Mornings in Florence by John Ruskin
page 65 of 149 (43%)
page 65 of 149 (43%)
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way--as Leonardo's Cenacolo does--through every phase of reproduction.
[Footnote: For a test of your feeling in the matter, having looked well at these two lower frescos in this chapel, walk round into the next, and examine the lower one on your left hand as you enter that. You will find in your Murray that the frescos in this chapel "were also till lately, (1862) covered with whitewash"; but I happen to have a long critique of this particular picture written in the year 1845, and I see no change in it since then. Mr. Murray's critic also tells you to observe in it that "the daughter of Herodias playing on a violin is not unlike Perugino's treatment of similar subjects." By which Mr. Murray's critic means that the male musician playing on a violin, whom, without looking either at his dress, or at the rest of the fresco, he took for the daughter of Herodias, has a broad face. Allowing you the full benefit of this criticism--there is still a point or two more to be observed. This is the only fresco near the ground in which Giotto's work is untouched, at least, by the modern restorer. So felicitously safe it is, that you may learn from it at once and for ever, what good fresco painting is--how quiet--how delicately clear--how little coarsely or vulgarly attractive--how capable of the most tender light and shade, and of the most exquisite and enduring colour. In this latter respect, this fresco stands almost alone among the works of Giotto; the striped curtain behind the table being wrought with a variety and fantasy of playing colour which Paul Veronese could not better at his best. You will find, without difficulty, in spite of the faint tints, the daughter of Herodias in the middle of the picture---slowly _moving_, not dancing, to the violin music--she herself playing on a lyre. In the farther corner of the picture, she gives St. John's head |
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