DOI Page / Citation link:
https://doi.org/10.11588/diglit.18975#0389
PREFACE
345
Art is founded on the principles established by Giotto in
Florence, he receiving them from the Attic Greeks through
Cimabue, the last of their disciples, and engrafting them
on the existing art of the Etruscans, the race from which
both his master and he were descended/
In the centre of Florence, the last great work of native
Etruscan architecture/ her Baptistery, and the most per-
fect work of Christian architecture, her Campanile, stand
within a hundred paces of each other: and from the foot of
that Campanile, the last conditions of design which pre-
ceded the close of Christian art are seen in the dome of
Brunelleschi. Under the term "laws of Fesole," therefore,
may be most strictly and accurately arranged every prin-
ciple of art, practised at its purest source, from the twelfth
to the fifteenth century inclusive. And the purpose of this
book is to teach our English students of art the elements
of these Christian laws, as distinguished from the Inhdel
laws of the spuriously classic school, under which, of late,
our students have been exclusively trained.
8. Nevertheless, in this book the art of Giotto and
Angelico ^ is not taught because it is Christian, but because
it is absolutely true and good: neither is the Infidel art of
Palladio and Giulio Romano ^ forbidden because it is Pagan;
but because it is false and bad; and has entirely destroyed
1 [Ruskin in his copy for revision has marked § 7 as "questionable." He was,
however, at the time when he wrote this book much impressed by the apparent
connexion between Greek and Etruscan art: see his preface to "The Economist
of Xenophon" in vol. i. of LiMiofAeca Payforam. Compare also Vol. IX. p. 36 n.
So also Ruskin often insisted on the continuity of Etruscan influence in the Florentine
art of the Middle Ages. See, for instance, his comparison in certain details between
the "Cervetri Sarcophagus," in the British Museum, and a Madonna by Lippi (Lb?*y
GYarhyera, Letters 66 and 71). See also Ariadne LYo?*e?u!i%a, § 69, for the influence
of Etruscan metal work. The Etruscan Fsesulee is described in vol. ii. (ch. xli.)
of Dennis's CYL'ey and GVwefeW&S' q/' LYraria. ]
2 [Compare Lumpy, Vol. VIII. p. 187-]
^ [Ruskin's "conclusive lessons" with regard to the laws of line and colour
were given him, he says, not by Venetians, but the three Florentines, Botticelli,
Giotto, and Angelico ; so that he was forced to call his lesson-book LAe Law q/ Peyote
(see Vol. XIII. p. 525). For Angelico as the standard in colour, see below, ch. vii.
p. 420 ?n]
4 [For other references to Palladio and Giulio Romano as typifying the archi-
tecture and painting of the infidel Renaissance, see Vol. V. p. 93; Vol. VI. p. 447 ;
Vol. IX. p. 46.]
345
Art is founded on the principles established by Giotto in
Florence, he receiving them from the Attic Greeks through
Cimabue, the last of their disciples, and engrafting them
on the existing art of the Etruscans, the race from which
both his master and he were descended/
In the centre of Florence, the last great work of native
Etruscan architecture/ her Baptistery, and the most per-
fect work of Christian architecture, her Campanile, stand
within a hundred paces of each other: and from the foot of
that Campanile, the last conditions of design which pre-
ceded the close of Christian art are seen in the dome of
Brunelleschi. Under the term "laws of Fesole," therefore,
may be most strictly and accurately arranged every prin-
ciple of art, practised at its purest source, from the twelfth
to the fifteenth century inclusive. And the purpose of this
book is to teach our English students of art the elements
of these Christian laws, as distinguished from the Inhdel
laws of the spuriously classic school, under which, of late,
our students have been exclusively trained.
8. Nevertheless, in this book the art of Giotto and
Angelico ^ is not taught because it is Christian, but because
it is absolutely true and good: neither is the Infidel art of
Palladio and Giulio Romano ^ forbidden because it is Pagan;
but because it is false and bad; and has entirely destroyed
1 [Ruskin in his copy for revision has marked § 7 as "questionable." He was,
however, at the time when he wrote this book much impressed by the apparent
connexion between Greek and Etruscan art: see his preface to "The Economist
of Xenophon" in vol. i. of LiMiofAeca Payforam. Compare also Vol. IX. p. 36 n.
So also Ruskin often insisted on the continuity of Etruscan influence in the Florentine
art of the Middle Ages. See, for instance, his comparison in certain details between
the "Cervetri Sarcophagus," in the British Museum, and a Madonna by Lippi (Lb?*y
GYarhyera, Letters 66 and 71). See also Ariadne LYo?*e?u!i%a, § 69, for the influence
of Etruscan metal work. The Etruscan Fsesulee is described in vol. ii. (ch. xli.)
of Dennis's CYL'ey and GVwefeW&S' q/' LYraria. ]
2 [Compare Lumpy, Vol. VIII. p. 187-]
^ [Ruskin's "conclusive lessons" with regard to the laws of line and colour
were given him, he says, not by Venetians, but the three Florentines, Botticelli,
Giotto, and Angelico ; so that he was forced to call his lesson-book LAe Law q/ Peyote
(see Vol. XIII. p. 525). For Angelico as the standard in colour, see below, ch. vii.
p. 420 ?n]
4 [For other references to Palladio and Giulio Romano as typifying the archi-
tecture and painting of the infidel Renaissance, see Vol. V. p. 93; Vol. VI. p. 447 ;
Vol. IX. p. 46.]