It was before noticed that the chapel was built between 1300 and 1306. The architecture of Italy in the beginning of the fourteenth century is always pure, and often severe; but this chapel is remarkable, even among the severest forms, for the absence of decoration. Its plan, seen in the marginal [figure] on [p. 26], is a pure oblong, with a narrow advanced tribune, terminating in a trilateral apse. Selvatico quotes from the German writer Stieglitz some curious observations on the apparent derivation of its proportions, in common with those of other buildings of the time, from the number of sides of its apse. Without entering into these particulars, it may be noted that the apse is just one-half the width of the body of the chapel, and that the length from the extremity of the tribune to the west end is just seven times the width of the apse. The whole of the body of the chapel was painted by Giotto; the walls and roof being entirely covered either with his figure-designs, or with various subordinate decorations connecting and enclosing them.

INTERIOR OF THE ARENA CHAPEL, PADUA, LOOKING EASTWARD

The [woodcut] on [p. 27] represents the arrangement of the frescoes on the sides, extremities, and roof of the chapel. The spectator is supposed to be looking from the western entrance towards the tribune, having on his right the south side, which is pierced by six tall windows, and on which the frescoes are therefore reduced in number. The north side is pierced by no windows, and on it therefore the frescoes are continuous, lighted from the south windows. The several spaces numbered 1 to 38 are occupied by a continuous series of subjects, representing the life of the Virgin and of Christ; the narrow panels below, marked a, b, c, &c., are filled by figures of the cardinal virtues and their opponent vices: on the lunette above the tribune is painted a Christ in glory, and at the western extremity the Last Judgment. Thus the walls of the chapel are covered with a continuous meditative poem on the mystery of the Incarnation, the acts of Redemption, the vices and virtues of mankind as proceeding from their scorn or acceptance of that Redemption, and their final judgment.

The first twelve pictures of the series are exclusively devoted to the apocryphal history of the birth and life of the Virgin. This the Protestant spectator will observe, perhaps, with little favour, more especially as only two compartments are given to the ministry of Christ, between his Baptism and Entry into Jerusalem. Due weight is, however, to be allowed to Lord Lindsay's remark, that the legendary history of the Virgin was of peculiar importance in this chapel, as especially dedicated to her service; and I think also that Giotto desired to unite the series of compositions in one continuous action, feeling that to have enlarged on the separate miracles of Christ's ministry would have interrupted the onward course of thought. As it is, the mind is led from the first humiliation of Joachim to the Ascension of Christ in one unbroken and progressive chain of scenes; the ministry of Christ being completely typified by his first and last conspicuous miracle: while the very unimportance of some of the subjects, as for instance that of the Watching the Rods, is useful in directing the spectator rather to pursue the course of the narrative, than to pause in satisfied meditation upon any single incident. And it can hardly be doubted that Giotto had also a peculiar pleasure in dwelling on the circumstances of the shepherd life of the father of the Virgin, owing to its resemblance to that of his own early years.

The incidents represented in these first twelve paintings are recorded in the two apocryphal gospels known as the "Protevangelion" and "Gospel of St. Mary."[13] But on comparing the statements in these writings (which, by the by, are in nowise consistent with each other) with the paintings in the Arena Chapel, it appeared to me that Giotto must occasionally have followed some more detailed traditions than are furnished by either of them; seeing that of one or two subjects the apocryphal gospels gave no distinct or sufficient explanation. Fortunately, however, in the course of some other researches, I met with a manuscript in the British Museum (Harl. 3571,) containing a complete "History of the most Holy Family," written in Northern Italian of about the middle of the 14th century; and appearing to be one of the forms of the legend which Giotto has occasionally followed in preference to the statements of the Protevangelion. I have therefore, in illustration of the paintings, given, when it seemed useful, some portions of this manuscript; and these, with one or two verses of the commonly received accounts, will be found generally enough to interpret sufficiently the meaning of the painter.

The following complete list of the subjects will at once enable the reader to refer any of them to its place in the series, and on the walls of the building; and I have only now to remind him in conclusion, that within those walls the greatest painter and greatest poet of mediæval Italy held happy companionship during the time when the frescoes were executed. "It is not difficult," says the writer already so often quoted, Lord Lindsay, "gazing on these silent but eloquent walls, to repeople them with the group once, as we know, five hundred years ago, assembled within them: Giotto intent upon his work, his wife Ciuta admiring his progress; and Dante, with abstracted eye, alternately conversing with his friend, and watching the gambols of the children playing on the grass before the door."

[SERIES OF SUBJECTS.]

[1. The Rejection of Joachim's Offering.]
[2. Joachim retires to the Sheepfold.]
[3. The Angel appears to Anna.]
[4. The Sacrifice of Joachim.]
[5. The Vision of Joachim.]
[6. The Meeting at the Golden Gate.]
[7. The Birth of the Virgin.]
[8. The Presentation of the Virgin.]
[9. The Rods are brought to the High Priest.]
[10. The Watching of the Rods.]
[11. The Betrothal of the Virgin.]
[12. The Virgin returns to her House.]
[13. The Angel Gabriel.]
[14. The Virgin Annunciate.]
[15. The Salutation.]
[16. The Angel Appearing to the Shepherds.]
[17. The Wise Men's Offering.]
[18. The Presentation in the Temple.]
[19. The Flight into Egypt.]
[20. The Massacre of the Innocents.]
[21. The Young Christ in the Temple.]
[22. The Baptism of Christ.]
[23. The Marriage in Cana.]
[24. The Raising of Lazarus.]
[25. The Entry into Jerusalem.]
[26. The Expulsion from the Temple.]
[27. The Hiring of Judas.]
[28. The Last Supper.]
[29. The Washing of the Feet.]
[30. The Kiss of Judas.]
[31. Christ before Caiaphas.]
[32. The Scourging of Christ.]
[33. Christ bearing his Cross.]
[34. The Crucifixion.]
[35. The Entombment.]
[36. The Resurrection.]
[37. The Ascension.]
[38. The Descent of the Holy Spirit.]