Mornings in Florence. Ruskin John
and the angels of God coming down from it.
These three things Giotto taught, and men believed, in his day. Of which Faith you shall next see brighter work; only before we leave the cloister, I want to sum for you one or two of the instant and evident technical changes produced in the school of Florence by this teaching.
One of quite the first results of Giotto's simply looking at things as they were, was his finding out that a red thing was red, and a brown thing brown, and a white thing white—all over.
The Greeks had painted anything anyhow,—gods black, horses red, lips and cheeks white; and when the Etruscan vase expanded into a Cimabue picture, or a Tafi mosaic, still,—except that the Madonna was to have a blue dress, and everything else as much gold on it as could be managed,—there was very little advance in notions of colour. Suddenly, Giotto threw aside all the glitter, and all the conventionalism; and declared that he saw the sky blue, the tablecloth white, and angels, when he dreamed of them, rosy. And he simply founded the schools of colour in Italy—Venetian and all, as I will show you to-morrow morning, if it is fine. And what is more, nobody discovered much about colour after him.
But a deeper result of his resolve to look at things as they were, was his getting so heartily interested in them that he couldn't miss their decisive moment. There is a decisive instant in all matters; and if you look languidly, you are sure to miss it. Nature seems always, somehow, trying to make you miss it. "I will see that through," you must say, "with out turning my head"; or you won't see the trick of it at all. And the most significant thing in all his work, you will find hereafter, is his choice of moments. I will give you at once two instances in a picture which, for other reasons, you should quickly compare with these frescos. Return by the Via delle Belle Donne; keep the Casa Strozzi on your right; and go straight on, through the market. The Florentines think themselves so civilized, forsooth, for building a nuovo Lung-Arno, and three manufactory chimneys opposite it: and yet sell butchers' meat, dripping red, peaches, and anchovies, side by side: it is a sight to be seen. Much more, Luca della Robbia's Madonna in the circle above the chapel door. Never pass near the market without looking at it; and glance from the vegetables underneath to Luca's leaves and lilies, that you may see how honestly he was trying to make his clay like the garden-stuff. But to-day, you may pass quickly on to the Uffizii, which will be just open; and when you enter the great gallery, turn to the right, and there, the first picture you come at will be No. 6, Giotto's "Agony in the garden."
I used to think it so dull that I could not believe it was Giotto's. That is partly from its dead colour, which is the boy's way of telling you it is night:—more from the subject being one quite beyond his age, and which he felt no pleasure in trying at. You may see he was still a boy, for he not only cannot draw feet yet, in the least, and scrupulously hides them therefore; but is very hard put to it for the hands, being obliged to draw them mostly in the same position,—all the four fingers together. But in the careful bunches of grass and weeds you will see what the fresco foregrounds were before they got spoiled; and there are some things he can understand already, even about that Agony, thinking of it in his own fixed way. Some things,—not altogether to be explained by the old symbol of the angel with the cup. He will try if he cannot explain them better in those two little pictures below; which nobody ever looks at; the great Roman sarcophagus being put in front of them, and the light glancing on the new varnish so that you must twist about like a lizard to see anything. Nevertheless, you may make out what Giotto meant.
"The cup which my Father hath given me, shall I not drink it?" In what was its bitterness?—thought the boy. "Crucifixion?—Well, it hurts, doubtless; but the thieves had to bear it too, and many poor human wretches have to bear worse on our battlefields. But"—and he thinks, and thinks, and then he paints his two little pictures for the predella.
They represent, of course, the sequence of the time in Gethsemane; but see what choice the youth made of his moments, having two panels to fill. Plenty of choice for him—in pain. The Flagellation—the Mocking—the Bearing of the Cross;—all habitually given by the Margheritones, and their school, as extremes of pain.
"No," thinks Giotto. "There was worse than all that. Many a good man has been mocked, spitefully entreated, spitted on, slain. But who was ever so betrayed? Who ever saw such a sword thrust in his mother's heart?"
He paints, first, the laying hands on Him in the garden, but with only two principal figures,—Judas and Peter, of course; Judas and Peter were always principal in the old Byzantine composition,—Judas giving the kiss—Peter cutting off the servant's ear. But the two are here, not merely principal, but almost alone in sight, all the other figures thrown back; and Peter is not at all concerned about the servant, or his struggle with him. He has got him down,—but looks back suddenly at Judas giving the kiss. What!—you are the traitor, then—you!
"Yes," says Giotto; "and you, also, in an hour more."
The other picture is more deeply felt, still. It is of Christ brought to the foot of the cross. There is no wringing of hands or lamenting crowd—no haggard signs of fainting or pain in His body. Scourging or fainting, feeble knee and torn wound,—he thinks scorn of all that, this shepherd-boy. One executioner is hammering the wedges of the cross harder down. The other—not ungently—is taking Christ's red robe off His shoulders. And St. John, a few yards off, is keeping his mother from coming nearer. She looks down, not at Christ; but tries to come.
And now you may go on for your day's seeings through the rest of the gallery, if you will—Fornarina, and the wonderful cobbler, and all the rest of it. I don't want you any more till to-morrow morning.
But if, meantime, you will sit down,—say, before Sandro Botticelli's "Fortitude," which I shall want you to look at, one of these days; (No. 1299, innermost room from the Tribune,) and there read this following piece of one of my Oxford lectures on the relation of Cimabue to Giotto, you will be better prepared for our work to-morrow morning in Santa Croce; and may find something to consider of, in the room you are in. Where, by the way, observe that No. 1288 is a most true early Lionardo, of extreme interest: and the savants who doubt it are—never mind what; but sit down at present at the feet of Fortitude, and read.
Those of my readers who have been unfortunate enough to interest themselves in that most profitless of studies—the philosophy of art—have been at various times teased or amused by disputes respecting the relative dignity of the contemplative and dramatic schools.
Contemplative, of course, being the term attached to the system of painting things only for the sake of their own niceness—a lady because she is pretty, or a lion because he is strong: and the dramatic school being that which cannot be satisfied unless it sees something going on: which can't paint a pretty lady unless she is being made love to, or being murdered; and can't paint a stag or a lion unless they are being hunted, or shot, or the one eating the other.
You have always heard me—or, if not, will expect by the very tone of this sentence to hear me, now, on the whole recommend you to prefer the Contemplative school. But the comparison is always an imperfect and unjust one, unless quite other terms are introduced.
The real greatness or smallness of schools is not in their preference of inactivity to action, nor of action to inactivity. It is in their preference of worthy things to unworthy, in rest; and of kind action to unkind, in business.
A Dutchman can be just as solemnly and entirely contemplative of a lemon pip and a cheese paring, as an Italian of the Virgin in Glory. An English squire has pictures, purely contemplative, of his favorite horse—and a Parisian lady, pictures, purely contemplative, of the back and front of the last dress proposed to her in La Mode Artistique. All these works belong to the same school of silent admiration;—the vital question concerning them is, "What do you admire?"
Now therefore, when you hear me so often saying that the Northern races—Norman and Lombard,—are active, or dramatic, in their art; and that the Southern races—Greek and Arabian,—are contemplative, you ought instantly to ask farther, Active in what? Contemplative of what? And the answer is, The active art—Lombardic,—rejoices in hunting and fighting; the contemplative art—Byzantine,—contemplates the mysteries of the Christian faith.
And at first, on such answer, one would be apt at once to conclude—All grossness must be in the Lombard;