Mornings in Florence

It is the crowning virtue of all great art that, however little is left of it by the injuries of time, that little will be lovely. As long as you can see anything, you can see--...

Chapt. ix., verses 11 to 14. Chapter x., verses 1 to 5. Chapter xiii., verses 6 to 10. Chapter xv., verses 11 to 13. Chapter xvi., verses 1 to 6. Chapter xvi., verses 11 to 15....

The fact was, he saw light so intensely that he never for an instant thought of painting it. He knew that to paint the sun was as impossible as to stop it; and he was no trickst...

In blue and red: a narrow black rod still traceable in the left hand; I am not sure of its meaning. ("Thy rod and Thy staff, they comfort me?") The other hand open in admiration...

If there is one artist, more than another, whose work it is desirable that you should examine in Florence, supposing that you care for old art at all, it is Giotto. You can, ind...

These three things Giotto taught, and men believed, in his day. Of which Faith you shall next see brighter work; only before we leave the cloister, I want to sum for you one or...

On the other hand, you see that the frescos on the walls are of paler colours, the blacks coming out of these clearly, rather than the whites; but the pale colours, especially,...

His face--gentle, resolute, glacial-pure, thin-cheeked; so sharp at the chin that the entire head is almost of the form of a knight's shield--the hair short on the forehead, fal...

And you will find that, thus, she alone of all the sciences _needs no use of her hands_. All the others have some important business for them. She none. She can do all with her...

The astronomer, with his sextant revolving on a fixed pivot, looks up to the vault of the heavens and beholds their zodiac; prescient of what else with optic glass the Tuscan ar...

Next, put 22 and 5 back to back. You see again the resemblance in the earnestness of both figures, in the unbroken arcs of their backs, in the breaking of the octagon moulding b...