Giotto . st seems deducible from the treatmentof the figure as a whole. The contrast between this andthe brutal hardness of the soldiers would hardly bebearable in a composition that stood by itself. Theaction given to Caiaphas is seen again in the chapel inthe allegorical figure of Wrath ; in neither case is it veryeffective ; * far more so here is the insolent toss of thehigh priest^s head. The torch and barred shutters, asRuskin observes, conspicuously indicate its being nowdead of night, an effect enhanced by the deep gloom ofthe ceiling. But neither here nor anywhere does itoccur to Giott
Giotto . st seems deducible from the treatmentof the figure as a whole. The contrast between this andthe brutal hardness of the soldiers would hardly bebearable in a composition that stood by itself. Theaction given to Caiaphas is seen again in the chapel inthe allegorical figure of Wrath ; in neither case is it veryeffective ; * far more so here is the insolent toss of thehigh priest^s head. The torch and barred shutters, asRuskin observes, conspicuously indicate its being nowdead of night, an effect enhanced by the deep gloom ofthe ceiling. But neither here nor anywhere does itoccur to Giotto to represent fire as a source of light: hetreats flame colour conventionally, making it a deep dullred, so that even in its original condition the outline ofthe burning torch would have shown dark against thepale mauve of the wall. * A friend has suggested to me that its purpose here is, at leastin part, to reveal the breast-plate, the high priest choosing thus toemphasise the dignity of his ofl& Si On C^ < ^ « ^ ^ h mH W Cm Q< H ^ THE ARENA CHAPEL AT PADUA 139 32. The Scourging of Christ. This scene gives an important example of Giottosdesire to secure accurate suggestion of fact in his archi-tectural setting: on careful inspection it will be found torepresent, not an interior, as at first sight appears, buta courtyard, or quadrangle, open to the sky, and flankedby a passage, with roof supported on four slender the background on the right, an open door leads, nodoubt, into Pilates Judgment Hall. Then came Jesusforth, wearing the crown of thorns and the purple robe,and Pilate saith unto them, Behold the man. The heads of Pilate and of the priests, reproducedfrom this fresco, are interesting partly because of thepronounced and powerful delineation of the Roman andJewish types, partly because, the distinction of typesecured, no attempt, or little, is made to add individualtraits. The vindictive animosity of the Jews contrastsfinely with the detached remons
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