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Mornings in Florence by John Ruskin
page 65 of 149 (43%)
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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