rawing in the
countenance.

* * * * *

XV.

THE SALUTATION.

This picture, placed beneath the figure of the Virgin Annunciate at
the east end of the chapel, and necessarily small, (as will be seen by
the plan), in consequence of the space occupied by the arch which it
flanks, begins the second or lower series of frescoes; being, at the
same time, the first of the great chain of more familiar subjects, in
which we have the power of comparing the conceptions of Giotto not
only with the designs of earlier ages, but with the efforts which
subsequent masters have made to exalt or vary the ideas of the
principal scenes in the life of the Virgin and of Christ. The two
paintings of the Angel Gabriel and the Virgin Annunciate hardly
provoke such a comparison, being almost statue-like in the calm
subjection of all dramatic interest to the symmetrical dignity and
beauty of the two figures, leading, as they do, the whole system of
the decoration of the chapel; but this of the Salutation is treated
with no such reference to the architecture, and at once challenges
comparison with the works of later masters.

Nor is the challenge feebly maintained. I have no hesitation in
saying, that, among all the renderings of this scene which now exist,
I remember none which gives the pure depth and plain facts of it so
perfectly as this of Giotto's. Of majestic women bowing themselves to
beautiful and meek girls, both wearing gorgeous robes, in the midst of
lovely scenery, or at the doors of Palladian palaces, we have enough;
but I do not know any picture which seems to me to give so truthful an
idea of the action with which Elizabeth and Mary must actually have
met,--which gives so exactly the way in which Elizabeth would stretch
her arms, and stoop and gaze into Mary's face, and the way in which
Mary's hand would slip beneath Elizabeth's arms, and raise her up to
kiss her. I know not any Elizabeth so full of intense love, and joy,
and humbleness; hardly any Madonna in which tenderness and dignity
are so quietly blended. She not less humble, and yet accepting the
reverence of Elizabeth as her appointed portion, saying, in her
simplicity and truth, "He that is mighty hath magnified me, and holy
is His name." The longer that this group is looked upon, the more it
will be felt that Giotto has done well to withdraw from it nearly all
accessories of landscape and adornment, and to trust it to the power
of its o