I will give you at once two
instances in a picture which, for other reasons, you should quickly
compare with these frescos. Return by the Via delle Belle Donne; keep
the Casa Strozzi on your right; and go straight on, through the market.
The Florentines think themselves so civilized, forsooth, for building a
nuovo Lung-Arno, and three manufactory chimneys opposite it: and yet
sell butchers' meat, dripping red, peaches, and anchovies, side by
side: it is a sight to be seen. Much more, Luca della Robbia's Madonna
in the circle above the chapel door. Never pass near the market without
looking at it; and glance from the vegetables underneath to Luca's
leaves and lilies, that you may see how honestly he was trying to make
his clay like the garden-stuff. But to-day, you may pass quickly on to
the Uffizii, which will be just open; and when you enter the great
gallery, turn to the right, and there, the first picture you come at
will be No. 6, Giotto's "Agony in the garden."
I used to think it so dull that I could not believe it was Giotto's.
That is partly from its dead colour, which is the boy's way of telling
you it is night:--more from the subject being one quite beyond his age,
and which he felt no pleasure in trying at. You may see he was still a
boy, for he not only cannot draw feet yet, in the least, and
scrupulously hides them therefore; but is very hard put to it for the
hands, being obliged to draw them mostly in the same position,--all the
four fingers together.
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