. He is here - represented in a red cloak and head covering; and it would seem that - Uccello's brush has somewhat flattered him, for we are told that he - was "singularly ill-favored" in outward appearance.] - - - - -Giotto di Bondone - -BORN 1266(?): DIED 1337 - -FLORENTINE SCHOOL - - -JULIA CARTWRIGHT 'THE PAINTERS OF FLORENCE' - -"In a village of Etruria," writes Ghiberti, the oldest historian of the -Florentine Renaissance, "Painting took her rise." In other words, Giotto -di Bondone[1] was born, between 1265 and 1270, at Colle, in the Commune -of Vespignano, a village of the Val Mugello fourteen miles from -Florence. There the boy, who had been called Angiolo, after his -grandfather, and went by the nickname of Angiolotto, or Giotto, kept his -father's flocks on the grassy slopes of the Apennines, and was found one -day by Cimabue, as he rode over the hills, drawing a sheep with a sharp -stone upon a rock. Full of surprise at the child's talent for drawing, -the great painter asked him if he would go back with him to Florence; to -which both the boy and his father, a poor peasant named Bondone, gladly -agreed. Thus, at ten years old, Giotto was taken straight from the -sheepfolds and apprenticed to the first painter in Florence. Such is the -story told by Ghiberti and confirmed by Leonardo da Vinci, who, writing -half a century before Vasari, remarks that Giotto took nature for his -guide, and began by drawing the sheep and goats which he herded on the -rocks. - -[Footnote 1: Pronounced Jot´toe dee Bon-doe´nay.] - -Another version of the story of Giotto's boyhood is that he was -apprenticed to a wool-merchant of Florence, but that instead of going to -work he spent his time in watching the artists in Cimabue's shop; upon -which his father applied to the master who consented to teach the boy -painting. The natural vivacity and intelligence of the young student -soon made him a favorite in Cimabue's workshop, while his extraordinary -aptitude for drawing became every day more apparent. The legends of his -marvelous skill, the stories of the fly that Cimabue vainly tried to -brush off his picture, of the round O which he drew before the pope's -envoy with one sweep of his pencil, are proofs of the wonder and -admiration which Giotto's attempts to follow nature more closely excited -among his contemporaries. This latter story is told by Vasari as -follows: "The pope sent one of his courtiers to Tuscany to ascertain -what kind of man Giotto might be, and what were his works; that pontiff -then proposing to have certain paintings executed in the Church of St. -Peter. The messenger spoke first with many artists in Siena; then, -having received designs from them, he proceeded to Florence, and -repaired one morning to the workshop where Giotto was occupied with his -labors. He declared the purpose of the pope, and finally requested to -have a drawing that he might send it to his holiness. Giotto, who was -very courteous, took a sheet of paper and a pencil dipped in a red -color, then, resting his elbow on his side to form a sort of compass, -with one turn of the hand he drew a circle, so perfect and exact that it -was a marvel to behold. This done, he turned smiling to the courtier, -saying, 'Here is your drawing.' 'Am I to have nothing more than this?' -inquired the latter, conceiving himself to be jested with. 'That is -enough and to spare,' returned Giotto. 'Send it with the rest, and you -will see if it will not be recognized.' The messenger, unable to obtain -anything more, went away very ill-satisfied and fearing that he had been -fooled. Nevertheless, having despatched the other drawings to the pope -with the names of those who had done them he sent that of Giotto also, -relating the mode in which he had made his circle, without moving his -arm and without compasses; from which the pope, and such of the -courtiers as were well versed in the subject, perceived how far Giotto -surpassed all the other painters of his time." - -No doubt the boldness and originality of his genius soon led Giotto to -abandon the purely conventional style of art then in use, and to seek -after a more natural and lifelike form of expression. And early in his -career he was probably influenced by the example of the sculptor -Giovanni Pisano, who was actively engaged on his great works in Tuscany -and Umbria at this time. The earliest examples of Giotto's style that -remain to us are some small panels at Munich; but a larger and -better-known work is the 'Madonna Enthroned,' in the Academy at -Florence, which, although archaic in type, has a vigor and reality that -are wholly wanting in Cimabue's Madonna in the same room. But it is to -Assisi that we must turn for a fuller record of Giotto's training and -development. - -Here, in the old Umbrian city where St. Francis had lived and died, was -the great double church which the alms of Christendom had raised above -his burial-place. Unfortunately the records of the Franciscan convent -are silent as to the painters of the frescos which cover its walls, and -neither Cimabue nor Giotto is once mentioned. But Ghiberti, Vasari, and -the later Franciscan historian, Rudolphus, all agree in saying that -Giotto came to Assisi with his master Cimabue and there painted the -lower course of frescos in the nave of the Upper Church.... - -In 1298 Giotto was invited to Rome by Cardinal Stefaneschi, the pope's -nephew and a generous patron of art. At his bidding Giotto designed the -famous mosaic of the 'Navicella,' or 'Ship of the Church,' which hangs -in the vestibule of St. Peter's. Little trace of the original work now -remains. More worthy of study is the altar-piece which he painted for -the cardinal, and which is still preserved in the sacristy of St. -Peter's. - -Pope Boniface, we are told by Vasari, was deeply impressed by Giotto's -merits, and loaded him with honors and rewards; but the frescos which he -was employed to paint in the old basilica of St. Peter's perished long -ago, and the only work of his now remaining in Rome besides the -'Navicella,' is the damaged fresco of Pope Boniface proclaiming the -Jubilee, on a pillar of the Lateran Church. This last painting proves -that Giotto was in Rome during the year 1300, when both his -fellow-citizens Dante and the historian Giovanni Villani were present in -the Eternal City. The poet was an intimate friend of the painter; and, -after his return to Florence, Giotto introduced Dante's portrait in an -altar-piece of 'Paradise' which he painted for the chapel of the Podestà -Palace. But since this chapel was burned down in 1332, and not rebuilt -until after Giotto's death, the fresco of Dante, which was discovered -some years ago on the walls of the present building, must have been -copied by one of his followers from the original painting. - -It was probably during an interval of his journey back to Florence, or -on some other visit to Assisi during the next few years, that Giotto -painted his frescos in the Lower Church of St. Francis in that city. -Chief among these are the four great allegories on the vaulted roof -above the high altar, illustrating the meaning of the three monastic -Virtues, Obedience, Chastity, and Poverty, whom, according to the -legend, the saint met walking on the road to Siena in the form of three -fair maidens, and whom he held up to his followers as the sum of -evangelical perfection. - -These allegories are not the only works which Giotto executed in the -Lower Church of Assisi. Ghiberti's statement that he painted almost the -whole of the Lower Church is confirmed by Rudolphus, who mentions the -series of frescos of the childhood of Christ and the 'Crucifixion' in -the right transept as being by his hand. In their present ruined -condition it is not easy to distinguish between the work of the master -and that of his assistants; but the whole series bears the stamp of -Giotto's invention. - -The next important works which he painted were the frescos in the Arena -Chapel at Padua, built in 1303, by Enrico Scrovegno, who two years later -invited Giotto to decorate the interior with frescos. When Dante visited -Padua, in 1306, he found his friend Giotto living there with his wife, -Madonna Ciutà, and his young family, and was honorably entertained by -the painter in his own house. The poet often watched Giotto at work, -with his children, who were "as ill-favored as himself," playing around, -and wondered how it was that the creations of his brain were so much -fairer than his own offspring. Giotto's small stature and insignificant -appearance seem to have been constantly the subject of his friends' -good-humored jests; and