Contemplative rivals lack utterance, he speaks most feelingly to the heart in his own peculiar language of Dramatic composition--he glances over creation with the eye of love, all the charities of life follow in his steps, and his thoughts are as the breath of the morning. A man of the world, living in it and loving it, yet with a heart that it could not spoil nor wean from its allegiance to God--'non meno buon Cristiano che eccellente pittore,' as Vasari emphatically describes him--his religion breathes of the free air of heaven rather than the cloister, neither enthusiastic nor superstitious, but practical, manly and healthy--and this, although the picturesque biographer of S. Francis!"--Vol. ii., pp. 260-264. * * * 68. This is all as admirably felt as expressed, and to those acquainted with and accustomed to love the works of the painter, it leaves nothing to be asked for; but we must again remind Lord Lindsay, that he has throughout left the _artistical_ orbit of Giotto undefined, and the offense of his manner unremoved, as far as regards the uninitiated spectator. We question whether from all that he has written, the untraveled reader could form any distinct idea of the painter's peculiar merits or methods, or that the estimate, if formed, might not afterwards expose him to severe disappointment. It ought especially to have been stated, that the Giottesque system of chiaroscuro is one of pure, quiet, pervading daylight. No _cast_ shadows ever occur, and this remains a marked characteristic of all the works of the Giotteschi. Of course, all subtleties of reflected light or raised color are unthought of. Shade is only given as far as it is necessary to the articulation of simple forms, nor even then is it rightly adapted to the color of the light; the folds of the draperies are well drawn, but the entire rounding of them always missed--the general forms appearing flat, and terminated by equal and severe outlines, while the masses of ungradated color often seem to divide the figure into fragments. Thus, the Madonna in the small tempera series of the Academy of Florence, is usually divided exactly in half by the dark mass of her blue robe, falling in a vertical line. In consequence of this defect, the grace of Giotto's composition can hardly be felt until it is put into outline. The colors themselves are of good quality, never glaring, always gladdening, the reds inclining to orange more than purple, yellow frequent, the prevalent tone of the color groups warm; the sky always blue, the whole effect somewhat resembling that of the Northern painted glass of the same century--and chastened in the same manner by noble neutral tints or greens; yet all somewhat unconsidered and unsystematic, painful discords not unfrequent. The material and ornaments of dress are never particularized, no imitations of texture or jewelry, yet shot stuffs of two colors frequent. The