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The keys of Saint Peter were brandished against the universal sceptre of the Suabians; cultivated intellect was matched, and often successfully, against brutal violence. The Pope was the rival of Caesar. The first great painting in the Academy to return from this digression is the famous Madonna of Cimabue. This picture is astonishing.
Immediately Cimabue saw a chance to make an artist and he asked the little shepherd if he would like to be taught art in his studio. Giotto was overjoyed at the opportunity, and at once he left the mountains for the town, the shepherd's crook for the brush. In those days the studio of one like Cimabue was really a workshop.
Fierce as the age in which he lived, says Lanzi, his Madonnas were without beauty, and his angels, even in the same picture, were all in the same attitude. To Cimabue succeeded his pupil, the famous Giotto, who died in 1337. With him the ruggedness of his master's manner was softened down, and considerable advances made towards a better style.
We went for the second time, this morning, to the Academy of Fine Arts, and I looked pretty thoroughly at the Pre-Raphaelite pictures, few of which are really worth looking at nowadays. Cimabue and Giotto might certainly be dismissed, henceforth and forever, without any detriment to the cause of good art.
While according all due honour, and probably more, to Cimabue as the originator of modern painting, it is to his pupil, GIOTTO, that we are accustomed to look for the first developments of its possibilities. Had Cimabue's successors been as conservative as his instructors, we might still be not very much better off than if he had never lived.
This seems to detract in some degree from his eulogies of Cimabue; but it is to the last sentence that our attention should be directed, which implies that in profiting by the master's example he succeeded in extending the possibilities of the new art beyond its first limits.
But in modern Italy, leaving out of view the age of Cimabue, and even that of Giotto, and dating from the institution of the Academy of St. Luke at Florence, it required a hundred and fifty years to produce a Michael Angelo, a Raphael, and a Bramante." Mr.
"I made signs to you, my dear Abbe," said he, "but you didn't see me. Ah! how superb was the expression of that dark woman who fell rigid beside the platform with her arms outstretched. She reminded me of a masterpiece of one of the primitives, Cimabue, Giotto, or Fra Angelico. And the others, those who devoured the chair arms with their kisses, what suavity, beauty, and love!
"I made signs to you, my dear Abbe," said he, "but you didn't see me. Ah! how superb was the expression of that dark woman who fell rigid beside the platform with her arms outstretched. She reminded me of a masterpiece of one of the primitives, Cimabue, Giotto, or Fra Angelico. And the others, those who devoured the chair arms with their kisses, what suavity, beauty, and love!
But about the middle of the thirteenth century, and contemporary with Cimabue, we find the first indication of a departure, even in the mosaics, from the lifeless, formal type of Byzantine art. The earliest example of a more animated treatment is, perhaps, the figure in the apsis of St. John Lateran. Below the cross is represented, of a small size, the New Jerusalem guarded by an archangel.
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