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And, that, if ever soul rose to heaven from the dead body, his soul did so rise, is equally sure. And, finally, Giotto believed that all he was called on to represent, concerning St.
When the Pope saw the picture he was so pleased with it that he wished to have it for his own chapel; then Giotto confessed what he had done, and showed the body of the dead man. The Pope was so angry that he threatened the painter with the same death, upon which Giotto brushed the picture over so that it seemed to be destroyed.
And Giotto, in particular, gave better attitudes to his figures, and revealed the first effort to give a certain liveliness to the heads and folds to his draperies, which drew more towards nature than those of the men before him; and he discovered, in part, something of the gradation and foreshortening of figures.
Rage, or Furor, occurs subordinately in other places. It appears to me very strange that neither Giotto nor Spenser should have given any representation of the restrained Anger, which is infinitely the most terrible; both of them make him violent. SECTION LXIX. Fifth side. Avarice. An old woman with a veil over her forehead, and a bag of money in each hand.
They had crossed the bridge, and were headed for Porta Romana, the handmaiden trotting in their tracks, when at a corner Gerald stopped, and, as if to change the subject, or to regain favor by a felicitous suggestion, said: "Do you remember my telling you of a painting I came upon in a little old church on this street? Scuola di Giotto, they call it, but the thing is undoubtedly Sienese.
She looked about the busy room; she noticed anew the sleeping men and the toiling Giotto; and suddenly she was interested. She was wrenched, as it were, from her world into his. She felt in the heart of a great tragedy of life. And all the time she kept saying over and over again: "His arm was broken! his head bloody! and I wasn't here! I wasn't at his side!"
You may know quite exactly the difference between Giotto and Simon Martini, between a Ferrarese and a Venetian, between Praxiteles and Scopas; and yet be ignorant of the meaning which any of these might have in your life, and unconscious of the changes they might work in your being.
Yes, I shall look over the near olives across the valley to the hill of cypresses, to the poplars beside Arno that tremble with joy; and first I shall see Torre del Gallo and then S. Miniato, that strange and beautiful place, and at last my eyes will rest on the city herself, beautiful in the mist of morning: first the tower of S. Croce, like a tufted spear; then the tower of Liberty, and that was built for pride; and at last, like a mysterious rose lifted above the city, I shall see the dome, the rosy dome of Brunellesco, beside which, like a slim lily, pale, immaculate as a pure virgin, rises the inviolate Tower of the Lowly, that Giotto built for God.
Leaving the simple religion which had occupied the followers of Giotto for a century, and the simple naturalism which had grown out of it, a thing of birds and flowers only, he sought inspiration in what to him were works of the modern world, the writings of Dante and Boccaccio, and in new readings of his own of classical stories: or, if he painted religious incidents, painted them with an undercurrent of original sentiment, which touches you as the real matter of the picture through the veil of its ostensible subject.
It is as natural for the old to be prejudiced as for the young to be presumptuous; and, in the change of centuries, each generation has something to judge of for itself. But this scene, on which Giotto has dwelt with so great force, represents, not the child's assertion of his independence, but his adoption of another Father.
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