Petrarch and Boccaccio both speak of him as an -instance of rare genius concealed under a plain and ungainly exterior. -But this unattractive appearance was redeemed by a kindly and joyous -nature, a keen sense of humor, and unfailing cheerfulness, which made -him the gayest and most pleasant companion.... - -The fame which Giotto already enjoyed beyond the walls of Florence was -greatly increased by his works in Padua, and before he left there he -received and executed many commissions. From Padua, Vasari tells us, he -went on to the neighboring city of Verona, where he painted the portrait -of Dante's friend and protector, Can Grande della Scala, as well as -other works in the Franciscan church, and then proceeded to Ferrara and -Ravenna at the invitation of the Este and Polenta princes. All his works -in the cities of North Italy, however, have perished, and it is to -Florence that we must turn for the third and last remaining cycle of his -frescos. - -The great Franciscan church of Santa Croce had been erected in the last -years of the thirteenth century, and the proudest Florentine families -hastened to build chapels at their own expense as a mark of their -devotion to the popular saint. Four of these chapels were decorated with -frescos by Giotto's hand, but were all whitewashed in 1714, when Santa -Croce underwent a thorough restoration. The frescos which he painted in -the Guigni and Spinelli chapels have been entirely destroyed; but within -the last fifty years the whitewash has been successfully removed from -the walls of the Bardi and Peruzzi chapels, and the finest of Giotto's -works that remain to us have been brought to light. Here his unrivaled -powers as a great epic painter are revealed, and we realize his intimate -knowledge of human nature and his profound sympathy with every form of -life. - -The exact date of these frescos remains uncertain, but they were -probably painted soon after 1320. Recent research has as yet thrown -little light upon the chronology of Giotto's life, and all we can -discover is an occasional notice of the works which he executed, or of -the property which he owned in Florence. Vasari's statement, that he -succeeded to Cimabue's house and shop in the Via del Cocomero, Florence, -is borne out by the will of the Florentine citizen Rinuccio, who, dying -in 1312, describes "the excellent painter Giotto di Bondone" as a -parishioner of Santa Maria Novella, and bequeathes a sum of "five pounds -of small florins" to keep a lamp burning night and day before a crucifix -painted by the said master in the Dominican church. - -Of Giotto's eight children, the eldest, Francesco, became a painter, and -when his father was absent from Florence managed the small property -which Giotto had inherited at his old home of Vespignano. The painter's -family lived chiefly at this country home, of which Giotto himself was -very fond; and contemporary writers give us pleasant glimpses of the -great master's excursions to Val Mugello. Boccaccio tells us how one -day, as Giotto and the learned advocate Messer Forese, who, like -himself, was short and insignificant in appearance, were riding out to -Vespignano, they were caught in a shower of rain and forced to borrow -cloaks and hats from the peasants. "Well, Giotto," said the lawyer, as -they trotted back to Florence clad in these old clothes and bespattered -with mud from head to foot, "if a stranger were to meet you now would he -ever suppose that you were the first painter in Florence?" "Certainly he -would," was Giotto's prompt reply, "if beholding your worship he could -imagine for a moment that you had learned your A B C!" And the novelist -Sacchetti relates how the great master rode out to San Gallo one Sunday -afternoon with a party of friends, and how they fell in with a herd of -swine, one of which ran between Giotto's legs and threw him down. "After -all, the pigs are quite right," said the painter as he scrambled to his -feet and shook the dust from his clothes, "when I think how many -thousands of crowns I have earned with their bristles without ever -giving them even a bowl of soup!" - -A more serious instance of Giotto's power of satire is to be found in -his song against Voluntary Poverty, in which he not only denounces the -vice and hypocrisy often working beneath the cloak of monastic -perfection, but honestly expresses his own aversion to poverty as a -thing miscalled a virtue. The whole poem is of great interest, coming as -it does from the pen of the chosen painter of the Franciscan Order, and -as showing the independence of Giotto's character. - -The extraordinary industry of the man is seen by the long list of -panel-pictures as well as wall-paintings which are mentioned by early -writers. These have fared even worse than his frescos. The picture of -'The Commune' in the great hall of the Podestà Palace, which Vasari -describes as of very beautiful and ingenious invention, the small -tempera painting of the 'Death of the Virgin,' on which Michelangelo -loved to gaze, in the Church of Ognissanti, Florence, the 'Madonna' -which was sent to Petrarch at Avignon, and which he left as his most -precious possession to his friend Francesco di Carrara, have all -perished. One panel, however, described by Vasari, is still in -existence--an altar-piece originally painted for a church in Pisa, and -now in the Louvre. - -In 1330 Giotto was invited to Naples by King Robert, who received him -with the highest honor, and issued a decree granting this chosen and -faithful servant all the privileges enjoyed by members of the royal -household. Ghiberti tells us that Giotto painted the hall of King -Robert's palace, and Petrarch alludes in one of his epistles to the -frescos with which he adorned the royal chapel of the Castello dell' -Uovo. "Do not fail," he writes, "to visit the royal chapel, where my -contemporary, Giotto, the greatest painter of his age, has left such -splendid monuments of his pencil and genius." All these works have been -destroyed, and another series of frescos, which he executed in the -Franciscan church of Santa Chiara, were whitewashed in the last century -by order of a Spanish governor, who complained that they made the church -too dark! - -King Robert appreciated the painter's company as much as his talent, and -enjoyed the frankness of his speech and ready jest. "Well, Giotto," he -said, as he watched the artist at work one summer day, "if I were you I -would leave off painting while the weather is so hot." "So would I were -I King Robert," was Giotto's prompt reply. Another time the king asked -him to introduce a symbol of his kingdom in a hall containing portraits -of illustrious men, upon which Giotto, without a word, painted a donkey -wearing a saddle embroidered with the royal crown and scepter, pawing -and sniffing at another saddle lying on the ground bearing the same -device. "Such are your subjects," explained the artist, with a sly -allusion to the fickle temper of the Neapolitans. "Every day they seek a -new master." - -In 1333 Giotto was still in Naples, and King Robert, it is said, -promised to make him the first man in the realm if he would remain at -his court; but early in the following year he was summoned back to -Florence by the Signory, and, on the twelfth of April, 1334, was -appointed Chief Architect of the State and Master of the Cathedral -Works. Since the death of its architect, Arnolfo, in 1310, the progress -of the cathedral had languished; but now the magistrates declared their -intention of erecting a bell-tower which in height and beauty should -surpass all that the Greeks and Romans had accomplished in the days of -their greatest pride. "For this purpose," the decree runs, "we have -chosen Giotto di Bondone, painter, our great and dear master, since -neither in the city nor in the whole world is there any other to be -found so well fitted for this and similar tasks." Giotto lost no time in -preparing designs for the beautiful Campanile which bears his name; and -on the eighth of July the foundations of the new tower were laid with -great solemnity. Villani describes the imposing processions that were -held and the immense multitudes which attended the ceremony, and adds -that the Superintendent of Works was Maestro Giotto, "our own citizen, -the most sovereign master of painting in his time, and the one who drew -figures and represented action in the most lifelike manner." Giotto -received a salary of one hundred golden florins from the state "for his -excellence and goodness," and was strictly enjoined not to leave -Florence again without the permission of the Signory. In 1335, however, -we