DOI Page / Citation link:
https://doi.org/10.11588/diglit.61217#0270
258
CHAPTER XXV.
GUIDE-BOOKS.
‘Mornings in Florence’ (1875-1877).
‘St Mark’s Rest’ (1877-1884).
‘The Bible of Amiens’ (1880-1885).
Mornings in Florence was written definitely as a guide-
book—for six mornings with six lessons to be learnt in
them. The chapters on Giotto are of the first import-
ance ; the reader cannot in this volume be taken, even
briefly, through Giotto at Padua (1853-1860), or the
abundant studies of Giotto’s works at Assisi, widely
scattered through Ruskin’s writings; but he must
understand Giotto to be Ruskin’s original master in
mediaeval lineal art, as Nicola Pisano in mediaeval
sculpture; and Florence is Giotto’s own city, containing
his work done at all dates between his twelfth year and
his sixtieth. Ruskin teaches us how to connect the work
of his best time with his work in architecture, and with
the Franciscan Order. To Giotto’s fresco at Santa
Maria Novella we are led through “ a rich overture, . . ,
CHAPTER XXV.
GUIDE-BOOKS.
‘Mornings in Florence’ (1875-1877).
‘St Mark’s Rest’ (1877-1884).
‘The Bible of Amiens’ (1880-1885).
Mornings in Florence was written definitely as a guide-
book—for six mornings with six lessons to be learnt in
them. The chapters on Giotto are of the first import-
ance ; the reader cannot in this volume be taken, even
briefly, through Giotto at Padua (1853-1860), or the
abundant studies of Giotto’s works at Assisi, widely
scattered through Ruskin’s writings; but he must
understand Giotto to be Ruskin’s original master in
mediaeval lineal art, as Nicola Pisano in mediaeval
sculpture; and Florence is Giotto’s own city, containing
his work done at all dates between his twelfth year and
his sixtieth. Ruskin teaches us how to connect the work
of his best time with his work in architecture, and with
the Franciscan Order. To Giotto’s fresco at Santa
Maria Novella we are led through “ a rich overture, . . ,