Giotto and his works in Padua Part 3

VI.

THE MEETING AT THE GOLDEN GATE.

"And Joachim went down with the shepherds, and Anna stood by the gate, and saw Joachim coming with the shepherds. And she ran, and hanging about his neck, said, 'Now I know that the Lord hath greatly blessed me.'" (Protevangelion, iv. 8, 9.)

This is one of the most celebrated of Giotto's compositions, and deservedly so, being full of the most solemn grace and tenderness. The face of St. Anna, half seen, is most touching in its depth of expression; and it is very interesting to observe how Giotto has enhanced its sweetness, by giving a harder and grosser character than is usual with him to the heads of the other two princ.i.p.al female figures (not but that this cast of feature is found frequently in the figures of somewhat earlier art), and by the rough and weather-beaten countenance of the entering shepherd. In like manner, the falling lines of the draperies owe a great part of their value to the abrupt and ugly oblongs of the horizontal masonry which adjoins them.

VII.

THE BIRTH OF THE VIRGIN.

"And Joachim said, 'Now I know that the Lord is propitious to me, and hath taken away all my sins.' And he went down from the temple of the Lord justified, and went to his own house.

"And when nine months were fulfilled to Anna, she brought forth, and said to the midwife, 'What have I brought forth?' And she told her, a girl.

"Then Anna said, 'The Lord hath this day magnified my soul.' And she laid her in the bed." (Protevangelion, v. 4-8.)

The composition is very characteristic of Giotto in two respects: first, in its natural homeliness and simplicity (in older designs of the same subject the little Madonna is represented as born with a golden crown on her head); and secondly, in the smallness of the breast and head of the sitting figure on the right,--a fault of proportion often observable in Giotto's figures of children or young girls.

For the first time, also, in this series, we have here two successive periods of the scene represented simultaneously, the babe being painted twice. This practice was frequent among the early painters, and must necessarily become so wherever painting undertakes the task of lengthened narrative. Much absurd discussion has taken place respecting its propriety; the whole question being simply whether the human mind can or cannot pa.s.s from the contemplation of one event to that of another, without reposing itself on an intermediate gilt frame.

VIII.

THE PRESENTATION OF THE VIRGIN.

"And when three years were expired, and the time of her weaning complete, they brought the Virgin to the temple of the Lord with offerings.

"And there were about the temple, according to the fifteen Psalms of Degrees, fifteen stairs to ascend.

"The parents of the blessed Virgin and infant Mary put her upon one of these stairs; but while they were putting off their clothes in which they had travelled, in the meantime, the Virgin of the Lord in such a manner went up all the stairs, one after another, without the help of any one to lead her or lift her, that any one would have judged from hence that she was of perfect age." (Gospel of St. Mary, iv. 1-6.)

There seems nothing very miraculous in a child's walking up stairs at three years old; but this incident is a favourite one among the Roman-Catholic painters of every period: generally, however, representing the child as older than in the legend, and dwelling rather on the solemn feeling with which she presents herself to the high-priest, than on the mere fact of her being able to walk alone.

Giotto has clearly regarded the incident entirely in this light; for St. Anna touches the child's arm as if to support her; so that the so-called miraculous walking is not even hinted at.

Lord Lindsay particularly notices that the Virgin is "a dwarf woman instead of a child; the delineation of childhood was one of the latest triumphs of art." Even in the time of those latest triumphs, however, the same fault was committed in another way; and a boy of eight or ten was commonly represented--even by Raffaelle himself--as a dwarf Hercules, with all the gladiatorial muscles already visible in stunted rotundity. Giotto probably felt he had not power enough to give dignity to a child of three years old, and intended the womanly form to be rather typical of the Virgin's advanced mind, than an actual representation of her person.

IX.

THE RODS ARE BROUGHT TO THE HIGH-PRIEST.

"Then he (the high-priest) appointed that all the men of the house and family of David who were marriageable, and not married, should bring their several rods to the altar. And out of whatsoever person's rod, after it was brought, a flower should bud forth, and on the top of it the Spirit of the Lord should sit in the appearance of a dove, he should be the man to whom the Virgin should be given, and be betrothed to her." (Gospel of St. Mary, v. 16, 17.)