hear of him in Milan, whither he had gone by order of the Signory at -the urgent request of their ally Azzo Visconti, Lord of Milan. Here, in -the old ducal palace, Giotto painted a series of frescos of which no -trace now remains, and then hurried back to Florence to resume his work -on the Campanile. - -Another invitation reached him from Pope Benedict XII., who offered him -a large salary if he would take up his residence at the papal court at -Avignon. But it was too late; and, as an old chronicler writes, "Heaven -willed that the royal city of Milan should gather the last fruits of -this noble plant." Soon after his return to Florence Giotto fell -suddenly ill, and died on the eighth of January, 1337. He was buried -with great honor in the cathedral. - -More than a hundred years later, when Florence had reached the height of -splendor and prosperity under the rule of the Medici, Lorenzo the -Magnificent placed a marble bust on Giotto's tomb, and employed Angelo -Poliziano to compose the Latin epitaph which gave proud utterance to the -veneration in which the great master was held alike by his -contemporaries and by posterity: - -"Lo, I am he by whom dead Painting was restored to life; to whose right -hand all was possible; by whom Art became one with Nature. None ever -painted more or better. Do you wonder at yon fair tower which holds the -sacred bells? Know that it was I who bade her rise towards the stars. -For I am Giotto--what need is there to tell of my work? Long as verse -lives, my name shall endure!" - - - - -The Art of Giotto - - -GIORGIO VASARI 'LIVES OF THE PAINTERS' - -The gratitude which the masters in painting owe to nature is due, in my -judgment, to the Florentine painter Giotto, seeing that he -alone--although born amidst incapable artists and at a time when all -good methods in art had long been entombed beneath the ruins of -war--yet, by the favor of Heaven, he, I say, alone succeeded in -resuscitating Art, and restoring her to a path that may be called the -true one. - - -JOHN C. VAN DYKE 'HISTORY OF PAINTING' - -It would seem that nothing but self-destruction could come to the -struggling, praying, throat-cutting population that terrorized Italy -during the medieval period. The people were ignorant, the rulers -treacherous, the passions strong; and yet out of the Dark Ages came -light. In the thirteenth century the light grew brighter. The spirit of -learning showed itself in the founding of schools and universities. -Dante, Petrarch, and Boccaccio, reflecting respectively religion, -classic learning, and the inclination toward nature, lived and gave -indication of the trend of thought. Finally the arts--architecture, -sculpture, painting--began to stir and take upon themselves new -appearances. - -In painting, though there were some portraits and allegorical scenes -produced during the Gothic period, the chief theme was Bible story. The -Church was the patron, and art was only the servant, as it had been from -the beginning. It had not entirely escaped from symbolism. It was still -the portrayal of things for what they meant rather than for what they -looked. There was no such thing then as art for art's sake. It was art -for religion's sake. - -The demand for painting increased, and its subjects multiplied with the -establishment at this time of the two powerful orders of Dominican and -Franciscan monks. The first exacted from the painters more learned and -instructive work; the second wished for the crucifixions, the -martyrdoms, the dramatic deaths wherewith to move people by emotional -appeal. In consequence painting produced many themes, but, as yet, only -after the Byzantine style. The painter was more of a workman than an -artist. The Church had more use for his fingers than for his creative -ability. It was his business to transcribe what had gone before. This he -did, but not without signs here and there of uneasiness and discontent -with the pattern. There was an inclination toward something truer to -nature, but as yet no great realization of it. The study of nature came -in very slowly. - -The advance of Italian art in the Gothic age was an advance through the -development of the imposed Byzantine pattern. When people began to stir -intellectually the artists found that the old Byzantine model did not -look like nature. They began not by rejecting it but by improving it, -giving it slight movements here and there, turning the head, throwing -out a hand, or shifting the folds of drapery. The Eastern type was -still seen in the long pathetic face, oblique eyes, green flesh-tints, -stiff robes, thin fingers, and absence of feet; but the painters now -began to modify and enliven it. More realistic Italian faces were -introduced; architectural and landscape backgrounds encroached upon the -Byzantine gold grounds; even portraiture was taken up. The painters were -taking notes of natural appearances. No one painter began this movement. -The whole artistic region of Italy was at that time ready for the -advance. - -Cimabue seems the most notable instance in early times of a -Byzantine-educated painter who improved upon the traditions. He has been -called the father of Italian painting; but Italian painting had no -father. Cimabue was simply a man of more originality and ability than -his contemporaries, and departed further from the art teachings of the -time without decidedly opposing them. He retained the Byzantine pattern, -but loosened the lines of drapery somewhat, turned the head to one side, -and infused the figure with a little appearance of life. - -Cimabue's pupil, Giotto, was a great improver on all his predecessors -because he was a man of extraordinary genius. He would have been great -in any time, and yet he was not great enough to throw off wholly the -Byzantine traditions. He tried to do it. He studied nature in a general -way, changed the type of face somewhat, and gave it expression and -nobility. To the figure he gave more motion, dramatic gesture, life. The -drapery was cast in broader, simpler masses with some regard for line, -and the form and movement of the body were somewhat emphasized through -it. In methods Giotto was more knowing, but not essentially different -from his contemporaries; his subjects were from the common stock of -religious story, but his imaginative force and invention were his own. -Bound by the conventionalities of his time, he could still create a work -of nobility and power. He came too early for the highest achievement. He -had genius, feeling, fancy--almost everything except accurate knowledge -of the laws of nature and of art. His art was the best of its time, but -it was still lacking, nor did that of his immediate followers go much -beyond it technically. - - -SYDNEY COLVIN 'ENCYCLOPÆDIA BRITANNICA' - -Giotto, relatively to his age one of the greatest and most complete of -artists, fills in the history of Italian painting a place analogous to -that which seems to have been filled in the history of Greek painting by -Polygnotus. That is to say, he lived at a time when the resources of his -art were still in their infancy, but considering the limits of those -resources his achievements were the highest possible. At the close of -the Middle Age he laid the foundations upon which all the progress of -the Renaissance was afterwards securely based. In the days of Giotto the -knowledge possessed by painters of the human frame and its structure -rested only upon general observation and not upon any minute, prolonged, -or scientific study; while to facts other than those of humanity their -observation had never been closely directed. Of linear perspective they -possessed few ideas, and these elementary and empirical, and scarcely -any ideas at all of aërial perspective or of the conduct of light and -shade. - -As far as painting could ever be carried under these conditions, so far -it was carried by Giotto. In its choice of subjects his art is entirely -subservient to the religious spirit of his age. Even in its mode of -conceiving and arranging those subjects, it is in part still trammeled -by the rules and consecrated traditions of the past. Thus it is as far -from being a perfectly free as from being a perfectly accomplished form -of art. Many of those truths of nature to which the painters of -succeeding generations learned to give accurate and complete expression, -Giotto was only able to express by way of imperfect symbol and -suggestion. But in spite of these limitations and shortcomings, and -although he had often to be content with expressing truths of space and -form conventionally or inadequately, and truths of structure and