278 ARIADNE FLORENTINA. 



on the whole, with very little coaxing, I get the groups in this 

 memorable and quite literally ' handy ' form. For see, I write 

 my list of five, five, and seven, on bits of pasteboard ; I hingo 

 my rods to these ; and you can brandish the school of 1400 in 

 your left hand, and of 1500 in your right, like railway sig- 

 nals ; and I wish all railway signals were as clear. Once 

 learn, thoroughly, the groups in this artificially contracted 

 form, and you can refine and complete afterwards at your 

 leisure. 



55. And thus actually flourishing my two pennons, and get- 

 ting my grip of the men, in either hand, I find a notable thing 

 concerning my two flags. The men whose names I hold in 

 my left hand are all sculptors ; the men whose names I hold 

 in my right are all painters. 



You will infallibly suspect me of having chosen them thus 

 on purpose. No, honour bright ! I chose simply the greatest 

 men, those I wanted to talk to you about. I arranged them 

 by their dates ; I put them into three conclusive pennons ; 

 and behold what follows ! 



56. Farther, note this : in the 1300 group, four out of the 

 five men are architects as well as sculptors and painters. In 

 the 1400 group, there is one architect ; in the 1500, none. 

 And the meaning of that is, that in 1300 the arts were all 

 united, and duly led by architecture ; in 1400, sculpture began 

 to assume too separate a power to herself ; in 1500, painting 

 arrogated all, and, at last, betrayed all. From which, with 

 much other collateral evidence, you may justly conclude that 

 the three arts ought to be practised together, and that they 

 naturally are so. I long since asserted that no man could be 

 an architect who was not a sculptor. As I learned more and 

 more of my business, I perceived also that no man could be a 

 sculptor who was not an architect ; that is to say, who had 

 not knowledge enough, and pleasure enough in structural law, 

 to be able to build, on occasion, better than a mere builder. 

 And so, finally, I now positively aver to you that nobody, in 

 the graphic arts, can be quite rightly a master of anything, 

 who is not master of everything ! 



57. The junction of the three arts in men's minds, at the 



