Giotto . r his expression the first stories * isindeterminate : it might refer to the whole series ofbas-reliefs nearest the ground, for there is a second seriesin the storey above; it might, equally, refer to the firstsubjects of the series. To insist on a strict reading ofhis words is to place the first interpretation wholly outof count; for the stories he speaks of were chiselled aswell as designed by Giotto, and it is indisputable thatthe series, as we know it, is not the work of one view, not seldom held, that all the designs andnone of the chiselling are Giottos, even if it shou
Giotto . r his expression the first stories * isindeterminate : it might refer to the whole series ofbas-reliefs nearest the ground, for there is a second seriesin the storey above; it might, equally, refer to the firstsubjects of the series. To insist on a strict reading ofhis words is to place the first interpretation wholly outof count; for the stories he speaks of were chiselled aswell as designed by Giotto, and it is indisputable thatthe series, as we know it, is not the work of one view, not seldom held, that all the designs andnone of the chiselling are Giottos, even if it should turnout to be just, is clearly not derivable from Ghibertistestimony. There remains the second interpretation :and it must be noted, that in his mention of AndreaPisano, Ghiberti corroborates this distinctly. Thegreatest part, he says, of those who were the Foundersof the Arts were cut by Andrea. There is a sayingthat Giotto chiselled the first two stories. In the sixth chapter of Mornings in Florence,. Photo, Alinarl] JABAL \_CampanileTo face p. 2J7 AS SCULPTOR AND ARCHITECT 207 Ruskin examines the bas-reliefs in some detail, andthough he is ignorant of Ghibertis evidence on thesubject, this very ignorance adds value to his criticism is, of course, not primarily technical: muchof his interpretation is fanciful, and some of it is he makes certain observations of great importance,and of a kind to carry with them a conviction of theirtruth. The first six subjects, he points out, dividethemselves into two sets of three. In grandeur ofconception, in concentration of purpose, no distinctionis to be drawn between them. All are worthy andcharacteristic of Giotto at his best. But there arenoticeable differences in workmanship. In the secondset the drapery sweeps in broader, softer, but less truefolds.* The handling is far more delicate, exquisitelysensitive to gradation over broad surfaces, scarcelyusing an incision of any depth, but in outline ; studiouslyre
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