GIOTTO

It was more than six hundred years ago that a little peasant baby was

born in the small village of Vespignano, not far from the beautiful

city of Florence, in Italy. The baby's father, an honest, hard-working

countryman, was called Bondone, and the name he gave to his little son

was Giotto.

Life was rough and hard in that country home, but the peasant baby grew

into a strong, hardy boy, learning early what cold and hunger meant.

The hills which surrounded the village were grey and bare, save where

the silver of the olive-trees shone in the sunlight, or the tender

green of the shooting corn made the valley beautiful in early spring.

In summer there was little shade from the blazing sun as it rode high

in the blue sky, and the grass which grew among the grey rocks was

often burnt and brown. But, nevertheless, it was here that the sheep of

the village would be turned out to find what food they could, tended

and watched by one of the village boys.

So it happened that when Giotto was ten years old his father sent him

to take care of the sheep upon the hillside. Country boys had then no

schools to go to or lessons to learn, and Giotto spent long happy days,

in sunshine and rain, as he followed the sheep from place to place,

wherever they could find grass enough to feed on. But Giotto did

something else besides watching his sheep. Indeed, he sometimes forgot

all about them, and many a search he had to gather them all together

again. For there was one thing he loved doing better than all beside,

and that was to try to draw pictures of all the things he saw around

him.

It was no easy matter for the little shepherd lad. He had no pencils or

paper, and he had never, perhaps, seen a picture in all his life. But

all this mattered little to him. Out there, under the blue sky, his

eyes made pictures for him out of the fleecy white clouds as they

slowly changed from one form to another. He learned to know exactly the

shape of every flower and how it grew; he noticed how the olive-trees

laid their silver leaves against the blue background of the sky that

peeped in between, and how his sheep looked as they stooped to eat, or

lay down in the shadow of a rock.

Nothing escaped his keen, watchful eyes, and then with eager hands he

would sharpen a piece of stone, choose out the smoothest rock, and try

to draw on its flat surface all those wonderful shapes which had filled

his eyes with their beauty. Olive-trees, flowers, birds and beasts were

there, but especially his sheep, for they were his friends and

companions who were always near him, and he could draw them in a

different way each time they moved.

Now it fell out that one day a great master painter from Florence came

riding through the valley and over the hills where Giotto was feeding

his sheep. The name of the great master was Cimabue, and he was the

most wonderful artist in the world, so men said. He had painted a

picture which had made all Florence rejoice. The Florentines had never

seen anything like it before, and yet it was but a strange-looking

portrait of the Madonna and Child, scarcely like a real woman or a real

baby at all. Still, it seemed to them a perfect wonder, and Cimabue was

honoured as one of the city's greatest men.

The road was lonely as it wound along. There was nothing to be seen but

waves of grey hills on every side, so the stranger rode on, scarcely

lifting his eyes as he went. Then suddenly he came upon a flock of

sheep nibbling the scanty sunburnt grass, and a little brown-faced

shepherd-boy gave him a cheerful 'Good-day, master.'

There was something so bright and merry in the boy's smile that the

great man stopped and began to talk to him. Then his eye fell upon the

smooth flat rock over which the boy had been bending, and he started

with surprise.

'Who did that?' he asked quickly, and he pointed to the outline of a

sheep scratched upon the stone.

'It is the picture of one of my sheep there,' answered the boy, hanging

his head with a shame-faced look. 'I drew it with this,' and he held

out towards the stranger the sharp stone he had been using.

'Who taught you to do this?' asked the master as he looked more

carefully at the lines drawn on the rock.

The boy opened his eyes wide with astonishment 'Nobody taught me,

master,' he said. 'I only try to draw the things that my eyes see.'

'How would you like to come with me to Florence and learn to be a

painter?' asked Cimabue, for he saw that the boy had a wonderful power

in his little rough hands.

Giotto's cheeks flushed, and his eyes shone with joy.

'Indeed, master, I would come most willingly,' he cried, 'if only my

father will allow it.'

So back they went together to the village, but not before Giotto had

carefully put his sheep into the fold, for he was never one to leave

his work half done.

Bondone was amazed to see his boy in company with such a grand

stranger, but he was still more surprised when he heard of the

stranger's offer. It seemed a golden chance, and he gladly gave his

consent.

Why, of course, the boy should go to Florence if the gracious master

would take him and teach him to become a painter. The home would be

lonely without the boy who was so full of fun and as bright as a

sunbeam. But such chances were not to be met with every day, and he was

more than willing to let him go.

So the master set out, and the boy Giotto went with him to Florence to

begin his training.

The studio where Cimabue worked was not at all like those artists'

rooms which we now call studios. It was much more like a workshop, and

the boys who went there to learn how to draw and paint were taught

first how to grind and prepare the colours and then to mix them. They

were not allowed to touch a brush or pencil for a long time, but only

to watch their master at work, and learn all that they could from what

they saw him do.

