Mornings in Florence

I am not sure if I rightly place or construe the phrase in the above inscription, "cujus sancte memorie bene acte;" but, in main purport, the legend runs thus: "This Galileo of the Galilei was, in his times, the head of philosophy and medicine; who also in the highest magistracy loved the republic marvellously; whose son, blessed in inheritance of his holy memory and well-passed and pious life, appointed this tomb for his father, for himself, and for his posterity."

There is no date; but the slab immediately behind it, nearer the western door, is of the same style, but of later and inferior work, and bears date—I forget now of what early year in the fifteenth century.

But Florence was still in her pride; and you may observe, in this epitaph, on what it was based. That her philosophy was studied together with useful arts, and as a part of them; that the masters in these became naturally the masters in public affairs; that in such magistracy, they loved the State, and neither cringed to it nor robbed it; that the sons honoured their fathers, and received their fathers' honour as the most blessed inheritance. Remember the phrase "vite pie bene dictus filius," to be compared with the "nos nequiores" of the declining days of all states,—chiefly now in Florence, France and England.

Thus much for the local interest of name. Next for the universal interest of the art of this tomb.

It is the crowning virtue of all great art that, however little is left of it by the injuries of time, that little will be lovely. As long as you can see anything, you can see—almost all;—so much the hand of the master will suggest of his soul.

And here you are well quit, for once, of restoration. No one cares for this sculpture; and if Florence would only thus put all her old sculpture and painting under her feet, and simply use them for gravestones and oilcloth, she would be more merciful to them than she is now. Here, at least, what little is left is true.

And, if you look long, you will find it is not so little. That worn face is still a perfect portrait of the old man, though like one struck out at a venture, with a few rough touches of a master's chisel. And that falling drapery of his cap is, in its few lines, faultless, and subtle beyond description.

And now, here is a simple but most useful test of your capacity for understanding Florentine sculpture or painting. If you can see that the lines of that cap are both right, and lovely; that the choice of the folds is exquisite in its ornamental relations of line; and that the softness and ease of them is complete,—though only sketched with a few dark touches,—then you can understand Giotto's drawing, and Botticelli's;—Donatello's carving and Luca's. But if you see nothing in this sculpture, you will see nothing in theirs, of theirs. Where they choose to imitate flesh, or silk, or to play any vulgar modern trick with marble—(and they often do)—whatever, in a word, is French, or American, or Cockney, in their work, you can see; but what is Florentine, and for ever great—unless you can see also the beauty of this old man in his citizen's cap,—you will see never.

There is more in this sculpture, however, than its simple portraiture and noble drapery. The old man lies on a piece of embroidered carpet; and, protected by the higher relief, many of the finer lines of this are almost uninjured; in particular, its exquisitely-wrought fringe and tassels are nearly perfect. And if you will kneel down and look long at the tassels of the cushion under the head, and the way they fill the angles of the stone, you will,—or may—know, from this example alone, what noble decorative sculpture is, and was, and must be, from the days of earliest Greece to those of latest Italy.

"Exquisitely sculptured fringe!" and you have just been abusing sculptors who play tricks with marble! Yes, and you cannot find a better example, in all the museums of Europe, of the work of a man who does not play tricks with it—than this tomb. Try to understand the difference: it is a point of quite cardinal importance to all your future study of sculpture.

I told you, observe, that the old Galileo was lying on a piece of embroidered carpet. I don't think, if I had not told you, that you would have found it out for yourself. It is not so like a carpet as all that comes to.

But had it been a modern trick-sculpture, the moment you came to the tomb you would have said, "Dear me! how wonderfully that carpet is done,—it doesn't look like stone in the least—one longs to take it up and beat it, to get the dust off."

Now whenever you feel inclined to speak so of a sculptured drapery, be assured, without more ado, the sculpture is base, and bad. You will merely waste your time and corrupt your taste by looking at it. Nothing is so easy as to imitate drapery in marble. You may cast a piece any day; and carve it with such subtlety that the marble shall be an absolute image of the folds. But that is not sculpture. That is mechanical manufacture.

