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Under masters, then, of this Byzantine race, Niccola is working at Pisa. Among the spoils brought by her fleets from Greece, is a sarcophagus, with Meleager's hunt on it, wrought "con bellissima maniera," says Vasari. You may see that sarcophagus any of you who go to Pisa; touch it, for it is on a level with your hand; study it, as Niccola studied it, to your mind's content.
Giry, burst into song again "'Saint, unclose thy portals holy and accord the bliss, to a mortal bending lowly, of a pardon-kiss. And then M. Maniera again hears the voice in his right ear, saying, this time, 'Ha, ha! Julie wouldn't mind according a kiss to Isidore! Then he turns round again, but, this time, to the left; and what do you think he sees?
Though lecturers still hold up the Renaissance as an example of the happy and stagnant state of the arts in a golden age when rebels were unknown, their pupils are aware that Giotto, the father of Renaissance painting, broke with the maniera greca at least as sharply as Cézanne did with the nineteenth-century convention; that in the art of the fifteenth century we have a revolt against Giottesque which must grievously have wounded many pious souls; and that Raphael himself stood, in his day, for a new movement.
That he was jealous of these younger rivals, appears from the fact that he brought an action against Michael Angelo for having called his style stupid and antiquated. In the celebrated phrase cast at him by the blunt and scornful master of a new art-mystery , we discern the abrupt line of division between time-honoured tradition and the maniera moderna of the full Renaissance.
"Cronaca, you are becoming sententious," said the printer; "Fra Girolamo's preaching will spoil you, and make you take life by the wrong handle. Trust me, your cornices will lose half their beauty if you begin to mingle bitterness with them; that is the maniera Tedesca which you used to declaim against when you came from Rome.
Before these masters appeared, and before the influence we are about to refer to was felt in Europe, some efforts were made by unassisted genius to rise beyond the conventionalities of the time; in the latter half of the thirteenth century, Cimabue already surpassed his modern Greek preceptors; and his disciple Giotto was considered so natural and original, that his style could not be referred to any existing school, but was called the maniera di Giotto.
That night, M. Maniera and his lady, the jewelers in the Rue Mogador, were sitting in the front of the box, with their great friend, M. Isidore Saack, sitting behind Mme. Maniera. Mephistopheles was singing" Mme. Julie's not playing at sleeping! His wife happened to be called Julie. So. M. Maniera turns to the right to see who was talking to him like that. Nobody there!
M. Maniera, who was big and strong, like you, M. Richard, gave two blows to M. Isidore Saack, who was small and weak like M. Moncharmin, saving his presence. There was a great uproar. People in the house shouted, 'That will do! Stop them! He'll kill him! Then, at last, M. Isidore Saack managed to run away."
Is not that a greater difference, think you, than one of mere decadence? This 'maniera goffa e sproporzionata' of Vasari is not, then, merely the wasting away of former leonine strength into thin rigidities of death? There is another change going on at the same time, body perhaps subjecting itself to spirit. I will not teaze you with farther questions. The facts are simple enough.
"Did the ghost tell you what he said in M. Maniera's right ear?" asked M. Moncharmin, with a gravity which he thought exceedingly humorous. "No, sir, it was M. Maniera himself. So " "But you have spoken to the ghost, my good lady?" "As I'm speaking to you now, my good sir!" Mme. Giry replied. "And, when the ghost speaks to you, what does he say?" "Well, he tells me to bring him a footstool!"
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