Well, it was of the power to stimulate the tactile consciousness--of the essential, as I have ventured to call it, in the art of painting--that Giotto was supreme master. This is his everlasting claim to greatness, and it is this which will make him a source of highest aesthetic delight for a period at least as long as decipherable traces of his handiwork remain on mouldering panel or crumbling wall. For great though he was as a poet, enthralling as a story-teller, splendid and majestic as a composer, he was in these qualities superior in degree only, to many of the masters who painted in various parts of Europe during the thousand years that intervened between the decline of antique, and the birth, in his own person, of modern painting. But none of these masters had the power to stimulate the tactile imagination, and, consequently, they never painted a figure which has artistic existence. Their works have value, if at all, as highly elaborate, very intelligible symbols, capable, indeed, of communicating something, but losing all higher value the moment the message is delivered. Giotto's paintings, on the contrary, have not only as much power of appealing to the tactile imagination as is possessed by the objects represented--human figures in particular--but actually more, with the necessary result that to his contemporaries they conveyed a _keener_ sense of reality, of life-likeness than the objects themselves! We whose current knowledge of anatomy is greater, who expect more articulation and suppleness in the human figure, who, in short, see much less naively now than Giotto's contemporaries, no longer find his paintings more than life-like; but we still feel them to be intensely real in the sense that they still powerfully appeal to our tactile imagination, thereby compelling us, as do all things that stimulate our sense of touch while they present themselves to our eyes, to take their existence for granted. And it is only when we can take for granted the existence of the object painted that it can begin to give us pleasure that is genuinely artistic, as separated from the interest we feel in symbols. [Page heading: ANALYSIS OF ENJOYMENT OF PAINTING] At the risk of seeming to wander off into the boundless domain of aesthetics, we must stop at this point for a moment to make sure that we are of one mind regarding the meaning of the phrase "artistic pleasure," in so far at least as it is used in connection with painting.