APPENDIX

[Added by the Editor in the Edition of 1900]

THE following illustrations are those already referred to at p. 8. They consist of Christ in Glory, the Last Judgment, and the Virtues and Vices.

The notes are chiefly from the chapter on the Ducal Palace in the second volume of The Stones of Venice, where Ruskin, in dealing with the vices and virtues sculptured on some of the capitals of the palace, compared with them the conceptions of Giotto in the Arena Chapel, and of Spenser in the Faerie Queene; from Fors Clavigera, in the first volume of which Ruskin reproduced, with some verbal description, five of the virtues and vices (Hope, Envy, Charity, Injustice, and Justice¹); and from Lord Lindsay’s Christian Art, from which, for the sake of completeness, the brief description of the six frescoes in the choir is also given. These, which deal with the death and glorification of the Virgin, are not by Giotto, but of a later date. They are not, therefore, reproduced here.

Of the Christ in Glory (Plate XXXIX.) there is no other mention, and Lord Lindsay merely says of it, “Our Saviour in glory, seated on his throne, and attended by angels to the right and left.” Crowe and Cavalcaselle (New History of Painting in Italy, vol. i. p. 275) give the same description of the fresco, which is very much faded. It is, however, pointed out by other critics that the central figure is quite unlike Giotto’s representations of the Saviour. One of these occurs in the opposite fresco of the Last Judgment (see Moschetti’s La Cappella Scrovegni, p. 59). The list of the frescoes supplied at the chapel itself describes it as “The Almighty adored by the Angels.” The bar across the lower part of the illustration is not, of course, part of the design, but a support of part of the chapel, which could not be excluded from the photograph of the fresco.

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THE LAST JUDGMENT

Beyond a passing reference to the treatment of this subject (Plate XL.) by Giotto and others in the second volume of Modern Painters,* this fresco

* “In the Judgment of Angelico the treatment is purely typical. ... With Giotto and Orcagna the conception, though less rigid, is equally typical; no effort being made at the suggestion of space, and only so much ground represented as is absolutely necessary to support the near figures and allow space for a few graves.” Modern Painters, vol. ii. pt. iii. sec. ii. ch. iii. § 23 (Vol. IV. p. 275). See also ibid., vol. ii. pt. iii. sec. i. ch. xiv. § 29 (Vol. IV. p. 201).

¹ [Reproductions of these are accordingly not inserted here, as they will be found in Fors Clavigera, Letters 5, 6, 7, 10, 11.]

XXIV. H

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[Version 0.04: March 2008]