4 > ML<©ir U R T « Off J M 'v*f,m'- r JjlHlu . Jff 1»»7 AITES S C I E N T I A V*k'kfctffcl ^ GIOTTO AND HIS WORKS IN PADUA GIOTTO AND HIS WORKS IN PADUA BEING AN EXPLANATORY NOTICE OF THE FRESCOES IN THE ARENA CHAPEL JOHN RUSKIN, LL.D., D.C.L. HONORARY STUDENT OF CHRIST CHURCH, AND HONORARY FELLOW OF CORPUS CHRISTI COLLEGE, OXFORD WITH ILLUSTRATIONS GEORGE ALLEN, SUNNYSIDE, ORPINGTON AND 156, CHARING CROSS ROAD, LONDON 1900 [All rights reserved] C / IOO Printed by Ballantyne, Hanson &= Co. At the Ballantyne Press Starve fc EDITORIAL NOTE, 1899. This work owes its existence to the Arundel Society, who in the years 1853-60 issued a series of thirty-eight large woodcuts, repro- ductions of the majority of the frescoes in the Arena Chapel at Padua. These appeared gradually, and as they were completed, Mr. Ruskin's " explanatory notice " of them was also gradually written, and published by the Society. Ultimately the work consisted of two volumes, viz., first, a large atlas con- taining, with a title-page and list of subjects, the thirty-eight woodcuts, and secondly, a thin volume (post 8vo) containing Mr. Ruskin's introduction and account of the frescoes, to- gether with two plans of the chapel, and a woodcut of the Baptism of Christ from a — VI EDITORIAL NOTE. thirteenth century missal.* The title-page of the volume of illustrations was also decorated with a vignette of a portion of the fresco of "The Last Judgment." The work, which has never been republished, now appears in a new and more complete form, * The title-page to the volume containing the text was as follows : — " Giotto / and his Works in Padua : / being / An Ex- planatory Notice of the Series of Woodcuts / Executed for the Arundel Society / after the Frescoes in the Arena Chapel. / By John Ruskin. / Printed for the Arundel Society. / 1854." This date is scarcely accurate, the work having appeared in three Parts, I. containing the introduction and account of frescoes 1-14 in 1853 (pp. 1-74); II. containing the ac- count of frescoes 15-24 in 1854 (pp. 75-96) ; and the part (pp. 96-124) forming Part III., and dealing with frescoes 23-38, i860. This last part being exhausted, it was re- printed (June 1877) by the Society, and the whole issued as one volume. The woodcuts of the frescoes were also gradually issued. The first fourteen are dated 1853; the next eight (15-23) 1854 ; after which Nos. 24-26 bore date 1855 ; Nos. 27-28, 1856; Nos. 29-30, 1857; Nos. 31-34, 1858; Nos. 35-36, 1859; and Nos. 37-38, i860. The title-page ran as follows : 11 Arena Chapel Padua. / A Series of Wood Engravings from of / The Frescoes Giotto, / Illustrating the Lives of / The Virgin and our Saviour / Accompanied by an Ex- planatory Notice written by / John Ruskin / Arundel Society / i860. ; EDITORIAL NOTE. Vll with the advantage of modern methods of reproduction. The woodcuts of the Arundel Society were from drawings of the frescoes the present illustrations are from photographs of the frescoes themselves. Both methods fail, of course, in some instances. Thus in the old woodcuts the copyist occasionally missed a fact, or failed to catch an expres- sion, or give some detail, as, for instance, in No. IV. where he has not given the male figure rising from the flames of the altar, and in No. XXVI. where he has omitted the scourge in the hand of Christ. The illustrations in the present volume give every detail, with the fulness and accuracy of a photograph. They fail sometimes to give the tone,—a dark blue background, for in- stance, appearing in a lighter tone, as in Nos. X. and XII.,—and they necessarily suffer from the great reduction in size.* When, however, it is remembered that the figures in * The woodcuts of the Arundel Society were about twelve inches square, printed on sheets nearly twice that size. Each — Vlll EDITORIAL NOTE. the original frescoes are life-size, and that the present reproductions are reduced from photographs of the frescoes some five times as large as the reproductions, there must be rather surprise at their adequacy than com- plaint of any failure. They have in each case been carefully com- pared both with the larger photograph and the old woodcut, and, while the text of the book remains quite unchanged,* notes have now and again been added by the editor, calling attention to matters of detail, or to some point not noticed by Mr. Ruskin, who wrote with the woodcut and not the fresco before him. A full index is also added. For another reason the present edition is more complete than the old one. The publi- cations of the Arundel Society contain no woodcuts of—and only a bare reference to plate was numbered at the top, and lettered with