Bernhard Berenson

Values of touch and movement, we remember, are the specifically artistic qualities in figure painting (at least, as practised by the Florentines), for it is through them chiefly that painting directly heightens life.

• Bologna.
  
  • Pinacoteca, 102. Polyptych: Madonna and Saints.
• Florence.
  
  • S. Felice. Painted Crucifix.
• Munich.
  
  • 981. Crucifixion (?).
• Paris.
  
  • 1512. St. Francis receiving Stigmata.
• Rome.
  
  • St.
    

Let us now turn back to Giotto and see in what way he fulfils the first condition of painting as an art, which condition, as we agreed, is somehow to stimulate our tactile imagination. We shall understand this without difficulty if we cover with the same glance two pictures of nearly the same subject that hang side by side in the Florence Academy, one by “Cimabue,” and the other by Giotto. The difference is striking, but it does not consist so much in a difference of pattern and types, as of realisation.

No such difficulties as we have encountered in the study of Uccello, Castagno, and Veneziano meet us as we turn to Fra Filippo. His works are still copious, and many of them are admirably preserved; we therefore have every facility for judging him as an artist, yet nothing is harder than to appreciate him at his due. If attractiveness, and attractiveness of the best kind, sufficed to make a great artist, then Filippo would be one of the greatest, greater perhaps than any other Florentine before Leonardo.

Ghirlandaio was born to far more science and cunning in painting than was current in Benozzo’s early years, and all that industry, all that love of his occupation, all that talent even, can do for a man, they did for him; but unfortunately he had not a spark of genius.

First, his successes. Nowhere outside of the best Greek art shall we find, as in Michelangelo’s works, forms whose tactile values so increase our sense of capacity, whose movements are so directly communicated and inspiring.