The Old Masters and Their Pictures | Page 5

and clinging draperies, while your eyes have
been familiar with well-modelled frames and limbs and flowing lines.
But we must look deeper if we would not be slaves to superficial
prettiness, or even superficial correctness; we must try to go into the
spirit of a painting and value it more in proportion as it teaches art's
noblest lesson--the divinity of the divine, the serenity of utmost
strength, the single-heartedness of passion.
I have only space to tell you of three or four of the famous works of
Giotto. First, his allegories in the great church, in honour of St Francis,

at Assisi, in relation to which, writing of its German architect, an
author says: 'He built boldly against the mountain, piling one church
upon another; the upper vast, lofty, and admitting through its broad
windows the bright rays of the sun: the lower as if in the bowels of the
earth--low, solemn, and almost shutting out the light of day. Around the
lofty edifice grew the convent, a vast building, resting upon a long line
of arches clinging to the hill-sides. As the evening draws nigh, casting
its deep shadows across the valley, the traveller beneath gazes upwards
with feelings of wonder and delight at this graceful arcade supporting
the massy convent; the ancient towers and walls of the silent town
gathering around, and the purple rocks rising high above--all still
glowing in the lingering sunbeams--a scene scarcely to be surpassed in
any clime for its sublime beauty.' The upper church contains frescoes
wonderfully fresh, by Cimabue, of Scriptural subjects, and frescoes of
scenes from the life vowed to poverty of St Francis. In the lower church,
over the tomb of St Francis, are the four masterpieces with which we
have to do. These are the three vows of the order figuratively
represented. Mark the fitness and grandeur of two of the figures, the
suggestion of which has been attributed to Dante, the woman Chastity
seated beyond assault in her rocky fortress, and Obedience bowing the
neck to curb and yoke. The fourth fresco pictures the saint who died,
'covered by another's cloak cast over his wasted body eaten with sores,'
enthroned and glorified amidst the host of Heaven.
I have chosen the second example of the art of Giotto because you may
with comparative ease see it for yourselves. It is in the National Gallery,
London, having belonged to the collection of the late Samuel Rogers. It
is a fragment of an old fresco which had been part of a series
illustrating the life of John the Baptist in the church of the Carmine,
Florence, a church which was destroyed by fire in 1771. The fragment
in the National Gallery has two fine heads of apostles bending
sorrowfully over the body of St John. Though it is not necessary to do
it, in strict justice, because good work rises superior to all accidents of
comparison as well as accidents of circumstance, one must remember
in regarding this, the stilted and frozen figures and faces, which, before
Giotto broke their bonds and inspired them, had professed to tell the
Bible's stories.

The third instance I have chosen to quote is Giotto's portrait of Dante
which was so strangely lost for many years. The portrait occurs in a
painting, the first recorded performance of Giotto's, in which he was
said to have introduced the likeness of many of his contemporaries, on
the wall of the Palazzo dell' Podestà or Council Chamber of Florence.
During the banishment of Dante the wall was plastered or
white-washed over, through the influence of his enemies, and though
believed to exist, the picture was hidden down to 1840, when, after
various futile efforts to recover it, the figures were again brought to
light.
This portrait of Dante is altogether removed from the later portraits of
the indignant and weary man, of whom the Italian market-women said
that he had been in Hell as well as in exile. Giotto's Dante on the walls
of the Council Chamber is a noble young man of thirty, full of
ambitious hope and early distinction. The face is slightly pointed, with
broad forehead, hazel eyes, straight brows and nose, mouth and chin a
little projecting. The close cloak or vest with sleeves, and cap in folds
hanging down on the shoulder, the hand holding the triple fruit, in
prognostication of the harvest of virtue and renown which was to be so
bitter as well as so glorious, are all in keeping and have a majesty of
their own. The picture is probably known by engravings to many of my
readers.
The last example of Giotto's, is the one which of all his works is most
potent and patent in its beauty, and has struck, and, in so far as we can
tell, will