XIII

THE ANNUNCIATION-THE ANGEL GABRIEL¹

THIS figure is placed on one side of the arch at the east end of the body of the chapel; the corresponding figure of the Virgin being set on the other side. It was a constant practice of the mediæval artists thus to divide this subject;² which, indeed, was so often painted, that the meaning of the separated figures of the Angel and Mary was as well understood as when they were seen in juxtaposition. Indeed, on the two sides of this arch they would hardly be considered as separated, since very frequently they were set to answer to each other from the opposite extremities of a large space of architecture.*

The figure of the Angel is notable chiefly for its serenity, as opposed to the later conceptions of the scene, in which he falls into the chamber upon the wing, like a stooping falcon.

The building above is more developed than in any other of the Arena paintings; but it must always remain a matter of question, why so exquisite a designer of architecture as Giotto should introduce forms so harsh and meagre into his backgrounds. Possibly he felt that the very faults of the architecture enhanced the grace and increased the importance of the figures; at least, the proceeding seems to me inexplicable on any other theory.†

* As, for instance, on the two opposite angles of the façade of the Cathedral of Rheims.

† (Note by a friend.) “I suppose you will not admit as an explanation, that he had not yet turned his mind to architectural composition, the Campanile being some thirty years later?”

¹ [This and the next subject, which are indeed one composition, are No. 14 in the plan exhibited in the chapel, so that all the later numbers agree.]

² [As on the Rialto bridge at Venice: see Vol. XI. p. 400, and Vol. XX. p. 256.]

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[Version 0.04: March 2008]