Barbara Saromines-Ganne

Washing the Feet of the Disciples

To help the disciples understand humility Christ washes their feet. This is still done by the Pope to his cardinals during the week prior to Easter.

This scene is almost like a still-life it is so quiet and dramatic.

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The Betrayal

This is a classic example of the confrontation between good and evil. Look at the bestial features of Judas and the noble features of Christ. All the spears seem to point at the focal point in the center. On the left is Peter, with a halo, about to cut off the ear of Malchus, the high priest's servant. On the right the high priest is shown with his finger contracting as is the cloak of Judas. This scene is embedded with high drama.

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The Cleansing of the Temple

Look at the realism of the wooden cages and stalls. The cage held by one of the money-changers was an afterthought, added when the plaster was almost dry, and for this reason it is barely visible today.

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Christ before Caiaphas

After his capture Christ is brought before Caiaphas the high priest. This appears to be a night scene in which the wooden ceiling room has been illuminated from below by a torch. Giotto doesn't allow the violence and drama of this scene to interfere with the figure of Christ which is isolated and turned in upon itself.

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The Flagellation

In this scene we see the scourging of Christ, or beating, often referred to as the flagellation. Christ is given the crown of thorns mockingly to be called the King of the Jews. The black figure in the center, by his diagonal movement, focuses us on the figure of Christ on the left.

The figures on either side of the composition also gesture toward Christ and the three figures stacked in profile also reinforce this emphasis.

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Christ Carrying the Cross

Christ is now forced to carry the cross on the Road to Calvary. The movement goes from left to right with a figure aptly placed on the right to force our attention back to Christ.
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The Crucifixion

This is the first modern interpretation of the Crucifixion. Instead of the Byzantine unrealistic presentation we see a real body with solid weight hanging from the Cross. There are two blocks of figures on either side that accent the tragedy. On the left is the Madonna and at the foot of Christ is Mary Magdalene with her long flowing hair. On the right are the soldiers gambling for the robe of Christ. Above in the sky are grieving angels flying in desperation.

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Lamentation

After the Crucifixion and after Christ was taken from the cross, known as the Deposition, a scene that follows is that of the Lamentation or the mourning of Christ.
This is one of the strongest of Giotto's compositions. It is divided into two parts by the diagonal rock. Our eye follows downward to the focal point which is the head of Christ in the arms of the Madonna. A figure has been placed at the extreme right to keep our eye within the composition. Our eye then sweeps up to the sky, again filled with angels, and then over to the left side where there is another group of figures. The figure of John, with his arms outstretched links the two halves of the scene. This is on the level of a Shakespearean drama. The emotion and grief is shown in the design and the gestures.

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Jonah and the Whale

Separating the scenes many times Giotto shows us what is about to come by portraying scenes from the Old Testament that relate to the New Testament. Here is an example. It shows in this small medallion the story of Jonah and the whale. Jonah is seen as the symbol of resurrection in the Old Testament. This is an example of typology.

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Resurrection

Giotto actually portrays two scenes here: the angel at the tomb and the sleeping soldiers, and the Resurrection. After the Resurrection Christ appears triumphantly, with the flag, to Mary Magdalene and he says to her "Noli me tangere" meaning "Don't touch me" until I have seen my father.

It is thought that one the sleeping soldiers here is a self-portrait of Giotto. He is the one on the right with the yellow cap.

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Ascension

After the resurrection this scene shows the ascension of Christ to heaven.

Here Giotto shows a real virtuoso sense of movement and an almost decorative and coloristic richness which underlines the spiritual significance of the work.

Next Page Index

Washing the Feet of the Disciples

To help the disciples understand humility Christ washes their feet. This is still done by the Pope to his cardinals during the week prior to Easter. This scene is almost like a still-life it is so quiet and dramatic.
Next Page	Index

The Betrayal

This is a classic example of the confrontation between good and evil. Look at the bestial features of Judas and the noble features of Christ. All the spears seem to point at the focal point in the center. On the left is Peter, with a halo, about to cut off the ear of Malchus, the high priest's servant. On the right the high priest is shown with his finger contracting as is the cloak of Judas. This scene is embedded with high drama.
Next Page	Index

The Cleansing of the Temple

Look at the realism of the wooden cages and stalls. The cage held by one of the money-changers was an afterthought, added when the plaster was almost dry, and for this reason it is barely visible today.
Next Page	Index

Christ before Caiaphas

After his capture Christ is brought before Caiaphas the high priest. This appears to be a night scene in which the wooden ceiling room has been illuminated from below by a torch. Giotto doesn't allow the violence and drama of this scene to interfere with the figure of Christ which is isolated and turned in upon itself.
Next Page	Index

The Flagellation

In this scene we see the scourging of Christ, or beating, often referred to as the flagellation. Christ is given the crown of thorns mockingly to be called the King of the Jews. The black figure in the center, by his diagonal movement, focuses us on the figure of Christ on the left. The figures on either side of the composition also gesture toward Christ and the three figures stacked in profile also reinforce this emphasis.
Next Page	Index

The Crucifixion

This is the first modern interpretation of the Crucifixion. Instead of the Byzantine unrealistic presentation we see a real body with solid weight hanging from the Cross. There are two blocks of figures on either side that accent the tragedy. On the left is the Madonna and at the foot of Christ is Mary Magdalene with her long flowing hair. On the right are the soldiers gambling for the robe of Christ. Above in the sky are grieving angels flying in desperation.
Next Page	Index

Lamentation

After the Crucifixion and after Christ was taken from the cross, known as the Deposition, a scene that follows is that of the Lamentation or the mourning of Christ. This is one of the strongest of Giotto's compositions. It is divided into two parts by the diagonal rock. Our eye follows downward to the focal point which is the head of Christ in the arms of the Madonna. A figure has been placed at the extreme right to keep our eye within the composition. Our eye then sweeps up to the sky, again filled with angels, and then over to the left side where there is another group of figures. The figure of John, with his arms outstretched links the two halves of the scene. This is on the level of a Shakespearean drama. The emotion and grief is shown in the design and the gestures.
Next Page	Index

Resurrection

Giotto actually portrays two scenes here: the angel at the tomb and the sleeping soldiers, and the Resurrection. After the Resurrection Christ appears triumphantly, with the flag, to Mary Magdalene and he says to her "Noli me tangere" meaning "Don't touch me" until I have seen my father. It is thought that one the sleeping soldiers here is a self-portrait of Giotto. He is the one on the right with the yellow cap.
Next Page	Index

Ascension

After the resurrection this scene shows the ascension of Christ to heaven. Here Giotto shows a real virtuoso sense of movement and an almost decorative and coloristic richness which underlines the spiritual significance of the work.
Next Page	Index