action -approximately, and truths of light and shadow not at all, yet among the -elements over which he had control he maintained so just a balance that -his work produces in the spectator less sense of imperfection than that -of many later and more accomplished masters. He is one of the least -one-sided of artists, and his art, it has been justly said, resumes and -concentrates all the attainments of his time not less truly than all the -attainments of the crowning age of Italian art are resumed and -concentrated in Raphael. - -In some particulars the painting of Giotto was never surpassed,--in the -judicious division of the field and massing and scattering of groups, in -the union of dignity in the types with appropriateness in the -occupations of the personages, in strength and directness of -intellectual grasp and dramatic motive, in the combination of perfect -gravity with perfect frankness in conception, and of a noble severity in -design with a great charm of harmony and purity in color. The earlier -Byzantine and Roman workers in mosaic had bequeathed to him the high -abstract qualities of their practice--their balance, their -impressiveness, their grand instinct of decoration; but while they had -compassed these qualities at an entire sacrifice of life and animation, -it is the glory of Giotto to have been the first among his countrymen to -breathe life into art, and to have quickened its stately rigidity with -the fire of natural incident and emotion. - -It was this conquest, this touch of the magician, this striking of the -sympathetic notes of life and reality, that chiefly gave Giotto his -immense reputation among his contemporaries, and made him the fit -exponent of the vivid, penetrating, and practical genius of emancipated -Florence. His is one of the few names in history which, having become -great while its bearer lived, has sustained no loss of greatness through -subsequent generations. - - -JOHN RUSKIN 'GIOTTO AND HIS WORKS IN PADUA' - -In the one principle of close imitation of nature lay Giotto's great -strength and the entire secret of the revolution he effected. It was not -by greater learning, nor by the discovery of new theories of art; not by -greater taste, nor by "ideal" principles of selection that he became the -head of the progressive schools of Italy. It was simply by being -interested in what was going on around him, by substituting the -gestures of living men for conventional attitudes, and portraits of -living men for conventional faces, and incidents of every-day life for -conventional circumstances, that he became great, and the master of the -great. - - -JOHN ADDINGTON SYMONDS 'RENAISSANCE IN ITALY' - -The tale told about Giotto's first essay in drawing might be chosen as a -parable: he was not found beneath a church roof tracing a mosaic, but on -the open mountain, trying to draw the portrait of the living thing -committed to his care. What, therefore, Giotto gave to art was, before -all things else, vitality. His Madonnas are no longer symbols of a -certain phase of pious awe, but pictures of maternal love. The Bride of -God suckles her divine infant with a smile, watches him playing with a -bird, or stretches out her arms to take him when he turns crying from -the hands of the circumcising priest. By choosing incidents like these -from real home life, Giotto, through his painting, humanized the -mysteries of faith, and brought them close to common feeling. Nor was -the change less in his method than his motives. Before his day painting -had been without composition, without charm of color, without suggestion -of movement or the play of living energy. He first knew how to -distribute figures in the given space with perfect balance, and how to -mass them together in animated groups agreeable to the eye. He caught -varied and transient shades of emotion, and expressed them by the -posture of the body and the play of feature. The hues of morning and of -evening served him. Of all painters he was most successful in preserving -the clearness and the light of pure, well-tempered colors. His power of -telling a story by gesture and action is unique in its peculiar -simplicity. There are no ornaments or accessories in his pictures. The -whole force of the artist has been concentrated on rendering the image -of the life conceived by him. Relying on his knowledge of human nature, -and seeking only to make his subject intelligible, no painter is more -unaffectedly pathetic, more unconsciously majestic. While under the -influence of his genius we are sincerely glad that the requisite science -for clever imitation of landscape and architectural backgrounds was not -forthcoming in his age. Art had to go through a toilsome period of -geometrical and anatomical pedantry before it could venture, in the -frescos of Michelangelo and Raphael, to return with greater wealth of -knowledge on a higher level to the divine simplicity of its childhood in -Giotto. - -In the drawing of the figure Giotto was surpassed by many meaner artists -of the fifteenth century. Nor had he that quality of genius which -selects a high type of beauty and is scrupulous to shun the commonplace. -The faces of even his most sacred personages are often almost vulgar. In -his choice of models for saints and apostles we already trace the -Florentine instinct for contemporary portraiture. Yet, though his -knowledge of anatomy was defective and his taste was realistic, Giotto -solved the great problem of figurative art far better than more learned -and fastidious painters. He never failed to make it manifest that what -he meant to represent was living. Even to the non-existent he gave the -semblance of reality. We cannot help believing in his angels leaning -waist-deep from the blue sky, wringing their hands in agony above the -Cross, pacing like deacons behind Christ when he washes the feet of his -disciples, or sitting watchful and serene upon the empty sepulcher. He -was, moreover, essentially a fresco-painter, working with rapid decision -on a large scale, aiming at broad effects, and willing to sacrifice -subtlety to clearness of expression. - -The health of Giotto's whole nature and his robust good sense are -every-where apparent in his solid, concrete, human work of art. There is -no trace of mysticism, no ecstatic piety, nothing morbid or hysterical -in his imagination. Imbuing whatever he handled with the force and -freshness of actual existence, he approached the deep things of the -Christian faith and the legend of St. Francis in the spirit of a man -bent simply on realizing the objects of his belief as facts. His -allegories of 'Poverty,' 'Chastity,' and 'Obedience,' at Assisi, are as -beautiful and powerfully felt as they are carefully constructed. Yet -they conceal no abstruse spiritual meaning, but are plainly painted "for -the poor laity of love to read." The artist-poet who colored the -virginal form of Poverty, with the briars beneath her feet and the roses -blooming round her forehead, proved by his well-known _canzone_ that he -was free from monastic Quixotism and took a practical view of the value -of worldly wealth. His homely humor saved him from the exaltation and -the childishness that formed the weakness of the Franciscan revival. -Giotto in truth possessed a share of that power which belonged to the -Greek sculptors. He embodied myths in physical forms adequate to their -intellectual meaning. - - -E. H. AND E. W. BLASHFIELD 'ITALIAN CITIES' - -When we ask, where did Giotto get the wonderful power of expression that -he shows in his work? we reply, a little from masters and a great deal -from himself; but if we are asked, how did he learn to make a wall -effective by color and patterns? we must answer that he worked upon -traditional lines, that some of his immediate forerunners were nearly as -effective as he, and that some of his remote forerunners were more -effective. - -When we say enthusiastically of Giotto, "There was a decorator for you! -There was a muralist far more purely _decorative_ than some later and -even greater men!" we are thinking, not of the superiority of his -drawing and composition, but of the simple flatness of his masses, free -from any elaborate modeling, the lightness and purity of his color, the -excellence of his silhouette and his pattern. But the essentially -decorative qualities did not belong especially to Giotto; they belonged -to the history and development of mural painting, to the Greeks, the -Romans, the Byzantines, who had learned--centuries before St. Francis, -centuries even before the Master whom Francis served, came into the -world--had learned, we say, that