In Book X of Plato’s Republic, the author sets up a dialogue between Socrates and another man, which is intended to illustrate Plato’s beliefs on the nature of art, and whether or not the arts should have a place of importance in the State. First, Plato likens the painter to “a creator of appearances” (2), one who imitates nature but cannot create truly new material. Therefore in Plato’s eyes, the painter, as well as the tragic poet, “is thrice removed from the king and from the truth.” (2) Artists, in his opinion, are fabricators of the truth, and their work is therefore inferior to those who promote and strive for the truth. Not only is their work inferior, but artists themselves are “concerned with an inferior part of the soul; and therefore we shall be right in refusing to admit him into a well ordered state” (5) Plato worries that the instabilities he perceives in the personality of artists could undermine his vision of a perfect State.

However, Plato’s Ion illustrates somewhat contradictory beliefs about the nature of artists and their inspiration. In this work, Plato praises the work of artists and poets, and states their inspiration originates with the Muses themselves. Here he likens poets and artists to prophets, through whom the words of God can be delivered to the masses. While Plato describes artists and poets as “possessed”, this possession is not a negative aspect of their personalities, in fact it allows people to become closer to the God though their poems, plays, and artwork.

Vasari’s biography of Giotto is thorough and informative, and for the most part follows the Schematic Structure of the Artist’s Biography. Giotto’s story begins with his birth in Florence, and following the schematic structure, his family lineage is outlined. Vasari omits the Prebirth aspect of the structure, which could serve as an important aspect if the author wished to portray him as a miracle of sorts. Vasari continues with a description of Giotto’s childhood, and highlights his natural artistic talent, describing Giotto’s abilities, despite “having never learnt from any one but nature”. This is an important part of the schematic structure, because it illustrates artistic talent as being present in the artist without any teaching, demonstrating that it is divinely bestowed. Vasari then is taken on as an apprentice by Cimabue, and soon surpasses his master’s talent. Giotto’s virtuosity is demonstrated in his biography by his rendering of a perfect circle drawn without the aid of a compass. Continuing with the schematic structure, Giotto’s adult works are outlined, however his later life and death are not mentioned. Vasari’s biography not only gives insight into the life and works of Giotto, it illustrates his personality, humor, and virtuosity in the arts. In this way, Vasari helps characterize Giotto as a truly great innovator in the world of art, one whose talents were not learned but innate.