In fact, art was very much in the way to which some good people of the present day would reduce it, and represented nothing save in a partial and symbolical manner. It was wholly unconnected with all the varying incidents and emotions of real life, and existed only to give form to certain traditions, and fulfil certain prescriptive offices. Its aim was not to become of real use to man, to enter into his joys and griefs, to console, and to enlighten him, but only to serve as a faithful servant to the Church. Painting had gazed so long at things heavenly, as to have almost forgotten there was an earth at all, and so to the very ordinary-minded people who fortunately compose nine-tenths of the world's population, its influence was too remote to have much significance. It might represent saints, martyrs, and angels faithfully, but what was wanted were true representations of men and women.
Bearing this well in mind, let us examine Giotto's works, and see what change, if any, he effected in the popular practice, and what is the peculiar merit of his works at this day, when we are six hundred years further on the march of progress.
[49] Those who are interested in this subject will find an article discussing it in the _Spectator_ of November 10th, 1877, entitled "The Human Element in Landscape Painting."
THE EARLY WORK OF GIOTTO AT FLORENCE AND ROME.
But little remains to us of the work of Giotto's student days, and those years immediately following; but sufficient is known to show that his first works were, as we should naturally expect, executed in Florence itself.
The following description of some of these frescoes is taken from Vasari. "The first pictures of Giotto were painted for the Chapel of the High Altar in the Abbey of Florence, where he executed many works considered extremely fine. Among these an _Annunciation_ is particularly admired; the expression of fear and astonishment in the countenance of the Virgin, when receiving the salutation of Gabriel, is vividly depicted;[50] she appears to suffer the extremity of terror, and seems almost ready to take flight. The altarpiece of that chapel is also by Giotto; but this has been, and continues to be, preserved,[51] rather from the respect felt for the work of so distinguished a man, than from any other motive."