Giotto

by Harry Quilter

THE
ENTOMBMENT OF CHRIST.
FRESCO BY GIOTTO.
IN THE CAPPELLA DELL' ARENA, PADUA.

28. The Hiring of Judas.—A small composition of four figures, placed on the wall beneath the arch of the choir, immediately beneath the Angel of the Annunciation. Judas has already received the bag of money, and the high priest, with one finger raised, like a sort of ecclesiastical Dogberry, is just giving him his last instructions. The Devil, too, in the shape of a black hobgoblin, with claws and tail, is also giving the apostate advice, whispering it into his ear. The small fresco beneath this and in the corresponding place on the other side of the choir is simply painted with a representation of an arched ceiling, wall, and window, apparently intended to give the impression from a distance of there being a side transept to the choir.

29. The Last Supper.—In this, as in all his frescoes of seated figures, Giotto is less at home than usual. It is curious to notice that the attitude of John in this fresco is the same as was adopted in all the later renderings of this scene. The moment chosen is the usual one of the Saviour's speech—"He that dippeth his hand in the dish with me, the same shall betray me."[63]

30. The Washing of the Feet.—Very characteristic of Giotto and wonderfully true to life in the positions and actions of all concerned. Notice the apostle tying his sandal on the left of the picture, and the one who is about to have his feet washed, holding up his long robe lest it should get wet.

31. The Betrayal.—This composition is much more thickly filled with figures than most of the series, and is one of the finest, though hardly one of the most beautiful. The figures of Christ and Judas are both grand in their respective ways, and stand out vividly from the crowd that surrounds them. There is no mistake about what is transpiring; one does not have to look for the action in a middle of graceful lines, but it presents itself strongly and at the first glance. The figure of the high priest who points out Christ to the soldiery is also very fine, dignified and yet eager in action, and with a mixed expression of triumph and anxiety. In colour this fresco bears comparison with any in the chapel.

32. The Trial.—"And Pilate rent his garments," &c. Chiefly interesting for the very beautiful figure of Christ, who stands with hands tied and body slightly bent, half turned away from his judge, the face expressing resignation, but in an even greater degree removedness from the scene around, possessed by some over-mastering idea.

33. The Crown of Thorns.—Here Giotto is again in a somewhat burlesque humour: the delight of those who are here mocking, tickling, pinching, and smiting Christ is evidently the ruling motive of the picture. It is noticeable that here there are only servants engaged in the derision and tormenting, not soldiers, according to the commoner rendering.

34. The Bearing of the Cross.—In this fresco the figures of both Christ and Mary are fine, that of Christ being similar to the attitude at the trial above referred to.

35. The Crucifixion.—One of the most beautiful of the series. The Magdalen kneels at the foot of the cross, weeping bitterly; St. John, half fainting, is supported by two disciples on the left of the picture; on the right the soldiers squabble over the division of Christ's robe; the Saviour looks down upon the Magdalen, and above the cross fly here and there angels.

36 and 37. The Entombment and the Resurrection.—These are the two most beautiful frescoes in the chapel, so beautiful that they throw all the others into comparative shade, and fortunately they are both little injured by damp. In the first, Christ is being prepared for burial by the disciples and the two Maries. The Magdalen supports his feet upon her knees; the Mother lays one arm upon his breast, whilst she raises his head towards her with the other in a last embrace. St. John bends over the body in Giotto's usual attitude of grief and horror; other disciples and attendants stand round weeping and watching; in the background are mountains, and above them a choir of angels.