GIOTTO AND THE PIGS.
One day, when Giotto, the painter, was taking his Sunday walk, in his best attire, with a party of friends, at Florence, and was in the midst of a long story, some pigs passed suddenly by; and one of them, running between the painter’s legs, threw him down. When he got on his legs again, instead of swearing a terrible oath at the pig, on the Lord’s-day, as a graver man might have done, he observed, laughing, “People say these beasts are stupid, but they seem to me to have some sense of justice; for I have earned several thousands of crowns with their bristles, but I never gave one of them even a ladleful of soup in my life.”
HOW WILKIE BECAME A PAINTER.
Sir John Sinclair, happening once to dine in company with Wilkie, asked, in the course of conversation, if any particular circumstance had led him to adopt his profession. Sir John inquired, “Had your father, mother, or any of your relations a turn for painting? or what led you to follow that art?” To which Wilkie replied, “The truth is, Sir John, that you made me a painter.”—“How, I?” exclaimed the Baronet; “I never had the pleasure of meeting you before.” Wilkie then gave the following explanation:—“When you were drawing up the Statistical Account of Scotland, my father, who was a clergyman in Fife, had much correspondence with you respecting his parish, in the course of which you sent him a coloured drawing of a soldier, in the uniform of your Highland Fencible Regiment. I was so delighted with the sight, that I was constantly drawing copies of it; and thus, insensibly, I was transformed into a painter.”
CIMABUE AND GIOTTO.
In the year 1300, Giovani Cimabue and Giotto, both of Florence, were the first to assert the natural dignity and originality of art; and the story of these illustrious friends is instructive and romantic. The former was a gentleman by birth and scholarship, and brought to his art a knowledge of the poetry and sculpture of Greece and Rome. The latter was a shepherd; when the inspiration of art fell upon him, he was watching his flocks among the hills; and his first attempts in art were to draw his sheep and goats upon rocks and stones. It happened that Cimabue, who was then high in fame, observed the sketches of the gifted shepherd; entered into conversation with him; heard from his own lips his natural notions of the dignity of art; and was so much charmed by his compositions and conversation, that he carried him to Florence, and became his close and intimate friend and associate. They found Italian painting rude in form, without spirit, and without sentiment. They let out their own hearts fully in their compositions, and to this day their works are highly esteemed for grave dignity of character, and for originality of conception. Of these great Florentines, Giotto, the shepherd, is confessedly the more eminent: in him we see the dawn, or rather the sunrise, of the fuller light of Raphael.