Part 3 (2/2)
The men whose names I hold in my left hand are all sculptors; the ht are all painters
You will infallibly suspect ht!--I chose sireatest ed them by their dates; I put them into three conclusive pennons; and behold what follows!
56 Farther, note this: in the 1300 group, four out of the five men are architects as well as sculptors and painters In the 1400 group, there is one architect; in the 1500, none And theof that is, that in 1300 the arts were all united, and duly led by architecture; in 1400, sculpture began to assuated all, and, at last, betrayed all From which, with much other collateral evidence, you ht to be practiced together, and that they naturally are so I long since asserted that no man could be an architect as not a sculptor As I learned more and more of my business, I perceived also that no man could be a sculptor as not an architect;--that is to say, who had not knowledge enough, and pleasure enough in structural law, to be able to build, on occasion, better than a mere builder And so, finally, I now positively aver to you that nobody, in the graphic arts, can be quite rightly a !
57 The junction of the three arts in nified in these words of Chaucer Love's Garden,
Everidele Enclosed was, and walled well With high walls, embatailled, Portrayed without, and well entayled With inal is better still, and gives four arts in unison:--
Quant suis avant un pou ale Et vy un vergier grant et le, Bien cloz de bon mur batillie Pourtrait dehors, et entaillie Ou (for au) maintes riches escriptures
Read also carefully the description of the teht's Tale Contemporary French uses 'entaille' even of solid sculpture and of the living for, ivory carving, ork, and iron-work, no less than stone sculpture:--
Pimalion, uns entaillieres Pourtraians en fuz[K] et en pierres, En mettaux, en os, et en cire, Et en toute autre matire
58 I made a little sketch, when last in Florence, of a subject which will fix the idea of this unity of the arts in your minds At the base of the tower of Giotto are ts of hexagonal panels, filled with bas-reliefs Some of these are by unknown hands,--some by Andrea Pisano, some by Luca della Robbia, two by Giotto hi the art of Painting
You have in that bas-relief one of the foundation-stones of the most perfectly built tower in Europe; you have that stone carved by its architect's own hand; you find, further, that this architect and sculptor was the greatest painter of his tireatest poet; and you have represented by hia,--as sy
59 In which representation, please note how carefully Giotto shows you the tabernacles or niches, in which the paintings are to be placed Not independent of their frames, these panels of his, you see!
Have you ever considered, in the early history of painting, how important also is the history of the fra your very best consideration For the frame was made before the picture The paintedis ht of before it The fresob Giotto is ht of these;--who built?
Questions taking us far back before the birth of the shepherd boy of Fesole--questions not to be answered by history of painting only, still less of painting in _Italy_ only
60 And in pointing out to you this fact, I may once for all prove to you the essential unity of the arts, and show you how impossible it is to understand one without reference to another Which I wish you to observe all themisled, the data, of unequaled value, which have been collected by Crowe and Cavalcaselle, in the book which they have called a History of Painting in Italy, but which is in fact only a dictionary of details relating to that history Such a title is an absurdity on the face of it For, first, you can noin Italy than you can write the history of the south wind in Italy The sirocco does indeed produce certain effects at Genoa, and others at Rome; but ould be the value of a treatise upon the winds, which, for the honor of any country, assumed that every city of it had a native sirocco?
But, further,--iist who should set hiive an account of the south wind, but take no notice of the north!
And, finally, suppose an atteive you an account of either wind, but none of the seas, or mountain passes, by which they were nourished, or directed
61 For instance, I ale andBut observe how many references to local circumstances it involves There are three raving is the art of countries possessing roith forest;treasures of silver and gold And the style of a stone engraver is forraver under the eaves of larch cottages; the style of a s Do you suppose I could rightly explain to you the value of a single touch on brass by Finiguerra, or on box by Bewick, unless I had grasp of the great laws of climate and country; and could trace the inherited sirocco or traht to which the souls and bodies of theof 1300 there is a dark strong line in the center, against which you read the na our Florentine Dunciad, or History of Fools, can we possibly begin with a better day than All Fools' Day? On All Fools' Day--the first, if you like better so to call it, of the ned the docu Arnolfo a citizen of Florence, and in 1310 he dies, chief master of the works of the cathedral there To this e, out of three volues each
But lower down in , (not put there because of any inferiority, but by order of chronology,) you will see a name sufficiently familiar to you--that of Giotto; and to hies, under the ie 243 of their volume, that ”in his hands, art in the Peninsula became entitled for the first time to the name of Italian”
63 Art becaive a perspective--or what they call such,--of the upper church of assisi, as if that were merely an accidental occurrence of blind walls for Giotto to paint on!
But how came the upper church of assisi there? How came it to be vaulted--to be aisled? How came Giotto to be asked to paint upon it?
The art that built it, good or bad, must have been an Italian one, before Giotto He could not have painted on the air Let us see how his panels were made for hiroup--Arnolfo, has always hitherto been called 'Arnolfo di Lapo;'--Arnolfo the son of Lapo
Modern investigators cohtedly, to tell us--Arnolfo was _not_ the son of Lapo
In these days you will have half a dozen doctors, writing each a long book, and the sense of all will be,--Arnolfo wasn't the son of Lapo
Much good et of that!
Well, you will find the fact to be, there was a great Northman builder, a true son of Thor, who came down into Italy in 1200, served the order of St Francis there, built assisi, taught Arnolfo how to build, with Thor's ha his name uncertain--Jacopo--Lapo--nobody knohat Arnolfo always recognizes this man as his true father, who put the soul-life into him; he is known to his Florentines always as Lapo's Arnolfo
That, or soet at the literal liuise theain and again in different ways by all manner of people;--the literalness of theain;--then the fools co side upwards, or else, say there never was a fact at all Nothing delights a true blockhead so ative;--to show that everybody has been wrong Fancy the delicious sensation, to an e for a moment that he has emptied everybody else's head as well as his own! nay, that, for once, his own hollow bottle of a head has had the best of other bottles, and has been _first_ e
65 Hold, then, steadily the first tradition about this Arnolfo That his real father was called ”Cambio” matters to you not a straw That he never called himself Cambio's Arnolfo--that nobody else ever called hinificant fact to you In era you will find some account of the noble habit of the Italian artists to call the their master as their true father If not the name of theowed the character of their life to that They rarely take their own family name: sometimes it is not even knohen best known, it is unfareat Pisan artists, for instance, never bear any other na the other five-and-twenty names in my list, not above six, I think, the two Gerino, (Peter of Perugia,) Luini, (Bernard of Luino,) Quercia, (Jaio,) are named from their native places nobody would have understood me if I had called Giotto, 'Ambrose Bondone;' or Tintoret, Robusti; or even Raphael, Sanzio Botticelli is named from his master; Ghiberti frona, who _did_, for a wonder, name himself from his father, Andrea Cione, of Florence, has been always called 'Angel' by everybody else; while Arnolfo, who never naainst his will
But, I again beg of you, keep to the old story For it represents, however inaccurately in detail, clearly in sureat master of Gered the entire form of Italian architecture by his touch So that while Niccola and Giovanni Pisano are still virtually Greek artists, experi Gothic forms, Arnolfo and Giotto adopt the entire Gothic ideal of forable as the li of the relations of my twenty-five ether to the art before thereat masters of _Christian_ art