and questioning.  But had they understood it in the sense we now understand it, they would never have each asked, “Lord, is it I?” Peter believed himself incapable even of denying Christ; and of giving him up to death for money, every one of his true disciples knew themselves incapable; the thought never occurred to them.  In slowly-increasing wonder and sorrow ([Greek:  erxanto lupeisthai], Mark xiv. 19), not knowing what was meant, they asked one by one, with pauses between, “Is it I?” and another, “Is it I?” and this so quietly and timidly that the one who was lying on Christ’s breast never stirred from his place; and Peter, afraid to speak, signed to him to ask who it was.  One further circumstance, showing that this was the real state of their minds, we shall find Giotto take cognisance of in the next fresco.

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XXIX.

THE WASHING OF THE FEET.

In this design, it will be observed, there are still the twelve disciples, and the nimbus is yet given to Judas (though, as it were, setting, his face not being seen).

Considering the deep interest and importance of every circumstance of the Last Supper, I cannot understand how preachers and commentators pass by the difficulty of clearly understanding the periods indicated in St. John’s account of it.  It seems that Christ must have risen while they were still eating, must have washed their feet as they sate or reclined at the table, just as the Magdalen had washed His own feet in the Pharisee’s house; that, this done, He returned to the table, and the disciples continuing to eat, presently gave the sop to Judas.  For St. John says, that he having received the sop, went immediately out; yet that Christ had washed his feet is certain, from the words, “Ye are clean, but not all.”  Whatever view the reader may, on deliberation, choose to accept, Giotto’s is clear, namely, that though not cleansed by the baptism, Judas was yet capable of being cleansed.  The devil had not entered into him at the time of the washing of the feet, and he retains the sign of an Apostle.

The composition is one of the most beautiful of the series, especially owing to the submissive grace of the two standing figures.

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XXX.

THE KISS OF JUDAS.

For the first time we have Giotto’s idea of the face of the traitor clearly shown.  It is not, I think, traceable through any of the previous series; and it has often surprised me to observe how impossible it was in the works of almost any of the sacred painters to determine by the mere cast of feature which was meant for the false Apostle.  Here, however, Giotto’s theory of physiognomy, and together with it his idea of the character of Judas, are perceivable enough.  It is evident that he looks upon Judas mainly as a sensual dullard, and