No great sculptor, from the beginning of art to the end of it, has ever carved, or ever will, a deceptive drapery. He has neither time nor will to do it. His mason's lad may do that if he likes. A man who can carve a limb or a face never finishes inferior parts, but either with a hasty and scornful chisel, or with such grave and strict selection of their lines as you know at once to be imaginative, not imitative.

But if, as in this case, he wants to oppose the simplicity of his central subject with a rich background,—a labyrinth of ornamental lines to relieve the severity of expressive ones,—he will carve you a carpet, or a tree, or a rose thicket, with their fringes and leaves and thorns, elaborated as richly as natural ones; but always for the sake of the ornamental form, never of the imitation; yet, seizing the natural character in the lines he gives, with twenty times the precision and clearness of sight that the mere imitator has. Examine the tassels of the cushion, and the way they blend with the fringe, thoroughly; you cannot possibly see finer ornamental sculpture. Then, look at the same tassels in the same place of the slab next the west end of the church, and you will see a scholar's rude imitation of a master's hand, though in a fine school. (Notice, however, the folds of the drapery at the feet of this figure: they are cut so as to show the hem of the robe within as well as without, and are fine.) Then, as you go back to Giotto's chapel, keep to the left, and just beyond the north door in the aisle is the much celebrated tomb of C. Marsuppini, by Desiderio of Settignano. It is very fine of its kind; but there the drapery is chiefly done to cheat you, and chased delicately to show how finely the sculptor could chisel it. It is wholly vulgar and mean in cast of fold. Under your feet, as you look at it, you will tread another tomb of the fine time, which, looking last at, you will recognize the difference between the false and true art, as far as there is capacity in you at present to do so. And if you really and honestly like the low-lying stones, and see more beauty in them, you have also the power of enjoying Giotto, into whose chapel we will return to-morrow;—not to-day, for the light must have left it by this time; and now that you have been looking at these sculptures on the floor you had better traverse nave and aisle across and across; and get some idea of that sacred field of stone. In the north transept you will find a beautiful knight, the finest in chiselling of all these tombs, except one by the same hand in the south aisle just where it enters the south transept.

Examine the lines of the Gothic niches traced above them; and what is left of arabesque on their armour. They are far more beautiful and tender in chivalric conception than Donatello's St. George, which is merely a piece of vigorous naturalism founded on these older tombs. If you will drive in the evening to the Chartreuse in Val d'Ema, you may see there an uninjured example of this slab-tomb by Donatello himself; very beautiful; but not so perfect as the earlier ones on which it is founded. And you may see some fading light and shade of monastic life, among which if you stay till the fireflies come out in the twilight, and thus get to sleep when you come home, you will be better prepared for to-morrow morning's walk—if you will take another with me—than if you go to a party, to talk sentiment about Italy, and hear the last news from London and New York.

THE SECOND MORNING

THE GOLDEN GATE

To-day, as early as you please, and at all events before doing anything else, let us go to Giotto's own parish-church, Santa Maria Novella. If, walking from the Strozzi Palace, you look on your right for the "Way of the Beautiful Ladies," it will take you quickly there.

Do not let anything in the way of acquaintance, sacristan, or chance sight, stop you in doing what I tell you. Walk straight up to the church, into the apse of it;—(you may let your eyes rest, as you walk, on the glow of its glass, only mind the step, half way;)—and lift the curtain; and go in behind the grand marble altar, giving anybody who follows you anything they want, to hold their tongues, or go away.

You know, most probably, already, that the frescos on each side of you are Ghirlandajo's. You have been told they are very fine, and if you know anything of painting, you know the portraits in them are so. Nevertheless, somehow, you don't really enjoy these frescos, nor come often here, do you?

The reason of which is, that if you are a nice person, they are not nice enough for you; and if a vulgar person, not vulgar enough. But if you are a nice person, I want you to look carefully, to-day, at the two lowest, next the windows, for a few minutes, that you may better feel the art you are really to study, by its contrast with these.

On your left hand is represented the birth of the Virgin, On your right, her meeting with Elizabeth.

