But I am chiefly puzzled by the two attributed to Giotto, because they are much coarser than those which seem to me so plainly his on the west side, and slightly different in workmanship—with much that is common to both, however, in the casting of drapery and mode of introduction of details. The difference may be accounted for partly by haste or failing power, partly by the artist's less deep feeling of the importance of these merely symbolic figures, as compared with those of the Fathers of the Arts; but it is very notable and embarrassing notwithstanding, complicated as it is with extreme resemblance in other particulars.
You cannot compare the subjects on the tower itself; but of my series of photographs take 6 and 21, and put them side by side.
I need not dwell on the conditions of resemblance, which are instantly visible; but the difference in the treatment of the heads is incomprehensible. That of the Tubal Cain is exquisitely finished, and with a painter's touch; every lock of the hair laid with studied flow, as in the most beautiful drawing. In the 'Sculpture,' it is struck out with ordinary tricks of rapid sculptor trade, entirely unfinished, and with offensively frank use of the drill hole to give picturesque rustication to the beard.
Next, put 22 and 5 back to back. You see again the resemblance in the earnestness of both figures, in the unbroken arcs of their backs, in the breaking of the octagon moulding by the pointed angles; and here, even also in the general conception of the heads. But again, in the one of Painting, the hair is struck with more vulgar indenting and drilling, and the Gothic of the picture frame is less precise in touch and later in style. Observe, however,—and this may perhaps give us some definite hint for clearing the question,—a picture-frame would be less precise in making, and later in style, properly, than cusped arches to be put under the feet of the inventor of all musical sound by breath of man. And if you will now compare finally the eager tilting of the workman's seat in 22 and 6, and the working of the wood in the painter's low table for his pots of colour, and his three-legged stool, with that of Tubal Cain's anvil block; and the way in which the lines of the forge and upper triptych are in each composition used to set off the rounding of the head, I believe you will have little hesitation in accepting my own view of the matter—namely, that the three pieces of the Fathers of the Arts were wrought with Giotto's extremest care for the most precious stones of his tower; that also, being a sculptor and painter, he did the other two, but with quite definite and wilful resolve that they should be, as mere symbols of his own two trades, wholly inferior to the other subjects of the patriarchs; that he made the Sculpture picturesque and bold as you see it is, and showed all a sculptor's tricks in the work of it; and a sculptor's Greek subject, Bacchus, for the model of it; that he wrought the Painting, as the higher art, with more care, still keeping it subordinate to the primal subjects, but showed, for a lesson to all the generations of painters for evermore,—this one lesson, like his circle of pure line containing all others,—'Your soul and body must be all in every touch.'
I can't resist the expression of a little piece of personal exultation, in noticing that he holds his pencil as I do myself: no writing master, and no effort (at one time very steady for many months), having ever cured me of that way of holding both pen and pencil between my fore and second finger; the third and fourth resting the backs of them on my paper.
As I finally arrange these notes for press, I am further confirmed in my opinion by discovering little finishings in the two later pieces which I was not before aware of. I beg the masters of High Art, and sublime generalization, to take a good magnifying glass to the 'Sculpture' and look at the way Giotto has cut the compasses, the edges of the chisels, and the keyhole of the lock of the toolbox. For the rest, nothing could be more probable, in the confused and perpetually false mass of Florentine tradition, than the preservation of the memory of Giotto's carving his own two trades, and the forgetfulness, or quite as likely ignorance, of the part he took with Andrea Pisano in the initial sculptures. I now take up the series of subjects at the point where we broke off, to trace their chain of philosophy to its close. To Geometry, which gives to every man his possession of house and land, succeed 21, Sculpture, and 22, Painting, the adornments of permanent habitation. And then, the great arts of education in a Christian home. First—
23. Grammar, or more properly Literature altogether, of which we have already seen the ancient power in the Spanish Chapel series; then,
24. Arithmetic, central here as also in the Spanish Chapel, for the same reasons; here, more impatiently asserting, with both hands, that two, on the right, you observe-and two on the left-do indeed and for ever make Four. Keep your accounts, you, with your book of double entry, on that principle; and you will be safe in this world and the next, in your steward's office. But by no means so, if you ever admit the usurers Gospel of Arithmetic, that two and two make Five. You see by the rich hem of his robe that the asserter of this economical first principle is a man well to do in the world.
25. Logic. The art of Demonstration. Vulgarest of the whole series, far too expressive of the mode in which argument is conducted by those who are not masters of its reins.
26. Song.