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Chap. YIII. GIOTTO’S STYLE. 245 intention were thus prominent qualities in Giotto; and this was fully illustrated in the various movements and expres sions of the flagellators, in the allegory of chastity. These figures, repeated in various phases of the action, unmistake- ably expressed the stern sense of duty, where the novices are received by S. Francis; expectation, where penitence is about to be administered; calm repose, where the punish ment has been inflicted. Every where, the movement was resolute and unhesitating. It would have heen difficult to express more insinuating kindliness, or gentleness, than Giotto gave to S. Francis welcoming the aspirants to the order. In his noble and youthful form and features a certain inspiration was apparent, but no material affecta tion of maceration or suffering. A soft and modest con fidence, a ready but dignified action marked his motion. Again in the allegory of S. Francis in glory, extasy and triumph were delineated in the regular features. Amongst the angels around him some were marked by that weighty and masculine character peculiar to the school of Florence; whilst in those which adorned the other frescos a more feminine, a softer character prevailed. It was, however, from the former that the powerful character of Ghirlandaio and Michel Angelo was afterwards developed. The nude in the penitent and the figure of “lust” in the allegory of chastity, and in the hybrid of the allegory of obedience, was not as yet rendered as Giotto afterwards delineated it; but it was carried out in a manner appropriate to the general character of the rest of the work, and in accordance with the laws of proportion. The drawing and form were in fact subordinate to a general idea, and Giotto evidently cared more for the whole than for the parts. An arm, as he painted it, might still be wanting in the anatomical form of the muscles-, in the completeness of its details; it was never defective in the action of the limb itself. The func tion which he desired to express was therefore always evident; nor is it doubtful that it was better in an age, rude as that of Giotto still was, to sacrifice details to the mass, the proportion, and the action. Thus Giotto before the close of the thirteenth century became eminent as a composer, a designer, and a colourist, and united at a common level all the qualities which constitute the universal genius of the artist. Art after him became divided. Some clung to the more special aim of developing form, and in this were at first not