You can't easily see better pieces—nowhere more pompous pieces—of flat goldsmiths' work. Ghirlandajo was to the end of his life a mere goldsmith, with a gift of portraiture. And here he has done his best, and has put a long wall in wonderful perspective, and the whole city of Florence behind Elizabeth's house in the hill country; and a splendid bas-relief, in the style of Luca della Robbia, in St. Anne's bedroom; and he has carved all the pilasters, and embroidered all the dresses, and flourished and trumpeted into every corner; and it is all done, within just a point, as well as it can be done; and quite as well as Ghirlandajo could do it. But the point in which it just misses being as well as it can be done, is the vital point. And it is all simply—good for nothing.

Extricate yourself from the goldsmith's rubbish of it, and look full at the Salutation. You will say, perhaps, at first, "What grand and graceful figures!" Are you sure they are graceful? Look again and you will see their draperies hang from them exactly as they would from two clothes-pegs. Now, fine drapery, really well drawn, as it hangs from a clothes-peg, is always rather impressive, especially if it be disposed in large breadths and deep folds; but that is the only grace of their figures.

Secondly. Look at the Madonna, carefully. You will find she is not the least meek—only stupid,—as all the other women in the picture are.

"St. Elizabeth, you think, is nice"? Yes; "and she says, 'Whence is this to me, that the mother of my Lord should come to me?' really with a great deal of serious feeling?" Yes, with a great deal. Well, you have looked enough at those two. Now—just for another minute—look at the birth of the Virgin. "A most graceful group, (your Murray's Guide tells you,) in the attendant servants." Extremely so. Also, the one holding the child is rather pretty. Also, the servant pouring out the water does it from a great height, without splashing, most cleverly. Also, the lady coming to ask for St. Anne, and see the baby, walks majestically and is very finely dressed. And as for that bas-relief in the style of Luca della Robbia, you might really almost think it was Luca! The very best plated goods, Master Ghirlandajo, no doubt—always on hand at your shop.

Well, now you must ask for the Sacristan, who is civil and nice enough, and get him to let you into the green cloister, and then go into the less cloister opening out of it on the right, as you go down the steps; and you must ask for the tomb of the Marcheza Stiozzi Ridolfi; and in the recess behind the Marcheza's tomb—very close to the ground, and in excellent light, if the day is fine—you will see two small frescos, only about four feet wide each, in odd-shaped bits of wall—quarters of circles; representing—that on the left, the Meeting of Joachim and Anna at the Golden Gate; and that on the right, the Birth of the Virgin.

No flourish of trumpets here, at any rate, you think! No gold on the gate; and, for the birth of the Virgin—is this all! Goodness!—nothing to be seen, whatever, of bas-reliefs, nor fine dresses, nor graceful pourings out of water, nor processions of visitors?

No. There's but one thing you can see, here, which you didn't in Ghirlandajo's fresco, unless you were very clever and looked hard for it—the Baby! And you are never likely to see a more true piece of Giotto's work in this world.

A round-faced, small-eyed little thing, tied up in a bundle!

Yes, Giotto was of opinion she must have appeared really not much else than that. But look at the servant who has just finished dressing her;—awe-struck, full of love and wonder, putting her hand softly on the child's head, who has never cried. The nurse, who has just taken her, is—the nurse, and no more: tidy in the extreme, and greatly proud and pleased: but would be as much so with any other child.

Ghirlandajo's St. Anne (I ought to have told you to notice that,—you can afterwards) is sitting strongly up in bed, watching, if not directing, all that is going on. Giotto's lying down on the pillow, leans her face on her hand; partly exhausted, partly in deep thought. She knows that all will be well done for the child, either by the servants, or God; she need not look after anything.

At the foot of the bed is the midwife, and a servant who has brought drink for St. Anne. The servant stops, seeing her so quiet; asking the midwife, Shall I give it her now? The midwife, her hands lifted under her robe, in the attitude of thanksgiving, (with Giotto distinguishable always, though one doesn't know how, from that of prayer,) answers, with her look, "Let be—she does not want anything."