dimly lighted interiors require flat, -pure colors with little modeling. - -Now nearly all the interiors of the ancient world were dimly lighted; -the medieval Italian churches with their narrow lancet windows of low -toned jewel-like glass were as dark as any of the antique buildings, so -that the use of flat masses of pure color, the planning of an agreeable -disposition of spots and of a handsome silhouette to these spots, -became the canons of medieval painting. These early artists had mastered -thoroughly the great controlling principle of decoration, the principle -of the harmony of the painting with the surrounding architecture. -Because the fourteenth century had not gone beyond this fortunate -simplicity to the complexity of the fifteenth, and because it had -attained to a science of draughtsmanship unknown to the thirteenth -century and earlier times, we call the fourteenth century the golden age -of the mural painter. The layman not infrequently supposes that this -condition of things obtained because Giotto deliberately eschewed -elaborate modeling, and said to mural painting, "Thus far and no farther -shalt thou go!" In eight cases out of ten this misconception comes -because the layman has been reading Ruskin; in the other two cases, -because he has been reading Rio or Lord Lindsay. In reality, Giotto said -nothing of the sort; he was a great artist, he saw and felt with -simplicity and dignity; doubtless he would, under any circumstances, -have modeled with restraint, but if he had known how to do so he would -have put more modeling in his figures than he did. - -Fifty years ago John Ruskin made Giotto the fashion. The connoisseurs of -the seventeenth century, the men whose fathers had perhaps seen Raphael, -had surely seen the Urbinate's great rival, made small account of the -earlier painters; to them the _Giotteschi_ were barbarous, rubbish. With -Ruskin, however, the great son of Bondone took his place upon a throne. -He sat there rightfully by virtue of the greatest talent which was given -to any painter between Masaccio and the last great Greek or Roman artist -of imperial days; but his ministrant swung the censer before him with -such misplaced enthusiasm that the face of the great Tuscan was clouded -for half a century, until modern criticism dared to say nay to the poet -of the 'Stones of Venice' and the 'Modern Painters.' Ruskin never -admired anything that was unworthy, though he often fiercely contemned -the worthy. He saw and praised Giotto's simplicity of treatment, but how -strangely he praised, how utterly he misunderstood the artist's aim and -insisted upon bringing back to the marksman game that was no spoil of -his! Ruskin mistook timidity for reverence, and ascribed to the painter -as a deliberate choice that which was in reality forced upon him by -inexperience. - -The reasoning which Ruskin, Rio, and others of their school followed is -peculiar. We will take as an example a fresco in which heavily draped -figures stand before a city gate upon greensward. In the said greensward -every little blade and leaf is made out; there is no effect; you and I -with our modern ideas would not like it at all. The critic, on the -contrary, is enraptured. He cries, "Only see, Giotto has painted every -leaf; he felt that everything that God made should be lovingly and -carefully studied!" The draperies, on the contrary, are rather broadly -and simply handled, and the author implies that it is because the artist -knew that the stuffs, which were only artificial, not natural, were -unworthy the careful study he had given the leaves. Such criticism as -this utterly misled a portion of the English reading world for at least -thirty years. The right treatment by the painter was wrongly praised by -the writer. Giotto was lauded especially for leaving out that which he -was incapable of putting in; his figures are but little modeled, and -this slight modeling happens to be admirably suited to the kind of -decoration which he was doing, but it was slight because he did not know -how to carry it further. When he painted a Madonna on a panel to be seen -and examined at close quarters that which was a virtue in his decoration -became a fault in his easel-picture. Take the grass and draperies just -mentioned; Giotto had not yet learned to paint drapery realistically, -but he had the sentiment of noble composition, and he arranged his folds -simply and grandly and painted them as well as he knew how, pushing them -as far as he could. When he came to the grass, he found it much easier -to draw a lot of little hard blades and leaves than to generalize them -into an effect. He did not know how to generalize complicated detail. -The drapery was one piece, and he could arrange it in a few folds, but -the blades of grass were all there, and he thought he must draw every -one. Ruskin, and Rio, and Lord Lindsay, all regard this incapacity as a -special virtue based upon a spiritual interpretation of the relative -importance of things in nature and art. They account as truth in Giotto -what was really the reverse of truth. In looking at such a scene as that -represented in the fresco no human being could see every blade of grass -separately defined. A general effect of mass would be truth, and Giotto -would have grasped it if he could have done so, but he was not yet a -master of generalization. - -A whole class of writers upon Christian art is like the prior in -Browning's poem, who says to Fra Lippo Lippi:-- - - "Your business is to paint the souls of men. - "Give us no more of body than shows soul;" - -but these writers, while appreciating the effect of certain qualities in -Giotto and his followers, wholly misunderstood their intention. He did -not leave his figures half modeled for the praise of God or for the sake -of expressing soul. We might just as well say that it was for the sake -of spiritual aspiration that his foreshortened feet stood on the points -of their toes, or that his snub profiles were intended to suggest -meekness.... - -It is an important fact in painting, especially in decorative painting, -that in measure as an artist refines his work he may with advantage -suppress one detail after another of its modeling. But this knowing what -to leave out is one of the most subtle, one of the last kinds of -knowledge that come to the painter. This system of elimination argues -upon his part the possession of a high degree of technical -accomplishment. When he can draw and paint every detail of his subject, -then, and not till then, he can suppress judiciously. Great painters -have thus instinctively commenced by making minutely detailed studies. -Now, Giotto never made one such in his life; he did not know how. He was -a beginner possessing magnificent natural gifts, still a beginner, a -breaker of new paths. He drew and painted the human body exactly as well -as he knew how to, leaving out elaborate modeling simply because he was -unable to accomplish it. One lifetime would not have sufficed this -pioneer of art for the achievement of all that he did and for the -compassing of a skilful technique as well.... - -If we pass on to those qualities of a painter which were particular to -Giotto, not merely as a muralist but as an individual man, we find that -like other masters of his time he cannot yet subtly differentiate -expression, but that, unlike others, his expression is more intense, -more forceful, more varied. His heads have long narrow eyes, short snub -noses, firm mouths, square jaws, and powerful chins; he divides them, -not individually, but typically, into adolescent, adult, and aged heads. -His feet are unsteady; his hands not yet understood; his draperies are -for their time wonderful--simply, even grandly arranged, and if they do -not express the body, at least they suggest it and echo its movements. - -His animals, too small and often faulty enough, are sometimes excellent; -and, like every other medieval artist, if he wanted to put in a sheep or -a horse or a camel, he put it in without any misgivings as to knowledge -of the subject. Neither did this architect entertain any scruples -regarding architecture when he chose to paint it, and, like his fellows, -he set Greek temple of Assisi, Romanesque convent, and Gothic church, -all upon the same jackstraw-like legs,--that is to say, columns which -made toys of all buildings, big or little. First and last and best, we -see him as a miracle of compositional and dramatic capacity, and with -this last quality he took his world by storm. - -Men before him had tried to tell stories, but had told them -hesitatingly, even uncouthly; Giotto spoke