Summary

The Atlantic Monthly — Florentine Mosaics

The early German architecture in the actual realms of Germany is as romantic, energetic, and edifying as its poetry at the same epoch. A great German cathedral is a religious epic in stone. All the ornaments, all the episodes, spring from and cluster around one central, life-giving principle.
In Italy, on the other hand, the architecture of the so-called Gothic period embodies a constant struggle between the ancient and the new-born mind,—a contest in which the eventual triumph of the elder is already foreshadowed, even while the new has apparently gained the ascendency.
Source: Wikisource

The Atlantic Monthly — Florentine Mosaics

The genius of Cimabue extricates itself at a bound from the trammels of preceding systems, and flies vigorously towards nature.
The Madonna is colossal. She wears a hood, and holds her child in her arms. There is a strong human, yet spiritualized expression upon the face. The drapery is gracefully arranged, not folded like mummy cloths; and the color is strong and liberally laid on, without any attempt, however, at transparency of shadow. There is little indication of the technical glories of succeeding centuries.
Source: Wikisource

The Atlantic Monthly — Florentine Mosaics

Largeness, rhythm, and harmony of composition,—dramatic movement, and individual beauty of expression,—heads which have brains, eyes which can smile, lips which can speak, fluent limbs which can move, or remain in natural repose,—the whole surrounded and inspired by that atmosphere of piety, that effluence of religious ecstasy, which can never be imitated, and which came from the unquestioning faith of the artist;—such wonders were for the first time revealed by Giotto.
Source: Wikisource

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