its titles " and the words, Giotto //«# ... IV. O. Williams del . Dalzielfratres fee" * At p. 12 a misprint, " Boniface IX.," has been corrected to "Benedict IX." EDITORIAL NOTE. IX the frescoes of " Christ in Glory," " The Last Judgment," and the fourteen Virtues and Vices. These are all now reproduced, the " Christ in " Glory as a frontispiece (see p. 5 3 n.) and the rest in an Appendix, together with a brief explanatory notice of each fresco, as given by Lord Lindsay in his Christian Arty and by Mr. Ruskin himself either in the Stones of Venice, or, later, in Fors Clavigera and Val d'Arno. It is, therefore, hoped that this volume is a complete and worthy record of the chapel which has been described as "-not only the most perfect expressional work, but the prettiest piece of wall decoration and fair colour in North Italy." * * Stones of Venice, vol. i., App. 15. AUTHOR'S NOTE TO THE FIRST EDITION (1854). THE following notice of Giotto has not been drawn up with any idea of attempting a history of his life. That history could only be written after a careful search through the libraries of Italy for all documents re- lating to the years during which he worked. I have no time for such search, or even for the examination of well-known and published materials; and have therefore merely col- lected, from the sources nearest at hand, such information as appeared absolutely necessary to render the series of Plates now published by the Arundel Society intelligible and interesting to those among its Members who have not devoted much time to the Xll AUTHORS NOTE. examination of mediaeval works. I have prefixed a few remarks on the relation of the art of Giotto to former and subsequent efforts ; which I hope may be useful in preventing the general reader from either looking for what the painter never intended to give, or missing the points to which his endeavours were really directed. J. R. CONTENTS. PAGE Editorial Note, 1899 v ACtthor's Note, 1854 xi List of Illustrations xv Introduction 1 Series of Subjects 58 Appendix 165 Index 195 LIST OF ILLUSTRATIONS. Christ in Glory Frontispiece The Rejection of Joachim's Offering To face page 64 ^ ^ Joachim retires to the Sheepfold . ., ,, 66 The Angel appears to Anna . ., ., 68^-" The Sacrifice of Joachim . ,, ., 73 v The Vision of Joachim „ ,75 '0 The Meeting at the Golden Gate . „ ,76 The Birth of the Virgin . ,78 The Presentation of the Virgin . „ ., 81 Priest The Rods are brought to the High „ ,, 83 , The Watching of the Rods „ „ 85 The Betrothal of the Virgin „ „ 87 © The Virgin returns to her House . „ ., 90 v The Angel Gabriel „ ,,92 The Virgin Annunciate . „ U 94 The Salutation „ „ 97 \S The Angel appearing to the Shepherds (The Nativity) „ „ 99 LIST OF ILLUSTRATIONS. The Wise Men's Offering . To face page IO5 The Presentation in the Temple r? 55 I07 Flight into I The Egypt )? >} IO The Massacre of the Innocents ?) 55 113 The Young Christ in the Temple 5? 9? Il6 Baptism of Christ The 5? )? ii8y The same from an MSS., 1290 ?? 5? 119 The Marriage in Cana 55 )) 124 The Raising of Lazarus . » 51 127 D The Entry into Jerusalem :? " 129 The Expulsion from the Temple 5? 5? 131 Hiring The of Judas 5? ;> !33 The Last Supper 5' ;? 135 The Washing of the Feet » 139 The Kiss of Judas . r 141 Christ before Caiaphas . 51 -i 144 The Scourging of Christ . •5 u 145 Christ bearing His Cross 5> 5> 147 The Crucifixion 150 v/ The Entombment . 5) 5J The Resurrection 154 «/ The Ascension 5? ;j 157 The Descent of the Holy Spirit » ?J 159 LIST OF ILLUSTRATIONS. XV11 APPENDIX. The Last Judgment . Toface page 169 Angels delivering the Chapel to Enrico Scrovegno . „ „ 17° THE VIRTUES. Prudence 172 Fortitude 174 Temperance 175 Justice 176 Faith 179 Charity 180 Hope 182 THE VICES. Despair 184 Envy 185 Infidelity 187 Injustice 188 Wrath 191 Inconstancy 192 Folly 193 GIOTTO AND HIS WORKS IN PADUA. i. TOWARDS the close of the thirteenth century, Enrico Scrovegno, a noble Paduan, purchased, in his native city, the remains of the Roman Amphitheatre or Arena from the family of the Delesmanini, to whom those remains had been granted by the Emperor Henry III. of Germany in 1090. For the power of making this purchase, Scrovegno was in all probability indebted to his father, Reginald, who, for his, avarice, is placed by Dante in the seventh circle of the Inferno, and regarded apparently as the chief of the usurers there, since he is the only one who addresses Dante.* The son, having * « ' Noting the visages of some who lay " Beneath the pelting of that dolorous fire, 11 perceived One of them all I knew not ; but " That pendent from his neck each bore a pouch, A 2 GIOTTO AND HIS WORKS IN PADUA.