'
I can't resist the expression of a little piece of personal exultation,
in noticing that he holds his pencil as I do myself: no writing master,
and no effort (at one time very steady for many months), having ever
cured me of that way of holding both pen and pencil between my fore and
second finger; the third and fourth resting the backs of them on my
paper.
As I finally arrange these notes for press, I am further confirmed in
my opinion by discovering little finishings in the two later pieces
which I was not before aware of. I beg the masters of High Art, and
sublime generalization, to take a good magnifying glass to the
'Sculpture' and look at the way Giotto has cut the compasses, the edges
of the chisels, and the keyhole of the lock of the toolbox. For the
rest, nothing could be more probable, in the confused and perpetually
false mass of Florentine tradition, than the preservation of the memory
of Giotto's carving his own two trades, and the forgetfulness, or quite
as likely ignorance, of the part he took with Andrea Pisano in the
initial sculptures. I now take up the series of subjects at the point
where we broke off, to trace their chain of philosophy to its close.
To Geometry, which gives to every man his possession of house and land,
succeed 21, Sculpture, and 22, Painting, the adornments of permanent
habitation. And then, the great arts of education in a Christian home.
First--
23.
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