File:Florence in poetry, history and art (1913) (14763107012).jpg

Identifier: florenceinpoetry00ryan (find matches)
Title: Florence in poetry, history and art
Year: 1913 (1910s)
Authors: Ryan, Sara Agnes
Subjects:
Publisher: Chicago, Mayer and Miller Co.
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

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d of his works in a like manner. 35 Florence. forth when they saw that face! To this day,that part of the city is called Borgo Allegro—the joyful quarter. The picture was carried in triumph by thewhole populace to the Church of Santa MariaNovello, where it still remains. Let Mrs. Browning, from her Casa GuidiWindows, tell about the picture: You enter in your Florentine wanderings,The Church of Santa Maria Novello,To muse in a small chapel scarcely lit,By Cimabues Virgin. Bright and brave,That picture was accounted mark, of old—A king stood bare before its sovereign grace,A reverent people shouted to beholdThe picture, not the king; and even the placeContaining such a miracle grew boldNamed the Glad Borga from that beauteous faceWhich thrilled the artist after work to thinkHis own ideal Mary smile should standSo very near him. The Lady, throned in empyreal state,Minds only the young Babe upon her kneeWhile sidelong angels bear the royal weightProstrated meekly, smiling tenderly, 36
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MadonnaSanta Maria Novella (Cimabite) Duccio The Artists and the Churches. Oblivious of their wings; the Child thereatStretching its hand like God. If any shouldBecause of some stiff draperies and loose jointsGaze scorn down from the heights of Raffael- hoodOn Cimabues picture, Heaven annointsThe head of no such critic. A noble picture, worthy of the shoutWherewith along the streets the people boreIts cherub-faces which the sun threw outUntil they stopped and entered the Churchdoor. There is another Madonna which was attrib-uted to Cimabue, in the Accademia, and an au-thentic portrait of St. Francis taken from lifeby Cimabue, is in Santa Croce. That also is animportant work, for painting from a livingmodel was a new thing in those days,—thisbeing a period of ebb-tide in art,—no life, orspontaneity, or initiative; but simply a blindfollowing of rules laid down by the ancientGreeks. Those rules were strictly adhered toby the artists of Byzantium which was then heldby the Greeks, and

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