MADONNA, CIMABUE
(RUCELLAI CHAPEL, SANTA MARIA NOVELLA, FLORENCE)
Their beautiful work could only have come from men of profoundest faith, but also it could not have come from those who were ignorant of the basis of what they accepted on faith. In other words, there was a mental training with regard to some of the sublimest truths of life and its significance, the creation of a Christian philosophy of life, that made the workman see clearly the great truths of religion and so be able to illustrate them by his handiwork. Education of a higher order than this has never been conceived of, and the very lack of tedious formality in it only made it all the more effectual in action.
Other duties were involved in membership in the guild. All the members were bound to attend church services regularly and to perform what is known as their religious duties at periodic intervals, that is, the rule of the guild required them to go to mass on Sundays and holy days, to abstain from manual labor on such days unless there was absolute necessity for it, and to go to confession and communion several times a year. Besides they were bound to contribute to the support of such of their fellow-members as were sick and unable to work or as had been injured. A very interesting phase of this duty toward sick members existed at least in some parts of the country. A workman was supposed to pass one night at certain intervals on his turn, in helping to nurse a fellow-workman who was seriously hurt or who was very ill. It was considered that the family were quite worn out enough with the care of the sick man during the day, and so one of his brother guildsmen came to relieve them of this duty at night. It is a custom that is still maintained in certain country places but which of course has passed out of use entirely in our unsympathetic city life. In a word, there was a thorough education not only in the life work that made for wages and family support, but also in those precious social duties that make for happiness and contentment in life.
VIII
GREAT ORIGINS IN PAINTING. [Footnote 13]
[Footnote 13: Most of this chapter is taken from the work on Italian painting (La Peinture Italienne depuis les origines jusqu'a la fin du xv Siecle, par Georges Lafenestre, Paris Ancienne Maison Quantin Libraries-Imprimeries Reunies, May & Motteroz, Directeurs, rue Saint-Benoit. Nouvelle Edition), which forms one of the series of text books for instruction in art at L'Ecole Des Beaux-Arts—the famous French Government Art School in Paris. It may be said that this collection of art manuals is recognized as an authority on all matters treated of, having been crowned by the Academie Des Beaux-Arts with the prize Bordin. There is no better source of information with regard to the development of the arts and none which can be more readily consulted nor with more assurance as to the facts and opinions exposed.]
At the commencement of the Thirteenth Century the movement of emancipation in every phase of thought and life in Italy went on apace with an extraordinary ardor. After a very serious struggle the Italian republics were on the point of forcing the German Empire to recognize them. Everywhere in the first enthusiasm of their independence which had been achieved by valiant deeds and aspirations after liberty as lofty as any in modern times, the cities, though united in confederations they were acting as independent rivals, brought to all enterprises, lay or religious foundations, commercial or educational institutions, a wonderful youthful activity and enterprise. The papacy allied with them favored this movement in its political as well as its educational aspects and strengthened the art movement of the time. Christianity under their guidance, by the powerful religious exaltation which it inspired in the hearts of all men, became a potent factor in all forms of art. From Pope Innocent III to Boniface VIII probably no other series of Popes have been so misunderstood and so misrepresented by subsequent generations, as certainly the Popes of no other century did so much to awaken the enthusiasm of Christians for all modes of religious development, and be it said though credit for this is [{139}] only too often refused them, also for educational, charitable and social betterment.
The two great church institutions of the time that were destined to act upon the people more than any others were the Franciscan and Dominican orders—the preachers and the friars minor, who were within a short time after their formation to have such deep and widespread influence on all strata of society. Both of these orders from their very birth showed themselves not only ready but anxious to employ the arts as a means of religious education and for the encouragement of piety. Their position in this matter had an enormous influence on art and on the painters of the time. The Dominicans, as became their more ambitious intellectual training and their purpose as preachers of the word, demanded encyclopedic and learned compositions; the Franciscans asked for loving familiar scenes such as would touch the hearts of the common people. Both aided greatly in helping the artist to break away from the old fashioned formalism which was no longer sufficient to satisfy the new ardors of men's souls. In this way they prepared the Italian imagination for the double revolution which was to come.
It was the great body of legends which grew up about St. Francis particularly, all of them bound up with supreme charity for one's neighbor, with love for all living creatures even the lowliest, with the tenderest feelings for every aspect of external nature, which appealed to the painters as a veritable light in the darkness of the times. It was especially in the churches founded by the disciples of "the poor little man of Assisi," that the world saw burst forth before the end of the century, the first grand flowers of that renewal of art which was to prove the beginning of modern art history. It is hard to understand what would have happened to the painters of the time without the spirit that was brought into the world by St. Francis' beautifully simple love for all and every phase of nature around him. This it was above all that encouraged the return to nature that soon supplanted Oriental formalism. It was but due compensation that the greatest works of the early modern painters should have been done in St. Francis' honor. Besides this the most important factor in art was the revival of the thirst for knowledge, which arose among the more intellectual portions of the [{140}] communities and developed an enthusiasm for antiquity which was only a little later to become a veritable passion.