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Next came Giotto, Cimabue's pupil, born about 1267, whom we have met already as an architect, philosopher, and innovator; and in the second picture in this room, from Giotto's brush, we see life really awakening. The Madonna is vivifying; the Child is nearer childhood; we can believe that here are veins with blood in them. Moreover, whereas Cimabue's angels brought masonry, these bring flowers.
From these little woodcuts, groups of saints round the Cross, with Giotto's tower and Brunellesco's dome in the distance, pictures of Fathers of the Church or ancient poets seated at desks in neatly panelled closets always with their globes, books, and pot of lilies, and a vista of cloisters; or battles between chaste viragos, in flying Botticellian draperies, and slim, naked Cupids; from such frontispieces Domenico passed on to larger woodcuts, destined to illustrate books never printed, or perhaps, like the so-called playing cards of Mantegna and certain prints of Robetta, to be bought as cheap ornaments for walls.
Ah, then, come round this way." The mercurial barber seized the arm of the stranger, and led him to a point, on the south side of the piazza, from which he could see at once the huge dark shell of the cupola, the slender soaring grace of Giotto's campanile, and the quaint octagon of San Giovanni in front of them, showing its unique gates of storied bronze, which still bore the somewhat dimmed glory of their original gilding.
Oh, my dear Lady Macleod, there is a 'Holy Family' of Giotto's " So it went on; and Macleod grew sick at heart to think of the impression that this funereal day must have had on the mind of his fair stranger. But as they sat at dinner that evening, Hamish came in and said a few words to his master. Instantly Macleod's face lighted up, and quite a new animation came into his manner.
Jesus draws the perfect circle, like Giotto's O, while all other lives show some faltering of hand, and consequent irregularity of outline.
Three treasures in particular does this little temple hold: Giotto's "Coronation of the Virgin"; the della Robbia altar relief, and Mino da Fiesole's tabernacle. Giotto's picture, which is signed, once stood as altar-piece in the Baroncelli chapel of the church proper.
You may have observed the geometrical exactitude of the broad and thin coloured lines round the edges of a common cup and saucer, and speculated upon the means by which it was arrived at. A girl drew those lines, a girl with a hand as sure as Giotto's, and no better tools than a couple of brushes and a small revolving table called a whirler.
Val Prinsep, who also received it from Mr. Browning. 'At Florence lived a curious old savant who in his day was well known to all who cared for art or history. I fear now few live who recollect Kirkup. He was quite a mine of information on all kinds of forgotten lore. It was he who discovered Giotto's portrait of Dante in the Bargello.
Giotto persevered, and not only became an original painter, at a time when even Cimabue hardly made figures appear human in outline, but he designed the great Campanile in Florence, and he saw it partly finished before he died. The Campanile is a wonder of architecture, but Giotto's Madonnas had to be improved upon, as certainly as he had improved upon those of Cimabue.
They were in pretty good preservation, and, in fact, I am wrong in comparing them to Giotto's works, inasmuch as there must have been nearly two hundred years between the two artists. The chapel was furnished with curiously carved old chairs, and looked surprisingly venerable within its little precinct.
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