That is not Angelico's inspiration.
It is the final result of the labor and thought of millions of
artists, of all nations; from the earliest Egyptian potters
downwards--Greeks, Byzantines, Hindoos, Arabs, Gauls, and
Northmen--all joining in the toil; and consummating it in
Florence, in that century, with such embroidery of robe and
inlaying of armor as had never been seen till then; nor probably,
ever will be seen more. Angelico merely takes his share of this
inheritance, and applies it in the tenderest way to subjects which
are peculiarly acceptant of it. But the inspiration, if it exist
anywhere, flashes on the knight's shield quite as radiantly as on
the monk's picture. Examining farther into the sources of your
emotion in the Angelico work, you will find much of the impression
of sanctity dependent on a singular repose and grace of gesture,
consummating itself in the floating, flying, and above all, in the
dancing groups. That is not Angelico's inspiration. It is only a
peculiarly tender use of systems of grouping which had been long
before developed by Giotto, Memmi, and Orcagna; and the real root
of it all is simply--What do you think, children? The beautiful
dancing of the Florentine maidens!
DORA (indignant again). Now, I wonder what next! Why not say it
all depended on Herodias' daughter, at once?
L.
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