

RELATION OF ENGIIA VING TO OTHER ARTS. 283 



65. Hold, then, steadily the first tradition about this Ar- 

 nolfo. That his real father was called " Cambio " matters to 

 you not a straw. That he never called himself Cambio's 

 Arnolfo that nobody else ever called him so, down to 

 Vasari's time, is an infinitely significant fact to yon. In my 

 twenty-second letter in Fors Clavigera you will find some ac- 

 count of the noble habit of the Italian artists to call them- 

 selves by their masters' names, considering their master as 

 their true father. If not the name of the master, they take 

 that of their native place, as having owed the character of 

 their life to that. They rarely take their own family name : 

 sometimes it is not even known, when best known, it is un- 

 familiar to us. The great Pisan artists, for instance, never 

 bear any other name than ' the Pisan ; ' among the other five- 

 and-twenty names in my list, not above six, I think, the two 

 German, with four Italian, are family names. Perugino, 

 (Peter of Perugia), Luini, (Bernard ' of Luino), Quercia, 

 (James of Quercia), Correggio, (Anthony of Correggio), are 

 named from their native places. Nobody would have under- 

 stood 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, experimen- 

 tally 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 



