of Perugia,) Luini, (Bernard of Luino,)
Quercia, (James of Quercia,) Correggio, (Anthony of Correggio,) are
named from their native places. Nobody would have understood me if I had
called Giotto, 'Ambrose Bondone;' or Tintoret, Robusti; or even Raphael,
Sanzio. Botticelli is named from his master; Ghiberti from his
father-in-law; and Ghirlandajo from his work. Orcagna, who _did_, for a
wonder, name himself from his father, Andrea Cione, of Florence, has
been always called 'Angel' by everybody else; while Arnolfo, who never
named himself from his father, is now like to be fathered against his
will.

But, I again beg of you, keep to the old story. For it represents,
however inaccurately in detail, clearly in sum, the fact, that some
great master of German Gothic at this time came down into Italy, and
changed the entire form of Italian architecture by his touch. So that
while Niccola and Giovanni Pisano are still virtually Greek artists,
experimentally introducing Gothic forms, Arnolfo and Giotto adopt the
entire Gothic ideal of form, and thenceforward use the pointed arch and
steep gable as the limits of sculpture.

66. Hitherto I have been speaking of the relations of my twenty-five men
to each other. But now, please note their relations altogether to the
art before them. These twenty-five include, I say, all the great masters
of _Christian_ art.

Before them, the art was too savage to be Christian; afterwards, too
carnal to be Christian.

Too savage to be Christian? I will justify that assertion hereafter; but
you will find that the European art of 1200 includes all the most
developed and characteristic conditions of the style in the north which
you have probably been accustomed to think of as NORMAN, and which you
may always most conveniently call so; and the most developed conditions
of the style in the south, which, formed out of effete Greek, Persian,
and Roman tradition, you may, in like manner, most conveniently express
by the familiar word BYZANTINE. Whatever you call them, they are in
origin adverse in temper, and remain so up to the year 1200. Then an
influence appears, seemingly that of one man, Nicholas the Pisan, (our
first MASTER, observe,) and a new spirit adopts what is best in each,
and gives to what it adopts a new energy of its own; namely, this
conscientious and didactic power which is the speciality of its
progressive existence. And just as the new-born and natural art of
Athens collects and re