The greatest name in the art of the Thirteenth Century is of course that of Giotto. What Dante did for poetry and Villani for history, their compatriot and friend did for painting. Ambrogio de Bondone familiarly called Ambrogiotto (and with the abbreviating habit that the Italians have always had for the names of all those of whom they thought much shortened to {143} Giotto, as indeed Dante's name had been shortened from Durante) was born just at the beginning of the last quarter of the Thirteenth Century. According to a well-known legend he was guarding the sheep of his father one day and passing his time sketching a lamb upon a smooth stone with a soft pebble when Cimabue happened to be passing. The painter struck by the signs of genius in the work took the boy with him to Florence, where he made rapid progress in art and soon surpassed even his master. The wonderful precocity of his genius may be best realized from the fact that at the age of twenty he was given the commission of finishing the decorations of the upper Church at Assisi, and in fulfilling it broke so completely with the Byzantine formalism of the preceding millennium, that he must be considered the liberator of art and its deliverer from the chains of conventionalism into the freedom of nature. It is no wonder that critics and literary men have been so unstinted in his praise. Here is an example: "In the Decamerone it is said of him 'that he was so great a genius that there was nothing in nature he had not so reproduced that it was not only like the thing, but seemed to be the thing itself.' Eulogies of this tenor on works of art are, it is quite true, common to all periods alike, to the most accomplished of classical antiquity as well as to the most primitive of the Middle Age; and they must only be accepted relatively, according to the notion entertained by each period of what constitutes truth and naturalness. And from the point of view of his age, Giotto's advance towards nature, considered relatively to his predecessors, was in truth enormous. What he sought was not merely the external truth of sense, but also the inward truth of the spirit. Instead of solemn images of devotion, he painted pictures in which the spectator beheld the likeness of human beings in the exercise of activity and intelligence. His merit lies, as has been well said, in 'an entirely new conception of character and facts.'" [Footnote 14] [Footnote 14: History of Ancient, Early Christian and Medieval Painting from the German of the late Dr. Alfred Woltmann, Professor at the Imperial University of Strasburg, and Karl Woertmann, Professor at the Royal Academy of Arts, Dusselford. Edited by Sidney Colvin, M. A., Dodd, Mead & Co., N. Y., 1894.] {144}