me age,
who had been weaned at the same time, and who had been appointed to
attend her by the priest, returned to her parents' house in Galilee."
(Gospel of St. Mary, vi. 6, 7.)

Of all the compositions in the Arena Chapel I think this the most
characteristic of the noble time in which it was done. It is not so
notable as exhibiting the mind of Giotto, which is perhaps more fully
seen in subjects representing varied emotion, as in the simplicity and
repose which were peculiar to the compositions of the early fourteenth
century. In order to judge of it fairly, it ought first to be compared
with any classical composition--with a portion, for instance, of the
Elgin frieze,--which would instantly make manifest in it a strange
seriousness and dignity and slowness of motion, resulting chiefly from
the excessive simplicity of all its terminal lines. Observe, for
instance, the pure wave from the back of the Virgin's head to the
ground; and again, the delicate swelling line along her shoulder and
left arm, opposed to the nearly unbroken fall of the drapery of the
figure in front. It should then be compared with an Egyptian or
Ninevite series of figures, which, by contrast, would bring out its
perfect sweetness and grace, as well as its variety of expression:
finally, it should be compared with any composition subsequent to the
time of Raffaelle, in order to feel its noble freedom from pictorial
artifice and attitude. These three comparisons cannot be made
carefully without a sense of profound reverence for the national
spirit[18] which could produce a design so majestic, and yet remain
content with one so simple.

[Footnote 18: _National_, because Giotto's works are properly to be
looked on as the _fruit_ of their own age, and the _food_ of that
which followed.]

The small _loggia_ of the Virgin's house is noticeable, as being
different from the architecture introduced in the other pictures, and
more accurately representing the Italian Gothic of the dwelling-house
of the period. The arches of the windows have no capitals; but this
omission is either to save time, or to prevent the background from
becoming too conspicuous. All the real buildings designed by Giotto
have the capital completely developed.

* * * * *

XIII.

THE ANNUNCIATION.--THE ANGEL GABRIEL.

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 bein