47 LECTURE II. GENTLEMEN, Ir is an acknowledged axiom in the education of youth, that the quality rather than the quantity of their acquirements, should be the main object of a teacher's care. In nothing is this truth more completely exemplified than in the progress of an artist during his probationary labours. It was in conformity with this sentiment, that, at the concluding part of my first lecture, I directed your attention so much at length to that important principle, which is the first of all good qualities in the application of painting, its solid basis in all its branches; viz., a just feeling of the characteristic qualities of the subject or object selected for representation, and a constant attention to its preservation; a principle, which never fails to excite interest wherever it is found; even, as I have shown to you, in very imperfect art; art which, without it, is weak and unattractive. That high quality of feeling which I pointed out to you as so strongly impressive in the best works of the early painters, and more particu larly in those of Giotto, continued to actuate his immediate pupils and successors; and his works became examples to the artists of the Florentine school, throughout the fourteenth century: though some aberrations from his style occurred, through weakness or affectation. There were some in different parts of Italy, as at Venice particularly, who endeavoured to improve it by ornamenting it with colour, rather than by removing its defects. But their estimation, and the praise they enjoyed were confined to their own provinces, and among those of similar pursuits; while the style itself was not only admired, and practised, and improved in minor points by the Florentines, but it obtained, as it merited, an interest over all Italy. Giotto himself received honours equal to those bestowed upon any subsequent artist. He was sought for, even to contention, by the princes and nobles of Italy. The chief cities all required pictures by him, and he was the first who was engaged to paint in the Vatican.* The imperfections which appertained of necessity to his art, were gradually removed; Unfortunately none of his works there are preserved. Even the mosaic which he is said to have wrought in the portico of St. Peter's, but most probably only designed, is, according to Lanzi, so changed by restorations, that very little of his design remains. though the main-springs of its excellence, his line of general form, and his breadth, continued for a great length of time unequalled. Though the more exalted and refined among the people of Italy seem thus early to have imbibed a taste for the arts, and to have honoured its skilful professors; yet it was long ere such esteem became a general sentiment. Few of those who employed the artists had any idea of elevated taste; and yet, the employment thus given for particular purposes, gave also a specious claim to that control which has too often operated as an impediment in the growth of art. To something like this, there is reason to hope, was owing the extravagant use of gilding in early works, which must have exceedingly embarrassed the progress of the finer qualities of the art; though it was managed with extreme dexterity. The splendour required by the altar seems to have been the first cause of the use of golden grounds, with compositions relieved from them by their own light and shade; which, having been used by the old Greek painters, were continued by the modern Italians. Gilding was afterwards employed by Giotto, only in glories round the heads of holy characters, or, on the borders of vestments; but soon after his death it was spread richly on embroidered damasked robes, E |