Giotto . ters the restored S. Francis out of count, we findagain in his companion that the later version is themore vivid and bold : at Assisi he is little more thana shadow to his master; here he is individualised withcare; his consternation is apparent; apparent also, asRuskin observes, that his devotion is the stronger it is in the characterisation of the Soldan that thequality of this later work comes finally to the test: acertain stern fierceness of authority, such as mightobviously be associated with a tyrant of barbarians, was hismain feature at Assisi; G
Giotto . ters the restored S. Francis out of count, we findagain in his companion that the later version is themore vivid and bold : at Assisi he is little more thana shadow to his master; here he is individualised withcare; his consternation is apparent; apparent also, asRuskin observes, that his devotion is the stronger it is in the characterisation of the Soldan that thequality of this later work comes finally to the test: acertain stern fierceness of authority, such as mightobviously be associated with a tyrant of barbarians, was hismain feature at Assisi; Giotto shows now a new respectfor the civilisation of Persia, and represents its leaderas a perfect gentleman and king,* above all, as onewho recognises the nature of the test to which his faithis called: that it is not an occasion for obedience inhis priests, or command in him, but for witness of akind which no force of authority can claim. He pointshis priests their duty with the utmost gentleness, prob-. ?»^ ^ g o •^ Q ^ ^ ^ r^ <p o w X h wo P3 U< \^ ? t THE CHAPEL OF THE BARDI 175 ably regarding their failure to accomplish it as anexposure of the persons rather than of the creed. Ithas been necessary to remark all this, in order to showthat the harmonious effect, which, on a superficial read-ing, gives an appearance of sameness to these paintings,has in fact been obtained without the sacrifice of anypart of that realistic force which distinguished Giottosearlier work. The artists grasp of his subject is widerthan ever before, his feeling deeper and more intense:but he now holds all his powers in a balance so delicatelyconstructed, that without constraint he can adjust hiswork precisely to every condition to be fulfilled ; and theresult is a classic style, classic, not by imitation, butbecause it adapts itself spontaneously to the principleswhich all great art obeys. The fifth fresco—representing the Death ofS. Francis—may be said to have achieved its reputation,
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