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And so at the hour when northern France was lifting up, amid the tremendous vibration of the bells, sonorous poems of stone and glass that hover and sway over the cities, Italy was defining herself in the violent, straight-lined palaces by the quality which, much later, will define her Renaissance. Already, here in the Middle Ages, she was affirming the rights of the individual. The Romanesque architects of Italy often signed their works and all of Tuscany knew Nicola Pisano, the sculptor, when not one of the image makers of France had thought to tell his name. The Scaligers, erect on their war horses, were already stamping the dust. It was not possible for popular Christianity to take on the form in the Italian imagination which French sensibility had given it. Only few individuals could, without being consumed by it, embody in their lives the poetry of exalted sentiment which marked the character of the Christianity of the people. There is, indeed, a cathedral in Italy. But all the crowd could do was to cherish an ardent desire for it. It did not set its hand to the work. The body of the cathedral is Francis of Assisi. Its towers are Dante and Giotto.
And so at the hour when northern France was lifting up, amid the tremendous vibration of the bells, sonorous poems of stone and glass that hover and sway over the cities, Italy was defining herself in the violent, straight-lined palaces by the quality which, much later, will define her Renaissance. Already, here in the Middle Ages, she was affirming the rights of the individual. The Romanesque architects of Italy often signed their works and all of Tuscany knew Nicola Pisano, the sculptor, when not one of the image makers of France had thought to tell his name. The Scaligers, erect on their war horses, were already stamping the dust. It was not possible for popular Christianity to take on the form in the Italian imagination which French sensibility had given it. Only few individuals could, without being consumed by it, embody in their lives the poetry of exalted sentiment which marked the character of the Christianity of the people. There is, indeed, a cathedral in Italy. But all the crowd could do was to cherish an ardent desire for it. It did not set its hand to the work. The body of the cathedral is Francis of Assisi. Its towers are Dante and Giotto.
The
foundation of the century is violence. The feudal Church, here, weighs down
more heavily than in other places. The tiara and the miter are bought, when
they are not taken by assault. Through the fear of hell the priest obtains
obedience of the poor, among whom furious feeling obscures the sense of social
duty, even as it does with the priest himself. Remember with what rage the
tortures of the inferno are painted on the walls of the Canipo Santo of Pisa.
It was
by a reaction that gentleness was born. It was as absolute as the preceding
violence because, like the latter, it set fire to minds whose passion refused
to stop short of full surrender to their insatiable instinct. Francis of Assisi
was transported by love as other men were by the frenzy of killing. If he lived
under the rule of the men whose corruption and violence had provoked his
coming, it was because he felt in himself a gentleness, an invincible power,
capable of cleansing and reviving the world. When he caused the human spirit to
re-enter nature, from which primitive Christianity had torn it away, he
restored to it the nurture of its dignity and strength. His pantheism protested
against the Christian dualism which defines the discord between the soul and the
flesh, and brutally cuts off access to the great harmonies. Dying, he repented
of having practiced asceticism, of having ''offended his brother the
body." The profound and charming word! He was, in Italy, in the realm of
sentiment, what Abelard had been in France and what Roger Bacon was to be in
England in the domain of reason. The whole of pagan humanity, which he bound up
with the spirit of Christ, revived in his love for universal life. And this
love led him, where it had led the last thinkers of the pagan world, to the
inner negation of property, which is to say—to freedom.
He did
not preach moral sermons to the men of his time, to weary them without changing
them. With a poetry so passionate that, while he spoke, he trembled, he
laughed, he wept for joy, he told them that everything that was in him spoke of
love for what is on the earth. He never ceased loving. He fell asleep and awoke
under the trees. He called the beasts to him, he sang, warbled, and whistled
with them, he begged alms for them, and the beasts followed him. He asked
counsel of the crickets and they gave it to him, and he did not hesitate to
follow it. He did not know theology, but he left this prayer:
Praised be my Lord God, with all his
creatures, and especially our brother the sun, who brings us the day and who
brings us the light; fair is he, and he shines with a very great splendor. O
Lord, he signifies to us thee.
Praised be my Lord for our sister the moon,
and for the stars, the which he has set clear and lovely in heaven.
