Anecdotes of Painters, Engravers, Sculptors and Architects, and Curiosities of Art - Shearjashub Spooner (best fiction books to read .TXT) 📗

[A] Stigmata, signifies the five wounds of the Saviour impressed by himself on the persons of certain saints, male and female, in reward for their sanctity and devotion to the service.

Boniface VIII., desirous of decorating St. Peter's church with some paintings, having heard of the extraordinary talents of Giotto, despatched one of his courtiers to Tuscany, to ascertain the truth, as to his merits, and to procure designs from other artists for his approbation and selection. Vasari says, "The messenger, when on his way to visit Giotto, and to enquire what other good masters there were in Florence, spoke first with many artists in Siena—then, having received designs from them, he proceeded to Florence, and repaired one morning to the workshop where Giotto was occupied with his labors. He declared the purpose of the Pope, and the manner in which that pontiff desired to avail himself of his assistance, and finally requested to have a drawing that he might send it to his holiness. Giotto, who was very courteous, took a sheet of paper and a pencil dipped in a red color; then resting his elbow on his side to form a sort of compass, with one turn of the hand, he drew a circle so perfect and exact that it was a marvel to behold. This done, he turned smiling to the courtier, saying, 'There is your drawing.' 'Am I to have nothing more than this?' enquired the latter, conceiving himself to be jested with. 'That is enough and to spare,' replied Giotto, 'send it with the rest, and you will see if it will not be recognized.' The messenger, unable to obtain anything more, went away very ill satisfied, and fearing that he had been fooled. Nevertheless, having despatched the other drawings to the Pope, with the names of those who had done them, he sent that of Giotto also, relating the mode in which he had made his circle, without moving his arm and without compass; from which the Pope, and such of the courtiers as were well versed in the subject, perceived how far Giotto surpassed all the other painters of his time. This incident becoming known, gave rise to the proverb still used in relation to people of dull wits, 'In sei più tondo che l'O di Giotto,' (round as Giotto's O,) the significance of which consists in the double meaning of the word tondo, which is used in the Tuscan for slowness of intellect, and slowness of comprehension, as well as for an exact circle. The proverb besides has an interest from the circumstance which gave it birth."

Giotto was immediately invited to Rome by the Pope, who received him with distinction, and commissioned him to paint a large picture in the sacristy of St. Peter's, with five others in the church, representing subjects from the life of Christ, which gave so much satisfaction to the pontiff, that he commanded 600 gold ducats to be paid to the artist, "besides conferring on him so many favors," says Vasari, "that there was talk of them throughout Italy."

Giotto, about to paint a picture of the Crucifixion, induced a poor man to suffer himself to be bound to a cross, under the promise of being set at liberty in an hour, and handsomely rewarded for his pains. Instead of this, as soon as Giotto had made his victim secure, he seized a dagger, and, shocking to tell, stabbed him to the heart! He then set about painting the dying agonies of the victim to his foul treachery. When he had finished his picture, he carried it to the Pope; who was so well pleased with it, that he resolved to place it above the altar of his own chapel. Giotto observed, that, as his holiness liked the copy so well, he might perhaps like to see the original. The Pope, shocked at the impiety of the idea, uttered an exclamation of surprise. "I mean," added Giotto, "I will show you the person whom I employed as my model in this picture, but it must be on condition that your holiness will absolve me from all punishment for the use which I have made of him." The Pope promised Giotto the absolution for which he stipulated, and accompanied the artist to his workshop. On entering, Giotto drew aside a curtain which hung before the dead man, still stretched on the cross, and covered with blood.

The barbarous exhibition struck the pontiff with horror; he told Giotto he could never give him absolution for so cruel a deed, and that he must expect to suffer the most exemplary punishment. Giotto, with seeming resignation, said that he had only one favor to ask, that his holiness would give him leave to finish the piece before he died. The request had too important an object to be denied; the Pope readily granted it; and, in the meantime, a guard was set over Giotto to prevent his escape.

On the painting being replaced in the artist's hands, the first thing he did was to take a brush, and, dipping it into a thick varnish, he daubed the picture all over with it, and then announced that he had finished his task. His holiness was greatly incensed at this abuse of the indulgence he had given, and threatened Giotto that he should be put to the most cruel death, unless he painted another picture equal to the one which he had destroyed. "Of what avail is your threat," replied Giotto, "to a man whom you have doomed to death at any rate?" "But," replied his holiness, "I can revoke that doom." "Yes," continued Giotto, "but you cannot prevail on me to trust to your verbal promise a second time." "You shall have a pardon under my signet before you begin." On that, a conditional pardon was accordingly made out and given to Giotto, who, taking a wet sponge, in a few minutes wiped off the coating with which he had bedaubed the picture, and instead of a copy, restored the original in all its beauty to his holiness. Although this story is related by many writers, it is doubtless a gross libel on the fair fame of this great artist, originating with some witless wag, who thought nothing too horrible to impose upon the credulity of mankind. It is discredited by the best authors. A similar fable is related of Parrhasius. See the Olynthian Captive, vol. I. page 151 of this work.

After Giotto's return to Florence, about 1325, Robert, King of Naples, wrote to his son Charles, King of Calabria, who was then in Florence, desiring that he would by all means send Giotto to him at Naples, to decorate the church and convent of Santa Clara, which he had just completed, and desired to have adorned with noble paintings. Giotto readily accepted this flattering invitation from so great and renowned a monarch, and immediately set out to do him service. He was received at Naples with every mark of distinction, and executed many subjects from the old and New Testaments in the different chapels of the building. It is said that the pictures from the Apocalypse, which he painted in one of the chapels, were the inventions of Dante; but Dante was then dead, and if Giotto derived any advantage from him, it must have been from previous discussions on the subject. These works gave the greatest satisfaction to the King, who munificently rewarded the artist, and treated him with great kindness and extraordinary familiarity. Vasari says that Giotto was greatly beloved by King Robert, who delighted to visit him in his painting room, to watch the progress of his work, to hear his remarks, and to hold conversation with him; for Giotto had a ready wit, and was always as ready to amuse the monarch with his lively conversation and witty replies as with his pencil. One day the King said to him, "Giotto, I will make you the first man in Naples," to which Giotto promptly replied, "I am already the first man in Naples; for this reason it is that I dwell at the Porta Reale." At another time the King, fearing that he would injure himself by overworking in the hot season, said to him, "Giotto, if I were in your place, now that it is so hot, I would give up painting for a time, and take my rest." "And so would I do, certainly," replied Giotto, "were I the King of Naples." One day the King to amuse himself, desired Giotto to paint his kingdom. The painter drew an ass carrying a packsaddle loaded with a crown and sceptre, while a similar saddle, also bearing the ensigns of royalty, lay at his feet; these last were all new, and the ass scented them, with an eager desire to change them for those he bore. "What does this signify, Giotto?" enquired the King. "Such is thy kingdom," replied Giotto, "and such thy subjects, who are every day desiring a new lord."

The children of Giotto were remarkably ill-favored. Dante, one day, quizzed him by asking, "Giotto, how is it that you, who make the children of others so beautiful, make your own