clearly and to the point. -This shepherd boy, whose mountain pastures could be seen from her -Campanile, taught grammar to the halting art of Florence. He taught the -muse of the fourteenth century to wear the buskin, so that his -followers, however confused their composition might be, were at least -clear in the telling of their story. Indeed he was such a dramaturgist -that men for a full hundred years forgot, in the fascination of the -story told, to ask that the puppets should be any more shapely, that -they should look one whit more like men and women. - - -HARRY QUILTER 'GIOTTO' - -The main characteristics of Giotto's style are, first, a lighter, purer -tone of color than had been in use before the time of Cimabue, and a -greater variety and purity of tint than had been attained by that -master; second, the introduction into his compositions of a certain -amount of natural detail which had been before totally neglected, and -the substitution of the portraits of actual men and women for the -imaginary beings that had formerly filled up the backgrounds of the -Byzantine pictures; third, the power of illustrating the real meaning of -his subject, not merely suggesting it as had formerly been the case; and -fourth, his unrivaled dramatic power. - -This dramatic power shows itself in almost every work that Giotto has -left us, and even survives in the achievements of his pupils. His -pictures are not scenes alone, they are _situations_. Besides their -appropriateness of gesture and oneness of feeling, they possess the -great characteristic of dramatic art in making the scene live before -you, subduing its various incidents into one strain of meaning, yet -keeping each incident complete and individual, as well as making it help -the main purpose. A minor point in which the same quality shows is in -the amount of emotion which this painter is capable of expressing by a -single gesture--an amount so great that it occasionally runs some danger -of lapsing into caricature, as is especially plain in such pictures as -'The Entombment' in the Arena Chapel. But in all his scenes Giotto has -succeeded, not only in choosing the most appropriate figures for -illustrating his meaning, but in seizing the very moment which is most -significant. - -But, after all, the main characteristic of Giotto's style is so -intangible that it can only be felt, not described. This characteristic -is the simple faith in which each of these compositions abounds; the -feeling conveyed to the spectator that thus, and not otherwise, did the -occurrence take place, and that the painter has not altered it a jot or -tittle for his own purpose. - - - - -The Works of Giotto - -DESCRIPTIONS OF THE PLATES - - -'MADONNA ENTHRONED' PLATE I - -This panel-picture, an early work, was painted for the Church of -Ognissanti, Florence, and is now in the Academy of that city. -Notwithstanding the fact that Giotto has adhered to the conventional -composition of the Byzantine masters, there is a freshness and more -lifelike appearance in this work than is observable in those of his -predecessors; and in the more natural attitudes of the figures--notably -in the kneeling angels--as well as in the greater freedom in the -treatment of the draperies, we see the advance that he has already made -in the development of art. - -The Madonna, clad in a white robe and long bluish mantle, and holding -the Child, whose tunic is of a pale rose color, upon her knee, is seated -upon a throne placed against a gold background. The angels kneeling in -front with vases of lilies in their hands are robed in white; those just -above them, bearing a crown and box of ointment, are in green. Saints -and angels are grouped on either side. - -The color of the picture has darkened and lost much of its original -freshness, and shows little of the purity of tint seen in many of -Giotto's frescos. - - -'ALLEGORY OF POVERTY' PLATE II - -Among Giotto's most famous works are the four frescos which cover the -arched compartments of the vaulting of the Lower Church of St. Francis -at Assisi. One represents the saint enthroned in glory; the others are -allegorical depictions of the three vows of the Franciscan -Order,--Poverty, Chastity, and Obedience. The finest of the series is -that reproduced in this plate, in which Giotto has represented the -mystic marriage of St. Francis with Poverty. Hope and Love are the -bridesmaids, angels are the witnesses, and Christ himself blesses the -union. The bride's garments are patched, ragged and torn by brambles, -children throw stones at her and mock her, and a dog barks at her; but -the roses and lilies of paradise bloom about her, and St. Francis looks -with love upon his chosen bride. To the left a young man gives his cloak -to a beggar; on the opposite side a miser grasps his money-bag, and a -richly clad youth scornfully rejects the invitation of the angel at his -side to follow in the train of holy Poverty. Above, two angels, one -bearing a garment and a bag of gold, the other a miniature -palace--symbolical of worldly goods given up in charity--are received by -the hands of the Almighty. - - -'ALLEGORY OF CHASTITY' PLATE III - -This fresco, in the Lower Church of St. Francis at Assisi, is one of the -series to which that reproduced in the previous Plate also belongs. It -represents the different stages of perfection in the religious life. On -the left St. Francis receives three aspirants to the Franciscan Order; -on the right three monks are driving evil spirits into the abyss below; -and in the central group angels pour purifying water upon the head of a -youth standing naked in a baptismal font. Two figures leaning over the -wall behind present him with the banner of purity and shield of -fortitude, and two angels standing near bear the convert's garments. The -mail-clad warriors, holding lash and shield, are emblematic of the -warfare and self-mortification of those who follow St. Francis. In the -tower of the crenelated fortress in the background is seated Chastity, -veiled and in prayer, to whom two angels bring an open book and the palm -of holiness. - - -'NATIVITY,' 'ENTOMBMENT,' AND 'RESURRECTION' PLATES IV, V, AND VI - -The Arena Chapel, Padua, was built in the year 1303 by Enrico Scrovegno, -a wealthy citizen of that place, upon the site of a Roman amphitheater -or arena. The outside of this little building is devoid of all -architectural embellishment, but any exterior bareness is more than -counterbalanced by the interior, the decoration of which was, in 1305 or -1306, intrusted to Giotto, at that time the acknowledged master of -painting in Italy. With the exception of the frescos in the choir, which -were added by his followers in later years, all the paintings in the -chapel--thirty-eight in number--are by his hand, and present a scheme of -decoration that is unsurpassed even in the churches of Italy. "Though -they lack the subtleties of later technical development," write Vasari's -recent editors, "these frescos of the Arena Chapel, in their -composition, their simplicity, their effectiveness as pure decoration, -and in their dramatic force, are some of the finest things in the whole -history of art, ancient or modern." - -Arranged in three tiers on the side walls of the chapel, Giotto's -frescos illustrate the apocryphal history of Joachim and Anna, the life -of the Virgin, scenes from the life of Christ, and below, allegorical -figures of the Virtues and Vices. On the entrance wall is a 'Last -Judgment,' and opposite, a 'Christ in Glory.' The vaulted ceiling, -colored blue and studded with gold stars, is adorned with medallions of -Christ and the Virgin, saints and prophets. "Wherever the eye turns," -writes Mr. Quilter, "it meets a bewilderment of color pure and radiant -and yet restful to the eye, tints which resemble in their perfect -harmony of brightness the iridescence of a shell. The whole interior, -owing perhaps to its perfect simplicity of form and absence of all other -decoration than the frescos, presents less the aspect of a building -decorated with paintings than that of some gigantic opal in the midst of -which the spectator stands." - -'THE NATIVITY,' reproduced in Plate IV, is the first of the second tier -of frescos. It is painted almost wholly in a quiet harmony of blue and -gray. Ruskin has called attention to the natural manner in which the -Virgin turns upon her couch to assist in laying down the Child brought -to her by an attendant, and to the figure of St. Joseph seated below in -meditation. On the right are the shepherds, their flocks beside them, -listening to the angels who, "all exulting, and as it were confused