Praised be my Lord for our brother the
wind, and for air and clouds, calms and all weather, by which thou upholdest
life in all creatures.
Praised be my Lord for our sister water,
who is very serviceable to us, and humble and precious and clean.
Praised be my Lord for our brother fire,
through whom thou givest us light in the darkness; and he is bright and
pleasant, and very mighty and strong.
Praised be my Lord for our mother the
earth, the which doth sustain us, and bringest forth divers fruits and flowers
of many colors, and grass.
(Translation
of Maurice Francis Egan.)
When he
died, the cities of Umbria fought around his coffin for the possession of his
bones. Such is the understanding of men. No matter. Even this again was
passion. And he left in the piety of the multitudes and in the imagination of
the strong a memory so resplendent that it illuminated Italy until the end of
her evening. He restored to her the love of forms, and on that love she lived
for four hundred years.
The
greatest poet and the greatest painter of the Middle Ages drank from the well
of his memory. At one bound the towers sprang up from the nave. The one rough
and thickly growing, shot through by flames, full of the sound of the organ and
of thunder—is upheld by iron ribbing. The other is calm, a ray rising from the
world of the senses to follow in a straight course to the light of the spirit.
Dante and Giotto. The two faces of the Middle Ages. The Inferno and Paradise.
Above all, the two faces of Italy, loving and violent, as she is charming and
savage in her luminous bays and in her harsh rocks. It is the first of the
great contrasts which we shall find up to the end of her heroic life, contrasts
that are enveloped in the same harmony of passion and of intelligence; Masaccio
and Fra Angelico, Donatello and Gozzoli, Luca Signorelli and Ghirlandajo,
Michael Angelo and Raphael. The same heaven harkens to the voice of the prophet
and to the song of the shepherd as their sound rises to its sparkling spheres.
Giotto
is not a primitive, any more than Dante. He is the conclusion of a long effort.
If he revealed the language of forms to those who came a hundred years after
him, it is slightly in the manner in which Phidias can still reveal it to those
who love him enough to refuse to follow him. Guido, Cimabue, Duccio himself,
the noble Sienese who recovered, through Byzantine tradition, the real soul of
Greece and for the first time translated the drama of the Passion into terms of
humanity, had not been able to force open the hieratic mold offered by the
painters of Ravenna and the mosaicists sent by Constantinople. With Giotto
everything invades the forms at once—movement, life, intelligence, and the
great architectural calm. Because he was almost the first one to arrive, the
means he used were limited, but with them he was able to translate a perfectly
mature conception of the world and of life. His epoch permitted him to give
only one expression to them, and he gave it, completely and consciously, with
the freedom and the sobriety of the men who bear within them one of those
decisive moments that humanity sometimes expends several centuries in
attaining. He was one of those after whom dissociation and analysis must
inevitably begin again. Renaissance Italy is separated from him by an abyss,
and we shall have to wait until Raphael sketches and Rubens completes, for the
modern spirit, the synthesis that Giotto made for the mediaeval spirit.
He had
that genius for the symbol which mediaeval Christianity imposed on its poets
as, upon those who cultivate the soil. Nature imposes the rhythm of her
seasons. Since life for these poets symbolized the divine idea, they were
unable to find their symbol save in the material of life which was passionately
loved and passionately studied for what it contains and reveals. The symbol
came to Giotto in the attitudes of men, in the humble movement of the beasts
which grazed or hopped about at the level of the soil, in the prodigious blue
carpet that day spread across space, and in the innumerable fires that night revealed
there. Although he had within him only the potential forces accumulated by the
unsatisfied needs of the men who had gone before him, although practically no
one before his time had observed the life of forms, he could see at once that
all our desires, and all our dreams, and all that is divine in us comes to us
from our meeting with living forms, from the rough or charming places amid
which we have lived, from the majestic bodies which we have seen bowed with
weeping or raised again by hope, from the hands that supplicate, or that open,
or that part the long hair over faces attentive, dolorous, or grave. His sense
of all this was so pure that the image of it all, which he has made to live on
the walls of Assisi and of Padua, passes directly into us like a process of
life, without our having the time to perceive that the thing before us is
neither sculpture, in the exact sense of the word, since the profiles and the
groups, though disposed sculpturally, are projected on a painted surface—nor is
it painting, since the role of the values, of the reflections, and the passages
is barely suspected. This rudimentary form is traversed by a lightning flash of
the soul which instantly causes it to stand erect.