So there the boy Giotto worked and watched, but when his turn came to

use the brush, to the amazement of all, his pictures were quite unlike

anything which had ever been painted before in the workshop. Instead of

copying the stiff, unreal figures, he drew real people, real animals,

and all the things which he had learned to know so well on the grey

hillside, when he watched his father's sheep. Other artists had painted

the Madonna and Infant Christ, but Giotto painted a mother and a baby.

And before long this worked such a wonderful change that it seemed

indeed as if the art of making pictures had been born again. To us his

work still looks stiff and strange, but in it was the beginning of all

the beautiful pictures that belong to us now.

Giotto did not only paint pictures, he worked in marble as well.

To-day, if you walk through Florence, the City of Flowers, you will

still see its fairest flower of all, the tall white campanile or

bell-tower, 'Giotto's tower' as it is called. There it stands in all

its grace and loveliness like a tall white lily against the blue sky,

pointing ever upward, in the grand old faith of the shepherd-boy. Day

after day it calls to prayer and to good works, as it has done all

these hundreds of years since Giotto designed and helped to build it.

Some people call his pictures stiff and ugly, for not every one has

wise eyes to see their beauty, but the loveliness of this tower can

easily be seen by all. 'There the white doves circle round and round,

and rest in the sheltering niches of the delicately carved arches;

there at the call of its bell the black-robed Brothers of Pity hurry

past to their works of mercy. There too the little children play, and

sometimes stop to stare at the marble pictures, set in the first story

of the tower, low enough to be seen from the street. Their special

favourite is perhaps the picture of the shepherd sitting under his

tent, with the sheep in front, and with the funniest little dog keeping

watch at the side.

Giotto always had a great love for animals, and whenever it was

possible he would squeeze one into a corner of his pictures. He was

sixty years old when he designed this wonderful tower and cut some of

the marble pictures with his own hand, but you can see that the memory

of those old days when he ran barefoot about the hills and tended his

sheep was with him still. Just such another little puppy must have

often played with him in those long-ago days before he became a great

painter and was still only a merry, brown-faced boy, making pictures

with a sharp stone upon the smooth rocks.

Up and down the narrow streets of Florence now, the great painter would

walk and watch the faces of the people as they passed. And his eyes

would still make pictures of them and their busy life, just as they

used to do with the olive-trees, the sheep, and the clouds.

In those days nobody cared to have pictures in their houses, and only

the walls of the churches were painted. So the pictures, or frescoes,

as they were called, were of course all about sacred subjects, either

stories out of the Bible or of the lives of the saints. And as there

were few books, and the poor people did not know how to read, these

frescoed walls were the only story-books they had.

What a joy those pictures of Giotto's must have been, then, to those

poor folk! They looked at the little Baby Jesus sitting on His mother's

knee, wrapped in swaddling bands, just like one of their own little

ones, and it made Him seem a very real baby. The wise men who talked

together and pointed to the shining star overhead looked just like any

of the great nobles of Florence. And there at the back were the two

horses looking on with wise interested eyes, just as any of their own

horses might have done.

It seemed to make the story of Christmas a thing which had really

happened, instead of a far-away tale which had little meaning for them.

Heaven and the Madonna were not so far off after all. And it comforted

them to think that the Madonna had been a real woman like themselves,

and that the Jesu Bambino would stoop to bless them still, just as He

leaned forward to bless the wise men in the picture.

How real too would seem the old story of the meeting of Anna and

Joachim at the Golden Gate, when they could gaze upon the two homely

figures under the narrow gateway. No visionary saints these, but just a

simple husband and wife, meeting each other with joy after a sad

separation, and yet with the touch of heavenly meaning shown by the

angel who hovers above and places a hand upon each head.

It was not only in Florence that Giotto did his work. His fame spread

far and wide, and he went from town to town eagerly welcomed by all. We

can trace his footsteps as he went, by those wonderful old pictures

which he spread with loving care over the bare walls of the churches,

lifting, as it were, the curtain that hides Heaven from our view and

bringing some of its joys to earth.

Then, at Assisi, he covered the walls and ceiling of the church with

the wonderful frescoes of the life of St. Francis; and the little round

commonplace Arena Chapel of Padua is made exquisite inside by his

pictures of the life of our Lord.

In the days when Giotto lived the towns of Italy were continually

quarrelling with one another, and there was always fighting going on

somewhere. The cities were built with a wall all round them, and the

gates were shut each night to keep out their enemies. But often the

fighting was between different families inside the city, and the grim

old palaces in the narrow streets were built tall and strong that they

might be the more easily defended.

In the midst of all this war and quarrelling Giotto lived his quiet,

peaceful life, the friend of every one and the enemy of none. Rival

towns sent for him to paint their churches with his heavenly pictures,

and the people who hated Florence forgot that he was a Florentine. He

was just Giotto, and he belonged to them all. His brush was the white

flag of truce which made men forget their strife and angry passions,

and turned their thoughts to holier things.

