Mornings in Florence

by John Ruskin

You are not to think, therefore, the difference between the colour of the upper and lower frescos unintentional. The life of St. Francis was always full of joy and triumph. His death, in great suffering, weariness, and extreme humility. The tradition of him reverses that of Elijah; living, he is seen in the chariot of fire; dying, he submits to more than the common sorrow of death.

There is, however, much more than a difference in colour between the upper and lower frescos. There is a difference in manner which I cannot account for; and above all, a very singular difference in skill,—indicating, it seems to me, that the two lower were done long before the others, and afterwards united and harmonized with them. It is of no interest to the general reader to pursue this question; but one point he can notice quickly, that the lower frescos depend much on a mere black or brown outline of the features, while the faces above are evenly and completely painted in the most accomplished Venetian manner:—and another, respecting the management of the draperies, contains much interest for us.

Giotto never succeeded, to the very end of his days, in representing a figure lying down, and at ease. It is one of the most curious points in all his character. Just the thing which he could study from nature without the smallest hindrance, is the thing he never can paint; while subtleties of form and gesture, which depend absolutely on their momentariness, and actions in which no model can stay for an instant, he seizes with infallible accuracy.

Not only has the sleeping Pope, in the right hand lower fresco, his head laid uncomfortably on his pillow, but all the clothes on him are in awkward angles, even Giotto's instinct for lines of drapery failing him altogether when he has to lay it on a reposing figure. But look at the folds of the Soldan's robe over his knees. None could be more beautiful or right; and it is to me wholly inconceivable that the two paintings should be within even twenty years of each other in date—the skill in the upper one is so supremely greater. We shall find, however, more than mere truth in its casts of drapery, if we examine them.

They are so simply right, in the figure of the Soldan, that we do not think of them;—we see him only, not his dress But we see dress first, in the figures of the discomfited Magi. Very fully draped personages these, indeed,—with trains, it appears, four yards long, and bearers of them.

The one nearest the Soldan has done his devoir as bravely as he could; would fain go up to the fire, but cannot; is forced to shield his face, though he has not turned back. Giotto gives him full sweeping breadth of fold; what dignity he can;—a man faithful to his profession, at all events.

The next one has no such courage. Collapsed altogether, he has nothing more to say for himself or his creed. Giotto hangs the cloak upon him, in Ghirlandajo's fashion, as from a peg, but with ludicrous narrowness of fold. Literally, he is a 'shut-up' Magus—closed like a fan. He turns his head away, hopelessly. And the last Magus shows nothing but his back, disappearing through the door.

Opposed to them, in a modern work, you would have had a St. Francis standing as high as he could in his sandals, contemptuous, denunciatory; magnificently showing the Magi the door. No such thing, says Giotto. A somewhat mean man; disappointing enough in presence-even in feature; I do not understand his gesture, pointing to his forehead—perhaps meaning, 'my life, or my head, upon the truth of this.' The attendant monk behind him is terror-struck; but will follow his master. The dark Moorish servants of the Magi show no emotion—will arrange their masters' trains as usual, and decorously sustain their retreat.

Lastly, for the Soldan himself. In a modern work, you would assuredly have had him staring at St. Francis with his eyebrows up, or frowning thunderously at his Magi, with them bent as far down as they would go. Neither of these aspects does he bear, according to Giotto. A perfect gentleman and king, he looks on his Magi with quiet eyes of decision; he is much the noblest person in the room—though an infidel, the true hero of the scene, far more than St. Francis. It is evidently the Soldan whom Giotto wants you to think of mainly, in this picture of Christian missionary work.

He does not altogether take the view of the Heathen which you would get in an Exeter Hall meeting. Does not expatiate on their ignorance, their blackness, or their nakedness. Does not at all think of the Florentine Islington and Pentonville, as inhabited by persons in every respect superior to the kings of the East; nor does he imagine every other religion but his own to be log-worship. Probably the people who really worship logs—whether in Persia or Pentonville—will be left to worship logs to their hearts' content, thinks Giotto. But to those who worship God, and who have obeyed the laws of heaven written in their hearts, and numbered the stars of it visible to them,—to these, a nearer star may rise; and a higher God be revealed.