In
Italy he was, in himself, the incarnation of the Christianity of the people
which, in that period, covered with its thick tangled growth the field of
sensibility of the French crowds. Like them, he could easily feel the meaning
for everyone of the birth, the life, and the death of the Man whom the poor had
caused to be deified that they might the better recognize themselves in Him;
and he told the story in that language both of the intellect and the heart
which his race and his sky alone could dictate to him. In the ingenuousness of
his heart he found the loftiest drama of man. And as he saw only the essential
direction of the gestures of those who enacted that drama, he made them more
direct, more exact, and more true in order to bring its scenes before men who,
after his time, would need only to close their eyes to feel the drama living
within them.
It
comes over us gently, in calm and incessant waves. Like a leaf that has fallen
on the great waters of a river, we follow the movement of irresistible
gentleness which is within men and women and which causes them to prostrate
themselves around the dead hero that is in their hands as they support the
bloodless head and the broken feet and arms; it spreads like a steady light
over earth and heaven which become tranquil round about Him. No one before
Giotto, not even those who had turned to woman to speak their farewell through
her, no one had ever quite grasped her role in the inner life of humanity, no
one had ever seen her thus forever surrounded by passion, ceaselessly torn by
maternity and by love, and crucified at all times. Never had anyone said that
she, unlike the living gods that we nail to the cross, has not the consolation
of pride, that she allows herself to be tortured, and yet does not lose faith
in her executioners, who are her sons and the fathers of her sons, and that she
asks of them no other recompense than the right to suffer for them. The world
had not yet observed all that there is in a face where the eyes are hollow
under the agonized lines of the brow, in a head that rests on two knotted hands,
or in the gesture of two outstretched arms. This work is the greatest dramatic
poem in the history of painting. It is not to be described, it is not to be
explained, it is not to be evoked, it must be lived through. One must have
seen, at Assisi, how those burning harmonies cause the shadows to tremble, one
must have seen the heaps of murdered children, the mothers who die or
supplicate or gaze at the little limp body across their knees, one must have
seen the soldiers who look like butchers. And in Florence, one must have seen
the friends of Francis who bow over his death under the wave of sorrow of the
last moments. At Padua, one must have seen the kneeling women, those who open
their arms and those whose clasped hands make a cradle for the divine corpse,
and the Christ among the hideous men who insult Him, and the men who suffer and
the ones who pray and the ones who love. And when one has seen this, it is like
a strong and gentle wine that one bears away within him forever.
Giotto
had picked up the echo of French art in the illuminations in the books, and had
certainly met, in Italy, masons and image makers from the banks of the Seine.
The son of the old sculptor of Pisa, Giovanni, who came but a short time before
him, had touched him by his Nativities, full of animation and tenderness, where
one sees the enchantment of the actors in the scene as they hear the cry of the
child, as they see the beasts cropping the grass, and as they surprise life at
its dawn with the charmed mother who bends over the cradle. Giovanni had left
him speechless with his scenes of murder, his crucifixions, and his massacres
of the innocents, dramas so burning and so full of movement that they seemed to
fill the stone with their passion and to hurl it in gusts of flame before the
spectator. He had roused him to enthusiasm by the surety of his language, as
powerful and flexible as a long sword that one bends double and that flashes
lightning as it springs back. Through the Sienese painters, he had got back to
Ravenna, where, before the splendor of the polychrome of the shining mosaics,
he had surmised, beyond Byzantium, the calm of the Panathenaic processions that
still took their course around the Parthenon. He had seen the architecture of
antiquity at Rome, at Naples, and at Assisi, where Cavallini, the painter,
brought to him the tradition of the Roman mosaicists. Standing before the
frescoes of Cimabue, that were still fresh, with their blue and the gold that
reddened in the glow of the torches, he had worked in the darkness of the lower
church where all the mystic skies have accumulated in the plaster their azure,
their twilights, and the stars of their nights. The line of the mountains had
called to him everywhere, likewise the bays and men. Behold those figures that
stand out, pure and with a single movement, those harps and those violins that
are played upon, those palms that are waved, those banners that are bowed, and
those noble groups around the beds where there is a death or a birth. Something
is quivering there that the Greeks did not know, a sadness in the mouths, a
gentleness in the eyes, the confidence that man for a moment had in man and in
the hope that suffering might cease. Something shines there that the Middle
Ages of the Occident no longer knew, a re-echoing of forms in other forms, a
harmony of movements that answer one another, a line which by its rhythmic
undulation connects the torsos which bend over with others that are prostrate
and still others that stand erect.
