dexterity or neatness of finish; and
when, owing to the very ignorance which has been unwisely regretted, the
simplicity of his thoughts might be uttered with a childlike and
innocent sweetness, never to be recovered in times of prouder knowledge.
The dramatic power of his works, rightly understood, could receive no
addition from artificial arrangement of shade, or scientific exhibition
of anatomy, and we have reason to be deeply grateful when afterwards
"inland far" with Buonaroti and Titian, that we can look back to the
Giotteschi--to see those children

"Sport upon the shore
And hear the mighty waters rolling evermore."

We believe Giotto himself felt this--unquestionably he could have
carried many of his works much farther in finish, had he so willed it;
but he chose rather to multiply motives than to complete details. Thus
we recur to our great principle of Separate gift. The man who spends his
life in toning colors must leave the treasures of his invention
untold--let each have his perfect work; and while we thank Bellini and
Leonardo for their deeply wrought dyes, and life-labored utterance of
passionate thought; let us remember also what cause, but for the
remorseless destruction of myriads of his works, we should have had to
thank Giotto, in that, abandoning all proud effort, he chose rather to
make the stones of Italy cry out with one voice of pauseless praise, and
to fill with perpetual remembrance of the Saints he loved, and perpetual
honor of the God he worshiped, palace chamber and convent cloister,
lifted tower and lengthened wall, from the utmost blue of the plain of
Padua to the Southern wildernesses of the hermit-haunted Apennine.

70. From the head of the Dramatic branch of Art, we turn to the first of
the great Contemplative Triad, associated, as it most singularly happens
in name as well as in heart; Orcagna--Arcagnuolo; Fra Giovanni--detto
Angelico; and Michael Angelo:--the first two names being bestowed by
contemporary admiration.

* * *

"Orcagna was born apparently about the middle of the (14th) century, and
was christened Andrea, by which name, with the addition of that of his
father, Cione, he always designated himself; that, however, of Orcagna,
a corruption of Arcagnuolo, or 'The Archangel,' was given him by his
contemporaries, and by this he has become known to posterity.

"The earliest works of Orcagna will be found in that sanctuary of
Semi-Byzantine ar