Part 4 (1/2)

XIII

THE ANNUNCIATION--THE ANGEL GABRIEL

This figure is placed on one side of the arch at the east end of the body of the chapel; the corresponding figure of the Virgin being set on the other side It was a constant practice of the mediaeval artists thus to divide this subject; which, indeed, was so often painted, that the el and Mary was as well understood as when they were seen in juxtaposition Indeed, on the two sides of this arch they would hardly be considered as separated, since very frequently they were set to answer to each other froe space of architecture[19]

[Footnote 19: As, for instance, on the two opposite angles of the facade of the Cathedral of Rheiel is notable chiefly for its serenity, as opposed to the later conceptions of the scene, in which he sails into the cha above is s; but it must always rener of architecture as Giotto should introduce forrounds Possibly he felt that the very faults of the architecture enhanced the grace and increased the i seems to me inexplicable on any other theory[20]

[Footnote 20: (Note by a friend:) ”I suppose you will not admit as an explanation, that he had not yet turned hissome thirty years later?”]

XIV

THE ANNUNCIATION--THE VIRGIN MARY

Vasari, in his notice of one of Giotto's Annunciations, praises hiin at the address of the Angel If he ever treated the subject in such a manner, he departed from all the traditions of his ti the course of the thirteenth and following centuries, which does not represent the Virgin as perfectly tranquil, receiving the entle humility, but without a shadow of fear It was reserved for the painters of the sixteenth and seventeenth centuries to change angelic majesty into reckless impetuosity, and in is slightly disappointing Giotto never reached a very high standard of beauty in feature; depending much on distant effect in all his works, and therefore esture, than on refine in the countenance

XV

THE SALUTATION

This picture, placed beneath the figure of the Virgin Annunciate at the east end of the chapel, and necessarily small, (as will be seen by the plan), in consequence of the space occupied by the arch which it flanks, begins the second or lower series of frescoes; being, at the sareat chain of more fa the conceptions of Giotto not only with the designs of earlier ages, but with the efforts which subsequent masters have made to exalt or vary the ideas of the principal scenes in the life of the Virgin and of Christ The two paintings of the Angel Gabriel and the Virgin Annunciate hardly provoke such a co almost statue-like in the calnity and beauty of the two figures, leading, as they do, the whole system of the decoration of the chapel; but this of the Salutation is treated with no such reference to the architecture, and at once challenges comparison with the works of later e feeblyall the renderings of this scene which now exist, I reives the pure depth and plain facts of it so perfectly as this of Giotto's Of irls, both wearing gorgeous robes, in the midst of lovely scenery, or at the doors of Palladian palaces, we have enough; but I do not know any picture which seeive so truthful an idea of the action hich Elizabeth and Mary ives so exactly the way in which Elizabeth would stretch her araze into Mary's face, and the way in which Mary's hand would slip beneath Elizabeth's arms, and raise her up to kiss her I know not any Elizabeth so full of intense love, and joy, and hunity are so quietly blended She not less hu the reverence of Elizabeth as her appointed portion, saying, in her sinified roup is looked upon, the more it will be felt that Giotto has done well to withdraw from it nearly all accessories of landscape and adornment, and to trust it to the power of its own deep expression We ures until their silence seems to be broken, and the words of the question and reply sound in our ears, low as if from far away:

”Whence is this to me, that the Mother of nify the Lord, and my spirit hath rejoiced in God my Saviour”

XVI

THE NATIVITY

I a the reader anything about this beautiful design Perhaps the less he knows about early art or early traditions, the more deeply he will feel its purity and truth; for there is scarcely an incident here, or anything in thethe incidents, which is not round reminds us that Bethlehem was in the hill-country of Judah But it may seem to have two purposes besides this literal one: the first, that it increases the idea of _exposure_ and loneliness in the birth of Christ; the second that theround them in the horizontal clouds, hts the power and space of that heaven and earth whose Lord is being laid in the er-cradle

There is an exquisite truth and sweetness in the way the Virgin turns upon the couch, in order herself to assist in laying the Child down

Giotto is in this exactly faithful to the scriptural words: ”_She_ wrapped the Child in swaddling-clothes, and _laid_ Hier”

Joseph sits beneath in , and, as it were, confused with joy, flutter and circle in the air like birds,--three looking up to the Father's throne with praise and thankfulness, one stooping to adore the Prince of Peace, one flying to tell the shepherds There is so in this disorder of theirs; even angels, as it were, breaking their ranks onder, and not knowing how to utter their gladness and passion of praise There is noticeable here, as in all works of this early tiels trust to their wings, very characteristic of a period of bold and si cannot be anatomically joined to a shoulder; and in proportion as painters approach uished fros of their angels on reater es, until these last becoel But in Giotto's tiel was a complete creature, as much believed in as a bird; and the way in which it would or ht cast itself into the air, and lean hither and thither upon its pluht of a chough or a starling Hence Dante's siel, ”Bird of God;” and hence also a variety and picturesqueness in the expression of the movements of the heavenly hierarchies by the earlier painters, ill replaced by the powers of foreshortening, and throwing naked liroups of later times

It is needless to point out the frank association of the two events,--the Nativity, and appearance of the Angel to the Shepherds