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Giotto And His Works In Padua - 11. The Betrothal Of The Virgin
XI. THE BETROTHAL OF THE VIRGINThere 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.
Giotto And His Works In Padua - 15. The Salutation
XV. THE SALUTATIONThis 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 same time, the first of the great chain of more familiar subjects, in which we have the power of comparing 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
Giotto And His Works In Padua - 10. The Watching Of The Rods At The Altar
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- Giotto And His Works In Padua - 15. The Salutation
- Giotto And His Works In Padua - 16. The Nativity
- Giotto And His Works In Padua - 17. The Wise Men's Offering
- Giotto And His Works In Padua - 18. The Presentation In The Temple
- Giotto And His Works In Padua - 19. The Flight Into Egypt
- Giotto And His Works In Padua - 20. Massacre Of The Innocents
- Giotto And His Works In Padua - 21. The Young Christ In The Temple
- Giotto And His Works In Padua - 25. The Entry Into Jerusalem
- Giotto And His Works In Padua - 26. The Expulsion From The Temple
- Giotto And His Works In Padua - 27. The Hiring Of Judas