A Popular Handbook to the National Gallery, Volume I, Foreign Schools / Including by Special Permission Notes Collected from the Works of John Ruskin

by Unknown

577. THE ASCENSION.

Orcagna (part of the altar-piece, 569).

This was a subject in which Giotto made a new departure. None of the Byzantine or earliest Italian painters ventured to introduce the entire figure of Christ in this scene. They showed the feet only, concealing the body; according to the text, "a cloud received Him out of their sight." This form of representation may be seen in some manuscripts in the British Museum. In the Arena at Padua, Giotto broke away from this tradition and introduced the entire figure of Christ; succeeding also in conveying the idea of ascending motion very skilfully. Orcagna's picture is modelled on the new type fixed by Giotto.