The reference is to a fresco illustrating the last chapter of the Book of Job from a cycle of the Trials of Job in the Campo Santo at Pisa, and attributed by Vasari to Giotto. In a letter to John James Ruskin from Pisa on 13 May 1845 Ruskin complains about the failure to care for these frescoes ( Shapiro, Ruskin in Italy: Letters to his parents 1845 1845, p. 61). They were finally left in ruins by Allied bombing on 27 July 1944.
The frescoes are not now attributed to Giotto. Kugler in 1842 attributed them to Francesco da Volterra, and commented:
A grand, copious and animated treatment characterizes the whole work. The first subject, in which Jehovah, surrounded by angels gives audience to Satan, is very dignified and beautiful. The irruption of the enemy on the possessions of Job is excellent, as well as the visit of his three friends and of Elihu. The expression, as conveyed by mien and gesture, is particularly happy; a power of imitation is also displayed in regard to the appearances of nature, and especially in the representation of animals. The arrangement generally bespeaks a cultivated feeling for the grand distribution of masses in a given space. These paintings are unfortunately much restored, and have been in part destroyed by the erection of sepulchral monuments. Kugler, ed. Eastlake, Handbook of the History of Painting, Part One, The Italian Schools, First Edition, p. 78)
Angiolotto Bondone c.1267-1337
Sacrifice for the Friends 1371
Pigment on wet plaster, size unknown
Provenance: Destroyed by bombing, 27th July 1944
Further Comments: The freso depicts the last chapter of the 'Book of Job' from a cycle 'Trials of Job'. Vasari attributed them to Giotto, but in 1842, Kugler attributed them to Francesco da Volterra. The fresco is now dated after the death of Giotto.
Collection: Campo Santo, Pisa
We regret that an image could not be located for this artistic work