Even the great poet Dante did not scorn to be a friend of the peasant

painter, and we still have the portrait which Giotto painted of him in

an old fresco at Florence. Later on, when the great poet was a poor

unhappy exile, Giotto met him again at Padua and helped to cheer some

of those sad grey days, made so bitter by strife and injustice.

Now when Giotto was beginning to grow famous, it happened that the Pope

was anxious to have the walls of the great Cathedral of St. Peter at

Rome decorated. So he sent messengers all over Italy to find out who

were the best painters, that he might invite them to come and do the

work.

The messengers went from town to town and asked every artist for a

specimen of his painting. This was gladly given, for it was counted a

great honour to help to make St. Peter's beautiful.

By and by the messengers came to Giotto and told him their errand. The

Pope, they said, wished to see one of his drawings to judge if he was

fit for the great work. Giotto, who was always most courteous, 'took a

sheet of paper and a pencil dipped in a red colour, then, resting his

elbow on his side, with one turn of the hand, he drew a circle so

perfect and exact that it was a marvel to behold.' 'Here is your

drawing,' he said to the messenger, with a smile, handing him the

drawing.

'Am I to have nothing more than this?' asked the man, staring at the

red circle in astonishment and disgust.

'That is enough and to spare,' answered Giotto. 'Send it with the rest.'

The messengers thought this must all be a joke.

'How foolish we shall look if we take only a round O to show his

Holiness,' they said.

But they could get nothing else from Giotto, so they were obliged to be

content and to send it with the other drawings, taking care to explain

just how it was done.

The Pope and his advisers looked carefully over all the drawings, and,

when they came to that round O, they knew that only a master-hand could

have made such a perfect circle without the help of a compass. Without

a moment's hesitation they decided that Giotto was the man they wanted,

and they at once invited him to come to Rome to decorate the cathedral

walls. So when the story was known the people became prouder than ever

of their great painter, and the round O of Giotto has become a proverb

to this day in Tuscany.

'Round as the O of Giotto, d' ye see;

Which means as well done as a thing can be.'

Later on, when Giotto was at Naples, he was painting in the palace

chapel one very hot day, when the king came in to watch him at his

work. It really was almost too hot to move, and yet Giotto painted away

busily.

'Giotto,' said the king, 'if I were in thy place I would give up

painting for a while and take my rest, now that it is so hot.'

'And, indeed, so I would most certainly do,' answered Giotto, 'if I

were in your place, your Majesty.'

It was these quick answers and his merry smile that charmed every one,

and made the painter a favourite with rich and poor alike.

There are a great many stories told of him, and they all show what a

sunny-tempered, kindly man he was.

It is said that one day he was standing in one of the narrow streets of

Florence talking very earnestly to a friend, when a pig came running

down the road in a great hurry. It did not stop to look where it was

going, but ran right between the painter's legs and knocked him flat on

his back, putting an end to his learned talk.

Giotto scrambled to his feet with a rueful smile, and shook his finger

at the pig which was fast disappearing in the distance.

'Ah, well!' he said, 'I suppose thou hadst as much right to the road as

I had. Besides, how many gold pieces I have earned by the help of thy

bristles, and never have I given any of thy family even a drop of soup

in payment.'

Another time he went riding with a very learned lawyer into the country

to look after his property. For when Bondone died, he left all his

fields and his farm to his painter son. Very soon a storm came on, and

the rain poured down as if it never meant to stop.

'Let us seek shelter in this farmhouse and borrow a cloak,' suggested

Giotto.

So they went in and borrowed two old cloaks from the farmer, and

wrapped themselves up from head to foot. Then they mounted their horses

and rode back together to Florence.

Presently the lawyer turned to look at Giotto, and immediately burst

into a loud laugh. The rain was running from the painter's cap, he was

splashed with mud, and the old cloak made him look like a very forlorn

beggar.

'Dost think if any one met thee now, they would believe that thou art

the best painter in the world?' laughed the lawyer.

Giotto's eyes twinkled as he looked at the funny figure riding beside

him, for the lawyer was very small, and had a crooked back, and rolled

up in the old cloak he looked like a bundle of rags.

'Yes!' he answered quickly, 'any one would certainly believe I was a

great painter, if he could but first persuade himself that thou dost

know thy A B C.'

In all these stories we catch glimpses of the good-natured kindly

painter, with his love of jokes, and his own ready answers, and all the

time we must remember that he was filling the world with beauty, which

it still treasures to-day, helping to sow the seeds of that great tree

of Art which was to blossom so gloriously in later years.

And when he had finished his earthly work it was in his own cathedral,

'St. Mary of the Flowers,' that they laid him to rest, while the people

mourned him as a good friend as well as a great painter. There he lies

in the shadow of his lily tower, whose slender grace and

delicate-tinted marbles keep his memory ever fresh in his beautiful

city of Florence.