with -joy, flutter and circle in the air like birds." On the left the ox and -ass stretch their heads towards the Virgin's couch. - -'THE ENTOMBMENT,' Plate V, is impressive in its passionate intensity. -The women seated on the ground supporting the dead Christ are -overwhelmed with grief, other mourners are grouped around; and in the -figure of St. John with his arms extended Giotto has preserved the -antique gesture of sorrow. Angels wheel and circle through the air in a -frenzied agony of grief. In the background a barren hill and the -leafless branches of a tree are relieved against a darkening sky. - -'THE RESURRECTION,' Plate VI, shows us the soldiers in deep sleep beside -the red porphyry tomb on which two majestic, white-robed angels are -seated. Mary Magdalene, in a long crimson cloak, kneels with -outstretched arms at the feet of the risen Christ, who by his expressive -gesture warns her, "Noli me tangere!" - -This fresco and that of 'The Resurrection' are among the most impressive -in the chapel, and are comparatively little injured by time and -dampness. - - -'THE DEATH OF ST. FRANCIS' PLATE VII - -The last in the series of eight frescos painted by Giotto in the Bardi -Chapel of the Church of Santa Croce, Florence, this picture, which is by -many considered his masterpiece, shows us the closing scene in the life -of St. Francis of Assisi. Julia Cartwright writes of it: "The great -saint is lying dead on his funeral bier, surrounded by weeping friars -who bend over their beloved master and cover his hands and feet with -kisses. At the head of the bier a priest reads the funeral rite; three -brothers stand at the foot bearing a cross and banner, and the -incredulous Girolamo puts his finger into the stigmatized side, while -his companions gaze on the sacred wounds with varying expressions of awe -and wonder; and one, the smallest and humblest of the group, suddenly -lifts his eyes and sees the soul of St. Francis borne on angel wings to -heaven. Even the hard outlines and coarse handling of the restorer's -brush have not destroyed the beauty and pathos of this scene. In later -ages more accomplished artist often repeated the composition, but none -ever attained to the simple dignity and pathetic beauty of Giotto's -design." - - -'THE BIRTH OF ST. JOHN THE BAPTIST' PLATE VIII - -The Peruzzi Chapel in the Church of Santa Croce, Florence, was decorated -by Giotto with scenes from the lives of St. John the Baptist and St. -John the Evangelist. "The frescos in this chapel have suffered greatly -from repainting," writes Mr. F. Mason Perkins, "but the monumental style -in which they were originally conceived is still unmistakably apparent; -and they are certainly to be considered as products of the most mature -period of Giotto's activity, in all probability later in date by some -years at least than those in the Bardi Chapel. The fresco here -reproduced represents the birth and the naming of St. John the Baptist. -In one room St. Elizabeth is seen reclining on her couch and waited upon -by her attendants; in an adjoining chamber Zacharias is seated writing -upon a tablet the name by which the new-born child is to be called." - - -'THE FEAST OF HEROD' PLATE IX - -This fresco in the Peruzzi Chapel in the Church of Santa Croce, -Florence, is one of the most celebrated of Giotto's works. Herod and his -guests are represented at table under a portico suggestive in its -classic decorations of the later Renaissance. Salome, a lyre in her -hand, has been dancing to the music of a violin played by a youth in a -striped tunic--a figure which has been the subject of enthusiastic -praise from Mr. Ruskin and other writers. The girl pauses in her dance -as a soldier in a Roman helmet brings the head of John the Baptist into -the hall and presents it to Herod. Through an open door Salome is seen -again, kneeling before her mother and bearing the charger upon which -rests the head of St. John. In the distance, at the other side of the -picture, we see the barred window of the tower where the Baptist has -been imprisoned. - -"Although little more than its outlines are left," writes Kugler, "this -work unites with all Giotto's grander qualities of arrangement, -grouping, and action, a closer imitation of nature than he had before -attained. Seldom, even in later times, have fitter action and features -been rendered that those which characterize the viol-player as he plies -his art and watches the dancing Salome." - - -'THE RAISING OF DRUSIANA' PLATE X - -The story of the incident which Giotto has here portrayed has been told -as follows: "When St. John had sojourned in the island of Patmos a year -and a day he returned to his church at Ephesus; and as he approached the -city, being received with great joy by inhabitants, lo! a funeral -procession came forth from the gates; and of those who followed weeping -he inquired, 'Who is dead?' They said, 'Drusiana.' Now when he heard -that name he was sad, for Drusiana had excelled in all good works, and -he had formerly dwelt in her house; and he ordered them to set down the -bier, and having prayed earnestly, God was pleased to restore Drusiana -to life. She arose up and the apostle went home with her and dwelt in -her house." - -"This fresco in the Peruzzi Chapel in the Church of Santa Croce, -Florence, shows Giotto in all his strength and greatness," write Crowe -and Cavalcaselle. "Life and animation are in the kneeling women at the -Evangelist's feet, but particularly in the one kneeling in profile, -whose face, while it is obvious that she cannot see the performance of -the miracle on Drusiana, expresses the faith which knows no doubt. See -how true are the figure and form of the cripple; how fine the movement -of Drusiana; how interesting the group on the right in the variety of -its movements; how beautiful the play of lines in the buildings which -form the distance; how they advance and recede in order to second the -lines of the composition and make the figures stand out." - - -A LIST OF THE PRINCIPAL PAINTINGS BY GIOTTO, WITH THEIR PRESENT -LOCATIONS - -Transcriber's Note: Subsection headings surrounded by '=' characters; -for example, =Paris, Louvre= - -ENGLAND. =Alnwick Castle, Duke of Northumberland's Collection=: Panel -with Sposalizio, St. Francis receiving the Stigmata, etc.--FRANCE. -=Paris, Louvre=: St. Francis receiving the Stigmata--GERMANY. =Munich -Gallery=: Small Panels of Crucifixion, Last Supper, etc.--ITALY. -=Assisi, Church of St. Francis, upper church=: Frescos from the Life of -St. Francis; =Lower Church=: Allegorical Frescos of Chastity, Obedience, -and Poverty, and St. Francis in Glory (see Plates II and III); Frescos -from the Lives of Christ and the Virgin, and Miracles of St. -Francis--=Bologna, Academy=: Saints and Angels--=Florence, Academy=: -Madonna Enthroned (Plate I)--=Florence, Church of Santa Croce, Bardi -Chapel=: Frescos from the Life of St. Francis (see Plate VII); =Peruzzi -Chapel=: Frescos from the Lives of St. John the Baptist and St. John the -Evangelist (see Plates VIII, IX, and X)--=Padua, Arena Chapel=: Frescos -from the Lives of Christ and the Virgin (see Plates IV, V, and VI); Last -Judgment; Christ in Glory; Allegorical Figures of the Virtues and Vices; -=sacristy=: Crucifix--=Padua, Church of Sant' Antonio=: Frescos of -Saints--=Rome, Church of San Giovanni Laterano=: Pope Boniface VIII. -proclaiming the Jubilee--UNITED STATES. =Boston, Mrs. J. L. Gardner's -Collection=: Presentation in the Temple. - - - - -Giotto Bibliography - - -A LIST OF THE PRINCIPAL BOOKS AND MAGAZINE ARTICLES DEALING WITH GIOTTO - -ALEXANDRE, A. Histoire populaire de la peinture: école italienne. -(Paris, 1894)--BALDINUCCI, F. Notizie dei professori del disegno da -Cimabue in quà. (Florence, 1681)--BERENSON, B. Florentine Painters of -the Renaissance. (New York, 1896)--BLASHFIELD, E. H. and E. W. Italian -Cities. (New York, 1900)--BRETON, E. Ambrogio Bondone dit le Giotto. -(St. Germain-en-Laye, 1851)--BURCKHARDT, J. Der Cicerone, edited by W. -Bode. (Leipsic, 1898)--CALLCOTT, LADY. Description of the Chapel of the -Annunziata dell' Arena in Padua. (London, 1835)--CARTWRIGHT, J. The -Painters of Florence. (London, 1901)--CENNINI, C. Treatise on Painting: -Trans. by Mrs. Merrifield. (London, 1844)--COLVIN, S. 'Giotto' in -'Encyclopædia Britannica.' (Edinburgh, 1883)--CROWE, J. A., AND -CAVALCASELLE, G. B. History of Painting in Italy. (London, -1866)--DOBBERT, E. 