Mornings in Florence. Ruskin John

wiser, or even more amiable. So that, in the twelfth century, while the Northern art was only in need of direction, the Southern was in need of life. The North was indeed spending its valour and virtue on ignoble objects; but the South disgracing the noblest objects by its want of valour and virtue.

      Central stood Etruscan Florence—her root in the earth, bound with iron and brass—wet with the dew of heaven. Agriculture in occupation, religious in thought, she accepted, like good ground, the good; refused, like the Rock of Fesole, the evil; directed the industry of the Northman into the arts of peace; kindled the dreams of the Byzantine with the fire of charity. Child of her peace, and exponent of her passion, her Cimabue became the interpreter to mankind of the meaning of the Birth of Christ.

      We hear constantly, and think naturally, of him as of a man whose peculiar genius in painting suddenly reformed its principles; who suddenly painted, out of his own gifted imagination, beautiful instead of rude pictures; and taught his scholar Giotto to carry on the impulse; which we suppose thenceforward to have enlarged the resources and bettered the achievements of painting continually, up to our own time,—when the triumphs of art having been completed, and its uses ended, something higher is offered to the ambition of mankind; and Watt and Faraday initiate the Age of Manufacture and Science, as Cimabue and Giotto instituted that of Art and Imagination.

      In this conception of the History of Mental and Physical culture, we much overrate the influence, though we cannot overrate the power, of the men by whom the change seems to have been effected. We cannot overrate their power,—for the greatest men of any age, those who become its leaders when there is a great march to be begun, are indeed separated from the average intellects of their day by a distance which is immeasurable in any ordinary terms of wonder.

      But we far overrate their influence; because the apparently sudden result of their labour or invention is only the manifested fruit of the toil and thought of many who preceded them, and of whose names we have never heard. The skill of Cimabue cannot be extolled too highly; but no Madonna by his hand could ever have rejoiced the soul of Italy, unless for a thousand years before, many a nameless Greek and nameless Goth had adorned the traditions, and lived in the love, of the Virgin.

      In like manner, it is impossible to overrate the sagacity, patience, or precision, of the masters in modern mechanical and scientific discovery. But their sudden triumph, and the unbalancing of all the world by their words, may not in any wise be attributed to their own power, or even to that of the facts they have ascertained. They owe their habits and methods of industry to the paternal example, no less than the inherited energy, of men who long ago prosecuted the truths of nature, through the rage of war, and the adversity of superstition; and the universal and overwhelming consequences of the facts which their followers have now proclaimed, indicate only the crisis of a rapture produced by the offering of new objects of curiosity to nations who had nothing to look at; and of the amusement of novel motion and action to nations who had nothing to do.

      Nothing to look at! That is indeed—you will find, if you consider of it—our sorrowful case. The vast extent of the advertising frescos of London, daily refreshed into brighter and larger frescos by its billstickers, cannot somehow sufficiently entertain the popular eyes. The great Mrs. Allen, with her flowing hair, and equally flowing promises, palls upon repetition, and that Madonna of the nineteenth century smiles in vain above many a borgo unrejoiced; even the excitement of the shop-window, with its unattainable splendours, or too easily attainable impostures, cannot maintain itself in the wearying mind of the populace, and I find my charitable friends inviting the children, whom the streets educate only into vicious misery, to entertainments of scientific vision, in microscope or magic lantern; thus giving them something to look at, such as it is;—fleas mostly; and the stomachs of various vermin; and people with their heads cut off and set on again;—still something, to look at.

      The fame of Cimabue rests, and justly, on a similar charity. He gave the populace of his day something to look at; and satisfied their curiosity with science of something they had long desired to know. We have continually imagined in our carelessness, that his triumph consisted only in a new pictorial skill; recent critical writers, unable to comprehend how any street populace could take pleasure in painting, have ended by denying his triumph altogether, and insisted that he gave no joy to Florence; and that the "Joyful quarter" was accidentally so named—or at least from no other festivity than that of the procession attending Charles of Anjou. I proved to you, in a former lecture, that the old tradition was true, and the delight of the people unquestionable. But that delight was not merely in the revelation of an art they had not known how to practise; it was delight in the revelation of a Madonna whom they had not known how to love.