Part 12 (1/2)

3 _Original labour_

Much poorer, and intentionally so For the myth of the creation of huth, and shows supre the first peasant state of life, race of woman by no means her conspicuous quality She even walks aardly; so the sculptor He knows its form perfectly--but its perspective, not quite yet

The trees stiff and stunted--they also needing culture Their fruit dropping at present only into beasts' h, and carefully enough, at the three previous sculptures, you cannot but feel that the hand here is utterly changed The drapery sweeps in broader, softer, but less true folds; the handling is far radation over broad surfaces--scarcely using an incision of any depth but in outline; studiously reserved in appliance of shadow, as a thing precious and local--look at it above the puppy's head, and under the tent

This is assuredly painter's work, not mere sculptor's I have no doubt whatever it is by the own hand of the shepherd-boy of Fesole Ci_ with Etrurian point,) one of his sheep upon a stone These, on the central foundation-stone of his tower he engraves, looking back on the fields of life: the time soon near for hi like this inform without one touch of chisel for hair, or incision for eye, except the dog barking at Poverty in the great fresco of assisi

Take the lens and look at every piece of the work fro which would only have been enjoyed by a painter, and which all great painters do intensely enjoy--the _fringe_ of the tent, [Footnote: ”I think Jabal's tent is s show a curved ragged edge like leather near the ground” (Mr Caird) The edge of the opening is still more characteristic, I think] and precise insertion of its point in the angle of the hexagon, prepared for by the archaic masonry indicated in the oblique joint above; [Footnote: Prints of these photographs which do not show the on are quite valueless for study] architect and painter thinking at once, and _doing_ as they thought

I gave a lecture to the Eton boys a year or two ago, on little , which is yet raph The lecture is partly published--somewhere, but I can't refer to it

5 _Jubal_

Still Giotto's, though a little less delighted in; but with exquisite introduction of the Gothic of his oer See the light surface sculpture of a

Note also the painter's freehand working of the co, not square; see central flower

6 _Tubal Cain_

Still Giotto's, and entirely exquisite; finished with no less care than the shepherd, to mark the vitality of this art to hu on the hinged door [Footnote: Pointed out to e identical with this one at Pelago the other day,--the anvil resting on a tree-stump: the same fire, bellows, and implements; the door in two parts, the upper part like a shutter, and used for the exposition of finished work as a sign of the craft; and I saw upon it the same finished work of the same shape as in the bas-relief--a spade and a hoe”] For subtlety of execution, note the texture of wooden block under anvil, and of its iron hoop

The worknity of labour yet spoken by thoughtfulessential to say ain, more or less imitative of Giotto's work

8 _Astronoether The hair and drapery bad; the face expressive, but blunt in cutting; the small upper heads, necessarily little estive of grace in coreat ; the lion's head, with leaves in its ears, is quite ugly; and by co the work of the s of the s of his, in 5, you may for ever know cons are quite hard and con: Capricorn, Aquarius, and Pisces, on the broad heavenly belt; Taurus upside down, Gelobe

I think the whole a restoration of the original panel, or else an inferior workn, which the next piece is, with less question

9 _Building_

The larger figure, I am disposed finally to think, represents civic power, as in Lorenzetti's fresco at Siena The extreuarantee of their originality; it is the se work that make me suspect the 8th for a restoration

10 _Pottery_

Very grand; with ain

The _tiled_ roof projecting in the shadow above, protects the first Cera some kind of wicker or reed-bound water-vessel The Potter's servant explains to thees of the new invention I can't make any conjecture about the author of this piece

11 _Riding_

Again Andrea Pisano's, it see up of the dress behind the shoulders, in 3 and 2 The head is grand, having nearly an Athenian profile: the loss of the horse's fore-leg preventsof the entire action I _