At the door a single acquaintance is coming in, to see the child. Of ornament, there is only the entirely simple outline of the vase which the servant carries; of colour, two or three masses of sober red, and pure white, with brown and gray.

That is all. And if you can be pleased with this, you can see Florence. But if not, by all means amuse yourself there, if you find it amusing, as long as you like; you can never see it.

But if indeed you are pleased, ever so little, with this fresco, think what that pleasure means. I brought you, on purpose, round, through the richest overture, and farrago of tweedledum and tweedledee, I could find in Florence; and here is a tune of four notes, on a shepherd's pipe, played by the picture of nobody; and yet you like it! You know what music is, then. Here is another little tune, by the same player, and sweeter. I let you hear the simplest first.

The fresco on the left hand, with the bright blue sky, and the rosy figures! Why, anybody might like that!

Yes; but, alas, all the blue sky is repainted. It was blue always, however, and bright too; and I dare say, when the fresco was first done, anybody did like it.

You know the story of Joachim and Anna, I hope? Not that I do, myself, quite in the ins and outs; and if you don't I'm not going to keep you waiting while I tell it. All you need know, and you scarcely, before this fresco, need know so much, is, that here are an old husband and old wife, meeting again by surprise, after losing each other, and being each in great fear;—meeting at the place where they were told by God each to go, without knowing what was to happen there.

"So they rushed into one another's arms, and kissed each other."

No, says Giotto,—not that.

"They advanced to meet, in a manner conformable to the strictest laws of composition; and with their draperies cast into folds which no one until Raphael could have arranged better."

No, says Giotto,—not that.

St. Anne has moved quickest; her dress just falls into folds sloping backwards enough to tell you so much. She has caught St. Joachim by his mantle, and draws him to her, softly, by that. St. Joachim lays his hand under her arm, seeing she is like to faint, and holds her up. They do not kiss each other—only look into each other's eyes. And God's angel lays his hand on their heads.

Behind them, there are two rough figures, busied with their own affairs,—two of Joachim's shepherds; one, bare headed, the other wearing the wide Florentine cap with the falling point behind, which is exactly like the tube of a larkspur or violet; both carrying game, and talking to each other about—Greasy Joan and her pot, or the like. Not at all the sort of persons whom you would have thought in harmony with the scene;—by the laws of the drama, according to Racine or Voltaire.

No, but according to Shakespeare, or Giotto, these are just the kind of persons likely to be there: as much as the angel is likely to be there also, though you will be told nowadays that Giotto was absurd for putting him into the sky, of which an apothecary can always produce the similar blue, in a bottle. And now that you have had Shakespeare, and sundry other men of head and heart, following the track of this shepherd lad, you can forgive him his grotesques in the corner. But that he should have forgiven them to himself, after the training he had, this is the wonder! We have seen simple pictures enough in our day; and therefore we think that of course shepherd boys will sketch shepherds: what wonder is there in that?

I can show you how in this shepherd boy it was very wonderful indeed, if you will walk for five minutes back into the church with me, and up into the chapel at the end of the south transept,—at least if the day is bright, and you get the Sacristan to undraw the window-curtain in the transept itself. For then the light of it will be enough to show you the entirely authentic and most renowned work of Giotto's master; and you will see through what schooling the lad had gone.

A good and brave master he was, if ever boy had one; and, as you will find when you know really who the great men are, the master is half their life; and well they know it—always naming themselves from their master, rather than their families. See then what kind of work Giotto had been first put to. There is, literally, not a square inch of all that panel—some ten feet high by six or seven wide—which is not wrought in gold and colour with the fineness of a Greek manuscript. There is not such an elaborate piece of ornamentation in the first page of any Gothic king's missal, as you will find in that Madonna's throne;—the Madonna herself is meant to be grave and noble only; and to be attended only by angels.

And here is this saucy imp of a lad declares his people must do without gold, and without thrones; nay, that the Golden Gate itself shall have no gilding that St. Joachim and St. Anne shall have only one angel between them: and their servants shall have their joke, and nobody say them nay!