'Giotto' in 'Dohme's Kunst und Künstler,' etc. -(Leipsic, 1878)--FEA, C. Descrizione della cappella di S. Francesco -d'Assisi. (Rome, 1820)--FÖRSTER, E. Beiträge zur neuern Kunstgeschichte. -(Leipsic, 1835)--FRANTZ, E. Geschichte der christlichen Malerei. -(Freiburg im Breisgau, 1887-94)--GHIBERTI, L. Commentario sulle arti. -(Extracts from manuscript copy are quoted by Milanesi, Cicognara, -Perkins, and Frey)--GORDON, L. D. The Story of Assisi. (London, -1900)--HOPPIN, J. M. Great Epochs in Art History. (Boston, -1901)--JAMESON, A. Memoirs of Italian Painters. (Boston, -1896)--JANITSCHEK, H. Die Kunstlehre Dante's und Giotto's Kunst. -(Leipsic, 1892)--KUGLER, F. T. Italian Schools of Painting. Revised by -A. H. Layard. (London, 1900)--KUHN, P. A. Allgemeine Kunst-Geschichte. -(Einsiedeln, 1891 et seq.)--LEE, V. Euphorion. (London, 1884)--LINDSAY, -LORD. Sketches of the History of Christian Art. (London, 1885)--LÜBKE, -W. History of Art. (New York, 1878)--MANTZ, P. Chefs-d'oeuvre de la -peinture italienne. (Paris, 1870)--MÜNTZ, E. Histoire de l' Art pendant -la Renaissance: Les Primitifs. (Paris, 1889)--OLIPHANT, MRS. The Makers -of Florence. (London, 1888)--PERKINS, F. M. Giotto. (London, -1901)--QUILTER, H. Giotto. (London, 1880)--RIO, A. F. De l' Art -chrétien. (Paris, 1861-7)--RUMOHR, C. F. V. Italienische Forschungen. -(Berlin, 1827)--RUSKIN, J. Giotto and his Works in Padua. (London, -1854)--RUSKIN, J. Fors Clavigera. (Orpington, 1883)--RUSKIN, J. Mornings -in Florence. (Orpington, 1875)--RUSKIN, J. Modern Painters. (London, -1846-60)--SACCHETTI, F. Delle Novelle. (Florence, 1724)--SCHNAASE, C. -Geschichte der bildenden Künste. (Düsseldorf, 1843-4)--SELVATICO, P. E. -Sulla cappellina degli Scrovegni nell' Arena di Padova. (Padua, -1836)--STILLMAN, W. J. Old Italian Masters. (New York, 1892)--SYMONDS, -J. A. Renaissance in Italy. (London, 1875)--TAINE, H. Voyage en Italie. -(Paris, 1866)--THODE, H. Franz von Assisi. (Berlin, 1885)--THODE, H. -Giotto. (Leipsic, 1899)--TIKKANEN, J. J. Der Malerische Styl Giotto's. -(Helsingfors, 1884)--VASARI, G. Lives of the Painters. (New York, -1897)--WOLTMANN, A., AND WOERMANN, K. History of Painting: Trans. by -Clara Bell. (New York, 1895)--ZIMMERMANN, M. G. Giotto und die Kunst -Italiens in Mittelalter. (Leipsic, 1899). - - -MAGAZINE ARTICLES - -ARCHIVIO STORICO DELL'ARTE, 1892: 'Die Kunstlehre Dante's und Giotto's -Kunst' di Janitschek (C. de Fabriczy)--CENTURY MAGAZINE, 1889: Giotto -(W. J. Stillman)--JAHRBUCH DER PREUSSISCHEN KUNSTSAMMLUNGEN, 1885 and -1886: Studien zu Giotto (K. Frey)--MONTHLY REVIEW, 1900: Art before -Giotto (R. E. Fry). 1900: Giotto (R. E. Fry). 1901: Giotto (R. E. -Fry)--NUOVA ANTOLOGIA, 1867: Giotto (C. Laderchi). 1875: Aneddoto dell' -O e la supposta gita di Giotto ad Avignone (G. B. Cavalcaselle). 1880: -La chiesa di Giotto nell' Arena di Padova (C. Boito). 1881: San -Francesco, Dante e Giotto (G. Mestica). 1900: Dante e Giotto (A. -Venturi)--PENN MONTHLY, 1881: Cimabue and Giotto (W. de B. -Fryer)--PORTFOLIO, 1882: Assisi (J. Cartwright)--REPERTORIUM FÜR -KUNSTWISSENSCHAFT, 1897: Die Heimath Giotto's (R. Davidsohn). 1899: Die -Fresken im Querschiff der Unterkirche San Francesco (P. -Schubring)--REVUE DE L'ART CHRÉTIEN, 1873: Evolutions de l'Art chrétien -(G. d. Saint-Laurent). 1885: Giotto. Naturalisme et mysticisme (E. -Cartier). 1885: Le Poème de Giotto. (E. Cartier)--ZEITSCHRIFT FÜR -BILDENDE KUNST, 1898 and 1899: Die malerische Dekoration der S. -Francesco-kirche in Assisi (A. Aubert). - - - - -Three Beautiful Books - -By PHILIP L. HALE - - -Three valuable handbooks on great portraits and Madonnas of the world. -Printed in beautiful type, on heavy antique paper with broad margins, -and daintily bound in buckram of special weave, with title-design -stamped in gold. Each book contains about 80 pages 8 × 11 inches in -size, including twenty exquisite full-page reproductions of famous -paintings, some of which have rarely been reproduced. - -The author, Mr. Philip L. Hale, a son of the late Edward Everett Hale, -is himself a painter and art critic of reputation. The text is unique, -comprising a critical analysis and comparison of the work of the master -painters, not from the too common view-point of a critic who walks the -galleries, but from that of a painter, who with brushes in hand is even -now working on the same problems those he writes about have worked on. -It has all the charm and spontaneity of an informal studio chat; and -gives a new and fresh appreciation of art. - -Price, Each, Boxed and Postage Prepaid, $1.50 - - -The Madonna - -A critical analysis of the way the master painters pictured the Madonna, -illustrated with full-page reproductions of the following masterpieces: - -Sistine Madonna, Madonna of the Chair, Madonna of the House of Alba, -Raphael; Virgin of the Rocks, St. Anne, the Virgin, and Christ-child, Da -Vinci; Assumption of the Virgin, Madonna of the Pesaro Family, Madonna -with the Cherries, Titian; Virgin adoring the Christ-child, Correggio; -Madonna of the Sack, Del Sarto; Immaculate Conception, Murillo; Virgin -and Child, Crivelli; Nativity, Correggio; Meyer Madonna, Holbein; -Madonna of Castelfranco, Giorgione; Madonna of the Two Trees, Bellini; -Vow of Louis XIII., Ingres; Coronation of the Virgin, Botticelli; -Madonna and Child with Two Angels, Fra Filippo Lippi; Madonna and Three -Dominican Saints, Tiepolo. - - -Great Portraits: Women - -An essay on the painting of women's portraits, illustrated by twenty -full-page plates reproducing the following great portraits: - -Mona Lisa, Da Vinci; Countess Potocka, Artist Unknown; Mrs. Sheridan, -Mrs. Siddons, Gainsborough; Nelly O'Brien, Reynolds; Unknown Princess, -Da Vinci; Bust of Unknown Lady, in Louvre; Parson's Daughter, Romney; -Sarah Bernhardt, Bastien-Lepage; His Mother, Whistler; Madame -Destouches, Ingres; Madame Molé-Raymond, Lebrun; Miss Farren, Lawrence; -Shrimp Girl, Hogarth; Madame Récamier, David; Violante, Palma Vecchio; -Doña Isabel Corbo de Porcel, Goya; Princess Christina, Holbein; His -Daughter Lavinia, Titian; Queen Henrietta, Van Dyck. - - -Great Portraits: Children - -A treatment of the subject of children's portraits similar to that of -women's portraits, with twenty full-page plates of these beautiful -canvases: - -Portrait of Countess Mollien, Greuse; Louis, Dauphin of France, La Tour; -Madame Louise of France, Nattier; Rubens's Sons, Rubens; The Blue Boy, -Gainsborough; Don Garcia with a Bird, Bronzino; Queen of Sicily, Goya; -Boy with a Sword, Manet; Strawberry Girl, Reynolds; St. John the -Baptist, Donatello; William II. of Nassau, Van Dyck; Holbein's Wife and -Children, Holbein; Madame Vigée Lebrun and Daughter, Lebrun; The Broken -Pitcher, Greuse; Portrait of Miss Alexander, Whistler; King of Rome, -Lawrence; Infanta Margarita, Maids of Honor, Don Baltasar Carlos on -Horseback, Velasquez; Child with Blond Hair, Fragonard. - - -BATES & GUILD COMPANY - -144 Congress St., Boston, Mass. - - - - -KLASSIKER DER KUNST - -The German Series of Art Monographs - - -Each volume contains practically the complete work of the painter to -whom it is devoted, with a biographical sketch (in German). We recommend -these books, on account of their completeness in the way of -illustrations, as supplementary to MASTERS IN ART. - -Prices given are net, and on mail orders postage must be added. The list -to date follows. New volumes are constantly being published, and prices -of these will be sent on request. - - I Raphael (275 pictures) $2.00, postage extra, 28 cents - II Rembrandt, Paintings (643 pictures) 3.50 " " 50 " - III Titian (274 pictures) 1.75 " " 28 " - IV Dürer (473 pictures) 2.50 " " 38 " - V Rubens (551 pictures) 3.00 " " 44 " - VI Velasquez (172 pictures) 1.75 " " 25 " - VII Michelangelo (169 pictures) 1.50 " " 26 " - VIII Rembrandt, Etchings (402 pictures) 2.00 " " 32 " - IX Schwind (1,265 pictures) 3.75 " " 56 " - X Correggio (196 pictures) 1.75 " " 25 " - XI Donatello (277 pictures) 2.00 " " 28 " - XII Uhde (285 pictures) 2.50 " " 34 " - XIII Van Dyck (537 pictures) 3.75 " " 48 " - XIV Memlinc (197 pictures) 1.75 " " 28 " - XV Thoma (874 pictures) 3.75 " " 52 " - XVI Mantegna (270 pictures) 2.00 " " 28 " - XVII Rethel (280 pictures) 2.25 " " 28 " - - -BATES & GUILD COMPANY - -144 CONGRESS STREET, BOSTON - - - - - - - - - -End of the Project Gutenberg EBook of Masters in Art, Part 32, v. 3, August, -1902: Giotto, by Anonymous - -*** END OF THIS PROJECT GUTENBERG EBOOK MASTERS IN ART, GIOTTO *** - -***** This file should be named 42952-8.txt or 42952-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/2/9/5/42952/ - -Produced by Juliet Sutherland, Steven Calwas and the Online -Distributed Proofreading Team at http://www.pgdp.net - - -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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