XXX

THE KISS OF JUDAS

FOR the first time we have Giotto’s idea of the face of the traitor clearly shown. It is not, I think, traceable through any of the previous series;¹ and it has often surprised me to observe how impossible it was in the works of almost any of the sacred painters to determine by the mere cast of feature which was meant for the false Apostle. Here, however, Giotto’s theory of physiognomy, and together with it his idea of the character of Judas, are perceivable enough. It is evident that he looks upon Judas mainly as a sensual dullard, and foul-brained fool;² a man in no respect exalted in bad eminence of treachery above the mass of common traitors, but merely a distinct type of the eternal treachery to good, in vulgar men, which stoops beneath, and opposes in its appointed measure, the life and efforts of all noble persons, their natural enemies in this world; as the slime lies under a clear stream running through an earthy meadow. Our careless and thoughtless English use of the word into which the Greek “Diabolos” has been shortened, blinds us in general to the meaning of “Devilry,” which, in its essence, is nothing else than slander, or traitorhood;-the accusing and giving up of good. In particular it has blinded us to the meaning of Christ’s words, “Have not I chosen you twelve, and one of you

¹ [I do not understand this view, as the face is clearly seen in the design of the Hiring, and, as identified above, in that of the Washing of the Feet, although not quite so clear in the Last Supper. What is remarkable is the complete change of feature in this design of the Kiss. Instead of the thin, hatchet-like profile, we have a much coarser type. Perhaps the difference is due to restoration. Lord Lindsay notices the singular placidity of Malchus as St. Peter cuts off his ear.-ED. 1899.]

² [See above, p. 94.]

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[Version 0.04: March 2008]