File:Giotto (1905) (14589954047).jpg

Identifier: giotto00dese (find matches)
Title: Giotto
Year: 1905 (1900s)
Authors: De Selincourt, Basil, 1876-
Subjects: Giotto, 1266?-1337
Publisher: London : Duckworth and Co. New York, C. Scribner's Sons
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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Text Appearing Before Image:
k statelyarches and to the solemn doctors who sit below. Thefigure of the child Christ is disappointing, and yet, likeall Giotto^s creations, becomes impressive as its intentionis understood. It should be borne in mind that the effectof depth so striking in this interior—an effect whollywithout parallel at this early date—involved the painterin problems of the severest kind, and that these culminatein the figure of Christ, because it is furthest in the back-ground. He raises one hand in discussion with thedoctor at his right, and rests the fingers of the otherupon the front seam or opening of his tunic, just abovethe heart, a restful action, difficult to describe, butcommon enough among men of to-day. The expressionof the face is distant, as of one more occupied with hissubject than with his audience. The deep gravity of thedoctors seems hardly to have been touched by thegrievous injuries the fresco has sustained. The entranceof Joseph and Mary is unnoticed, except by one of them.
Text Appearing After Image:
Photo, Ali?iari\ THE BOY CHRIST IN THE TEMPLE (_Are?ta ChapelTo face p. 126 THE ARENA CHAPEL AT PADUA 127 Mary stretches out both arms to her son close above hisneighbours head, and he looks up over his shoulder atthe intruder in a dignified surprise. The fine figure,with high bald forehead, seated at Christs left hand,plays an important part in later frescoes. 22. The Baptism of Christ. The artist seems to have been discouraged in thisfresco by the inherent difficulties of the subject: thetraditional representation required that the principalfigure should be immersed and nude; and that bothbanks of the river should be seen. The perspective of awater surface would in itself have presented an insolubleproblem, and there is little wonder that the picture hasthe effect of a makeshift and compromise. The feeble-ness of Christs action is none the less surprising, andthat of S. John is below Giottos usual mark. Were hepouring water over the head from a vessel (as in somerepresentations of t

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