This figure is placed on one side of the arch at the east end of the body of the chapel; the corresponding figure of the Virgin being set on the other side.  It was a constant practice of the mediaeval artists thus to divide this subject; which, indeed, was so often painted, that the meaning of the separated figures of the Angel and Mary was as well understood as when they were seen in juxtaposition.  Indeed, on the two sides of this arch they would hardly be considered as separated, since very frequently they were set to answer to each other from the opposite extremities of a large space of architecture.[19]

[Footnote 19:  As, for instance, on the two opposite angles of the facade of the Cathedral of Rheims.]

The figure of the Angel is notable chiefly for its serenity, as opposed to the later conceptions of the scene, in which he sails into the chamber upon the wing, like a stooping falcon.

The building above is more developed than in any other of the Arena paintings; but it must always remain a matter of question, why so exquisite a designer of architecture as Giotto should introduce forms so harsh and meagre into his backgrounds.  Possibly he felt that the very faults of the architecture enhanced the grace and increased the importance of the figures; at least, the proceeding seems to me inexplicable on any other theory.[20]

[Footnote 20:  (Note by a friend:) “I suppose you will not admit as an explanation, that he had not yet turned his mind to architectural composition, the Campanile being some thirty years later?”]

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XIV.

THE ANNUNCIATION.—­THE VIRGIN MARY.

Vasari, in his notice of one of Giotto’s Annunciations, praises him for having justly rendered the fear of the Virgin at the address of the Angel.  If he ever treated the subject in such a manner, he departed from all the traditions of his time; for I am aware of no painting of this scene, during the course of the thirteenth and following centuries, which does not represent the Virgin as perfectly tranquil, receiving the message of the Angel in solemn thought and gentle humility, but without a shadow of fear.  It was reserved for the painters of the sixteenth and seventeenth centuries to change angelic majesty into reckless impetuosity, and maiden meditation into panic dread.

The face of the Virgin is slightly disappointing.  Giotto never reached a very high standard of beauty in feature; depending much on distant effect in all his works, and therefore more on general arrangement of colour and sincerity of gesture, than on refinement of drawing in the countenance.

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XV.

THE SALUTATION.