There has originally been very little interest in this composition; and the injuries which it has suffered have rendered it impossible for the draughtsman to distinguish the true folds of the draperies amidst the defaced and worn colours of the fresco, so that the character of the central figure is lost. The only points requiring notice are, first, the manner in which St. Joseph holds his rod, depressing and half-concealing it,[17] while the other suitors present theirs boldly; and secondly, the graceful though monotonous grouping of the heads of the crowd behind him. This mode of rendering the presence of a large mult.i.tude, showing only the crowns of the heads in complicated perspective, was long practised in mosaics and illuminations before the time of Giotto, and always possesses a certain degree of sublimity in its power of suggesting perfect unity of feeling and movement among the crowd.

[Footnote 17: In the next chapter, it is said that "Joseph drew back his rod when every one else presented his."]

X.

THE WATCHING OF THE RODS AT THE ALTAR.

"After the high-priest had received their rods, he went into the temple to pray.

"And when he had finished his prayer, he took the rods and went forth and distributed them; and there was no miracle attended them.

"The last rod was taken by Joseph; and, behold, a dove proceeded out of the rod, and flew upon the head of Joseph." (Protevangelion, viii.

9-11.)

This is among the least graceful designs of the series; though the clumsiness in the contours of the leading figures is indeed a fault which often occurs in the painter's best works, but it is here unredeemed by the rest of the composition. The group of the suitors, however, represented as waiting at the outside of the temple, is very beautiful in its earnestness, more especially in the pa.s.sionate expression of the figure in front. It is difficult to look long at the picture without feeling a degree of anxiety, and strong sympathy with the silent watching of the suitors; and this is a sign of no small power in the work. The head of Joseph is seen far back on the extreme left; thus indicating by its position his humility, and desire to withdraw from the trial.

XI.

THE BETROTHAL OF THE VIRGIN.

There is no distinct notice of this event in the apocryphal Gospel: the traditional representation of it is nearly always more or less similar. Lord Lindsay's account of the composition before us is as follows:

"The high-priest, standing in front of the altar, joins their hands; behind the Virgin stand her bridesmaids; behind St. Joseph the unsuccessful suitors, one of whom steps forward to strike him, and another breaks his rod on his knee. Joseph bears his own rod, on the flower of which the Holy Spirit rests in the semblance of a dove."

The development of this subject by Perugino (for Raffaelle's picture in the Brera is little more than a modified copy of Perugino's, now at Caen,) is well known; but notwithstanding all its beauty, there is not, I think, any thing in the action of the disappointed suitors so perfectly true or touching as that of the youth breaking his rod in this composition of Giotto's; nor is there among any of the figures the expression of solemn earnestness and intentness on the event which is marked among the attendants here, and in the countenances of the officiating priests.

XII.

THE VIRGIN MARY RETURNS TO HER HOUSE.

"Accordingly, the usual ceremonies of betrothing being over, he (Joseph) returned to his own city of Bethlehem to set his house in order, and to make the needful provisions for the marriage. But the Virgin of the Lord, Mary, with seven other virgins of the same age, who had been weaned at the same time, and who had been appointed to attend her by the priest, returned to her parents' house in Galilee."

(Gospel of St. Mary, vi. 6, 7.)

Of all the compositions in the Arena Chapel I think this the most characteristic of the n.o.ble time in which it was done. It is not so notable as exhibiting the mind of Giotto, which is perhaps more fully seen in subjects representing varied emotion, as in the simplicity and repose which were peculiar to the compositions of the early fourteenth century. In order to judge of it fairly, it ought first to be compared with any cla.s.sical composition--with a portion, for instance, of the Elgin frieze,--which would instantly make manifest in it a strange seriousness and dignity and slowness of motion, resulting chiefly from the excessive simplicity of all its terminal lines. Observe, for instance, the pure wave from the back of the Virgin's head to the ground; and again, the delicate swelling line along her shoulder and left arm, opposed to the nearly unbroken fall of the drapery of the figure in front. It should then be compared with an Egyptian or Ninevite series of figures, which, by contrast, would bring out its perfect sweetness and grace, as well as its variety of expression: finally, it should be compared with any composition subsequent to the time of Raffaelle, in order to feel its n.o.ble freedom from pictorial artifice and att.i.tude. These three comparisons cannot be made carefully without a sense of profound reverence for the national spirit[18] which could produce a design so majestic, and yet remain content with one so simple.

[Footnote 18: _National_, because Giotto's works are properly to be looked on as the _fruit_ of their own age, and the _food_ of that which followed.]

The small _loggia_ of the Virgin's house is noticeable, as being different from the architecture introduced in the other pictures, and more accurately representing the Italian Gothic of the dwelling-house of the period. The arches of the windows have no capitals; but this omission is either to save time, or to prevent the background from becoming too conspicuous. All the real buildings designed by Giotto have the capital completely developed.