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Published online by Cambridge University Press: 25 January 2012
The figure on which I am about to offer some remarks, is one of eighteen basreliefs on the piers supporting the arch leading into the chapel of S. Gaudenzio, in the cathedral church of Rimini. All the subjects represented are worthy of some notice, but this, being an unique symbolism of music, specially commended itself to me. I made a drawing of it under somewhat difficult circumstances, and it is my intention to set before you, if possible, the motives which influenced the artist in its design. These are evidently of classic origin and the suggestions of a scholar. Now, very few artists of the period of the early Renaissance had any claim to be so called. Their education began in the studio (bottega), and they entered at so early an age that there was little time for the humanities. We have it on record by Vasari how some, Botticelli for instance, cared nothing for school learning, yet there are works in the Uffizi by this artist full of classic knowledge, and, to my mind, the most interesting of his productions. In fact, the artist worked under the instruction of the clergy, as regards his treatment of ecclesiastical subjects; it was dangerous to travel too much out of the circle, for a charge of heresy might ensue, which was really suggested against poor Botticelli, one certainly as innocent of theology, except that taught him, as he was of Horace or Virgil. We possess a painting of his in our National Gallery, mentioned by Vasari in connection with the cleric's name who suggested its treatment. It is very orthodox in its elements.
page 177 note a Flacci, Horatii, Epodon Liber, ix. 3Google Scholar.
page 177 note b τò καστορειον δ᾽ἐν᾽ Αἰολίδεσσι χορδαῑς ἑκών
ἄθρησον χάριν ἑπτακτύπου
φόρμιγγος ἀντόμενος
Pindari Carmina. Pythia II.
page 177 note c Harl. MS. 283, f. 171.
page 177 note d Vide Letter II. in Mrs. Hoaton's, Life of Albrecht Dürer, p. 70Google Scholar.
page 177 note e The lyre had several names, as lyra curva, which applies well to all its developments,. barhiton, Φόρμιγξ: both these are given to the heptachord; also Testudo and chelys, in allusion to shell of the tortoise, of which it was first made, or of which it formed a part.
page 178 note a Cotton MS. Cleopatra C. viii. It is remarkable that in this miniature we have, besides the lyre, the double pipe as in early classic times. Also in a MS. at Angers of the eleventh century, where David is represented playing on the lyre in its early shape. Vide Coussemaker, in the Annales Archeologiques.
page 179 note a It is just possible that it may have been suggested by this passage in Plutarch's dialogue following the discussion on harmony:
But also the senses which through harmony are innate, celestial some and divine, which with God give understanding unto men, sight and hearing, represent harmony with the voice and light.”
page 181 note a In the excellent account of Rimini and the family of the Malatesta by Charles Yriarte, entitled “Un condottiere au XV. Siecle,” etc. are collected together the researches of the Italian and other writers who have corrected Vasari, and have identified the sculptors of the works in the cathedral church. Vide pp. 407, 408, 409, in reference to Agostino.