The Old Masters and Their Pictures | Page 3

themselves; they worked in iron as well as in gold and silver, and they were sculptors and architects as well as painters; engineers also, so far as engineering in the construction of roads, bridges, and canals, was known in those days. The Greek knowledge of anatomy was well-nigh lost, so that drawing was incorrect and form bad. The idea of showing degrees of distance, and the management of light and shade, were feebly developed. Even the fore-shortening of figures was so difficult to the old Italian painters that they could not carry it into the extremities, and men and women seem as though standing on the points of their toes. Landscape-painting did not exist farther than that a rock or a bush, or a few blue lines, with fishes out of proportion prominently interposed, indicated, as on the old stage, that a desert, a forest, or a sea, was to play its part in the story of the picture. So also portrait-painting was not thought of, unless it occurred in the likeness of a great man belonging to the time and place of the painter, who was the donor of some picture to chapel or monastery, or of the painter himself, alike introduced into sacred groups and scenes; for pictures were uniformly of a religious character, until a little later, when they merged into allegorical representations, just as one remembers that miracle plays passed into moral plays before ordinary human life was reproduced. Until this period, what we call dramatic expression in making a striking situation, or even in bringing the look of joy or sorrow, pleasure or pain, into a face, had hardly been attained.
Perhaps you will ask, what merit had the old paintings of the middle ages to compensate for so many great disadvantages and incongruities? Certainly before the time I have reached, they have, with rare exceptions, little merit, save that fascination of pathos, half-comic, half-tragic, which belongs to the struggling dawn of all great endeavours, and especially of all endeavours in art. But just at this epoch, art, in one man, took a great stride, began, as I shall try to show, to exert an influence so true, deep, and high that it extends, in the noblest forms, to the present day, and much more than compensates to the thoughtful and poetic for a protracted train of technical blunders and deficiencies.
Giotto, known also as Magister Joctus, was born in 1276 near Florence. I dare say many have heard one legend of him, and I mean to tell the legends of the painters, because even when they are most doubtful they give the most striking indications of the times and the light in which painters and their paintings were regarded by the world of artists, and by the world at large; but so far as I have heard this legend of Giotto has not been disproven. The only objection which can be urged against it, is that it is found preserved in various countries, of very different individuals--a crowning objection also to the legend of William Tell. Giotto was a shepherd boy keeping his father's sheep and amusing himself by drawing with chalk on a stone the favourites of the flock, when his drawings attracted the attention of a traveller passing from the heights into the valley. This traveller was the well-born and highly-esteemed painter Cimabue, who was so delighted with the little lad's rough outlines, that getting the consent of Giotto's father, Cimabue adopted the boy, carried him off to the city of Florence, introduced him to his studio, and so far as man could supplement the work of God, made a painter of the youthful genius. I may add here a later legend of Giotto. Pope Boniface VIII, requested specimens of skill from various artists with the view to the appointment of a painter to decorate St Peter's. Giotto, either in impatient disdain, or to show a careless triumph of skill, with one flourish of his hand, without the aid of compass, executed a perfect circle in red chalk, and sent the circle as his contribution to the specimens required by the Pope. The audacious specimen was accepted as the most conclusive, Giotto was chosen as the Pope's painter for the occasion, and from the incident arose the Italian proverb 'round as the o of Giotto.' Giotto was the friend of Dante, Petrarch, and Boccaccio, especially of Dante, to whom the grandeur of some of the painter's designs has been vaguely enough attributed. The poet of the 'Inferno' wrote of his friend:
'......... Cimabue thought To lord it over painting's field; and now The cry is Giotto's, and his name eclipsed.'
Petrarch bequeathed in his will a Madonna by Giotto and mentioned it as a rare treasure of art. Boccaccio wrote a merry anecdote of his comrade