Restored
feet are always drawn with entirely orthodox and academical toes, like
the Apollo Belvidere's. You would have admired them very much. These
are Giotto's own doing, every bit; and a precious business he has had
of it, trying again and again--in vain. Even hands were difficult
enough to him, at this time; but feet, and bare legs! Well, he'll have
a try, he thinks, and gets really a fair line at last, when you are
close to it; but, laying the light on the ground afterwards, he dare
not touch this precious and dear-bought outline. Stops all round it, a
quarter of an inch off, [Footnote: Perhaps it is only the restorer's
white on the ground that stops; but I think a restorer would never have
been so wise, but have gone right up to the outline, and spoiled all.]
with such effect as you see. But if you want to know what sort of legs
and feet he _can_ draw, look at our _lambs_, in the corner of
the fresco under the arch on your left!
And there is one on your right, though more repainted--the little
Virgin presenting herself at the Temple,--about which I could also say
much. The stooping figure, kissing the hem of her robe without her
knowing, is, as far as I remember, first in this fresco; the origin,
itself, of the main design in all the others you know so well; (and
with its steps, by the way, in better perspective already than most of
them).
"_This_ the original one!" you will be inclined to exclaim, if you
have any general knowledge of the subsequent art.
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