“THE HISTORY OF CHRISTIAN ART” 205

“Andrea’s merit was indeed very great; his works, compared with those of Giovanni and Niccola Pisano, exhibit a progress in design, grace, composition and mechanical execution, at first sight unaccountable-a chasm yawns between them, deep and broad, over which the younger artist seems to have leapt at a bound,-the stream that sank into the earth at Pisa emerges a river at Florence. The solution of the mystery lies in the peculiar plasticity of Andrea’s genius, and the ascendancy acquired over it by Giotto, although a younger man, from the first moment they came into contact. Giotto had learnt from the works of Niccola the grand principle of Christian art, imperfectly apprehended by Giovanni and his other pupils, and by following up which he had in the natural course of things improved upon his prototype. He now repaid to Sculpture, in the person of Andrea, the sum of improvement in which he stood her debtor in that of Niccola:-so far, that is to say, as the treasury of Andrea’s mind was capable of taking it in, for it would be an error to suppose that Andrea profited by Giotto in the same independent manner or degree that Giotto profited by Niccola. Andrea’s was not a mind of strong individuality; he became completely Giottesque in thought and style, and as Giotto and he continued intimate friends through life, the impression never wore off:-most fortunate, indeed, that it was so, for the welfare of Sculpture in general, and for that of the buildings in decorating which the friends worked in concert.

“Happily, Andrea’s most important work, the bronze door of the Baptistery, still exists, and with every prospect of preservation. It is adorned with bas-reliefs from the history of S. John, with allegorical figures of virtues and heads of prophets, all most beautiful,-the historical compositions distinguished by simplicity and purity of feeling and design, the allegorical virtues perhaps still more expressive, and full of poetry in their symbols and attitudes; the whole series is executed with a delicacy of workmanship till then unknown in bronze, a precision yet softness of touch resembling that of a skilful performer on the pianoforte. Andrea was occupied upon it for nine years, from 1330 to 1339, and when finished, fixed in its place, and exposed to view, the public enthusiasm exceeded all bounds; the Signoria, with unexampled condescension, visited it in state, accompanied by the ambassadors of Naples and Sicily, and bestowed on the fortunate artist the honour and privilege of citizenship, seldom accorded to foreigners unless of lofty rank or exalted merit. The door remained in its original position-facing the Cathedral-till superseded in that post of honour by the ‘Gate of Paradise,’ cast by Ghiberti. It was then transferred to the Southern entrance of the Baptistery, facing the Misericordia.”-Vol. ii. pp. 125-128.

37. A few pages farther on, the question of Giotto’s claim to the authorship of the designs for this door is discussed at length, and, to the annihilation of the honour here attributed to Andrea, determined affirmatively, partly on the testimony of Vasari,¹ partly on internal evidence-

¹ [According to Vasari, Andrea was appointed “to execute one of the doors for which Giotto had given a most beautiful design” (Bohn’s ed., 1855, vol. i. p. 148.]

[Version 0.04: March 2008]