File:Giotto (1905) (14773265941).jpg

Identifier: giotto00dese (find matches)
Title: Giotto
Year: 1905 (1900s)
Authors: De Selincourt, Basil, 1876-
Subjects: Giotto, 1266?-1337
Publisher: London : Duckworth and Co. New York, C. Scribner's Sons
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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angular figures of the mosaic, and thecramped and unhappy restlessness of these latter con-trasted with their easy graceful repose, the one seekingexpression vainly in gesticulation, the other finding itin reserve. The central composition of Christ Enthroned hasalready been compared with the Virgin and ChildEnthroned of the Accademia. It shows the painterpossessed of powers of which the earlier work barelyrevealed the promise. By subtle adaptation of theproportion of the various parts, of the angels to Christ,of Christ to the throne he occupies, of the throne itselfto the cusped arch which limits the design, Giotto suc-ceeds in combining the effect of a real scene with thatof a more than human presence. In the portrayal ofChrist, he summons the whole weight of Byzantinetradition to his aid, availing himself of the peculiar andmysterious religious expressiveness, which was attainedby their hereditary art. But Cardinal Stefaneschi,kneeling in worship at Christs feet and portrayed to the
Text Appearing After Image:
Photo, Anderson) CHRIST ENTHRONED iThe CiboriumTo face p. 86 GIOTTO^S WORK IN ROME 87 life with exquisite felicity, reveals how completely theByzantine tradition has been naturalised. The imagina-tive creations of the past are as real to Giotto as thenatural facts of the present, and, without offering viola-tion to either, he sets them in due relation side by side. The value of this massive figure of Christ, as a centre-piece to the front of the Ciborium, cannot be overlooked,and the effect of it is enhanced by the opposing charac-ter of the compositions to left and right, in which themasses are so disposed as to leave the central space com-paratively free. They represent, on the right, the Cruci-fixion of S. Peter, on the left the Decapitation ofS. Paul. Of these the crucifixion scene claims first atten-tion, as having probably determined the design of both.Giotto is faithful to all the traditions of the subject,simply adapting them to the formal requirements of adecorative work. As

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