at the top forms a rude likeness of a fleur-de-lys. There is, however, in this form no real intention of imitating a flower, any more than in the meeting of the tails of these two Etruscan griffins. The notable circumstance in this piece of Gothic is its advanced form of crocket, and its prominent foliation, with nothing in the least approaching to floral ornament.
176. And now, observe this very curious fact in the personal character of two contemporary artists. See the use of my manually graspable flag.[1] Here is John of Pisa,—here Giotto. They are contemporary for twenty years; but these are the prime of Giotto's life, and the last of John's life: virtually, Giotto is the later workman by full twenty years.
But Giotto always uses severe geometrical mouldings, and disdains all luxuriance of leafage to set off interior sculpture.
John of Pisa not only adopts Gothic tracery, but first allows himself enthusiastic use of rampant vegetation;—and here, in the facade of Orvieto, you have not only perfect Gothic in the sentiment of Scripture history, but such luxurious ivy ornamentation as you cannot
- ↑ "Ariadne Florentina," § 52.