I
cannot, for my part, imagine a man more intelligent than Giotto. And I am sure
that this intelligence is nothing else than the progressive and logical
refining of the most direct thought and of the most unstudied emotion. When he
had seen how his friend died, and had seen his wife giving birth, or his child
suffering, he knew the spontaneous organization among the attitudes of those
who weep or those who act in and about the drama, all of them having the drama
itself as the sole center of attraction. Without effort, as it seems, and to
express this drama and the circumstances of it directly and naturally, the
living masses obey the secret laws that have presided over the harmony of the
groups since the beginning of time. It is because each one of the beings who
takes part therein acts according to the character of his sentiment which he
contributes to the more general character of the ensemble—the artistic, or if
you will, metaphysical character that reproduces the mysterious eurhythmy of
the worlds with an instinctive, musical, and yet close fidelity. Beside the old
Florentine master, Raphael seems to have perceived the mere externals of
action, Michael Angelo gives the impression of a desperate effort toward that
perfect equilibrium which, in Giotto, is an essential function; Rubens seems to
force into theatrical attitudes the inner movement that arranges and
distributes; and Rembrandt, at times, seems to be seeking effects. The order
that all of them feverishly pursue in the sudden intuitions, the tempests, the
revolts, or the sustained tension of the spirit enters into Giotto with the
emotion itself, and he acquires an architectural and plastic character through
the harmonious meeting of the mind and the heart. And, considered in this way,
the "composition" of Giotto is perhaps the greatest miracle in the
history of painting. I say "miracle," because a miracle is the most
spontaneous realization in action of the desire that is most inaccessible in
the mind. These clasped hands, these fingers that clutch at the breast, these
bodies kneeling or arising or half-bowed or erect, this progressive building up
in steps of human forms, all the outer attributes of the despair, of the
supplication, of the adoration, and of the prayer that make up this pathetic
work enter like a flood into the unity of thought to demonstrate the
well-defined accord of our moral requirements with our aesthetic needs. A
powerful and contagious melody runs through and sways all the violent actions.
. . This poet of sorrow possessed the joy that belongs to the epochs of life in
which everything reaches a climax and unites and agrees in all minds, so that
it may one day comfort those who will seek the traces of these minds, whatever
the faith and the life of the seekers, whatever the cause of their suffering
and the form of their hope. It was not Giotto who brought about the unity of
his work: it was the unity of the time that created him. And Unity, which is a
hymn, raises us above tears. Giotto does not weep over the Christ or over
woman, nor do we, as we look at his work. With Giotto we are in the presence of
an unspeakable gentleness, an unspeakable hope. He understands, he bends over,
he reaches out a strong hand, he lifts up the man who has fallen, and, to
sustain him and carry him along, he intones a magnificent chant; his great severe
line undulates, rises, descends and reascends, like a voice.
Profoundly
Italian though his idealistic, dramatic, and decorative genius, and containing,
although he epitomized only a single moment of Italy, the whole Italy that was
to come, even fallen Italy, the universal quality of humanity that Giotto
possessed brings him into communion with all the heroes of painting, through
the piety with which he welcomed life, through the passionate feeling he had
for the burdens that it laid upon him, and through the divine desire that
caused him to transfigure the world and support the celestial blue of the
half-opened paradise on the grave human accents of the reds, the greens, and
the blacks. . . His hope never rose higher than his courage as a man. On the day
when he re-assembled, around the crucified Jesus, angels half emerging from
heaven on their wings made up of rays of light, he recovered the supreme
symbol, that Aeschylus had imagined, to fortify our courage when he saw in
flight around Prometheus the swarm of the Oceanides.
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