g 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?"]

* * * * *

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 d