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 https://archive.org/details/descriptionofchaOOcall 
 
DESCRIPTION 
 
 OF 
 
 THE CHAPEL 
 
 OF THE 
 
 ANNUNZI ATA DELL' ARENA; 
 
 OR, 
 
 GIOTTO'S CHAPEL, 
 
 IN 
 
 PADUA. 
 
 BY 
 
 MRS. CALLCOTT. 
 
 fLontton : 
 
 PRINTED FOR THE AUTHOR, 
 BY THOMAS BRETTELL, RUPERT STREET, HAYMARKET. 
 
 MDCCCXXXV. 
 
 rUBLISIJED BY CHAELES DOLMAN, 61 NEW BOND STREET, 1845. 
 
ADVERTISEMENT. 
 
 The following short description of the Chapel of the Annunziata dell' Arena, at Padua, 
 is drawn up from notes made on the spot, in November 1827. It is now printed, because 
 I am anxious that a memorial of the state of this interesting relic should be preserved. 
 The Chapel itself, from its situation, and the neglect into which it has fallen, being likely 
 to perish in a very few years. I regret that the task of describing it did not fall into abler 
 hands. It will be seen that no criticism has been attempted, beyond what a just description 
 necessarily brought along with it. I shall be happy if others, whether more or less 
 capable than myself of appreciating its beauties and its merits, shall find in these few 
 pages wherewith to recall the admiration with which they cannot fail to have contemplated 
 this monument of one of the greatest geniuses of an age fertile in great men. 
 
 M. C. 
 
 POSTSCRIPT. 
 
 The wood engravings accompanying this description are to be looked upon as recollec- 
 tions rather than as fac-similes of the designs they are taken from. The circumstances 
 under which I sketched and obtained the memoranda from which the present drawings for 
 the engraver were made, will not now allow of my doing more than I have done. The 
 rigid Critics in Art will, no doubt, object to such renderings, from the absence of those 
 peculiarities and even defects belonging to the age in which the works were executed ; 
 but the features which mark an artist's strength and originality, and which constitute the 
 beauty of his work, are essentially distinct from those which arise out of the accidents of 
 the time in which he lived. 
 
 A. W. C. 
 
INTERIOR OF THE CHAPEL. 
 
 The Figures refer to the numbered Descriptions of the Pictures. 
 
The Elect led to Heaven by their Angels. — From " The Last Judgment." 
 
 PADUA. 
 
 GIOTTO'S CHAPEL. 
 
 This name has been given, by modern artists and recent travellers, to a small chapel which once belonged 
 to the convent of the Annunziata nell' Arena, which was desecrated on the invasion of Italy by the 
 republican army of France. 
 
 The convent was built, about the year 1 300, by the noble family of Scrovigno of Padua, on the site of 
 part of an ancient amphitheatre, and the chapel was painted by Giotto in 1306, and probably owes the 
 preservation of its frescoes, and their purity, to the rigid rule of the convent to which it belonged. 
 
 This beautiful work of the father of modern painting had remained concealed for centuries, till a 
 French officer, who was superintending the demolition of the convent, saw and recognised the decorations 
 of the chapel as the work of Giotto ; he immediately went to General Buonaparte, reported his discovery, 
 and received orders to preserve the chapel. The General did more ; for he instituted a mass in 
 perpetuity, to be sung every morning at seven o'clock, which renders it imperative on the religious societies 
 of the city to keep it in constant repair. The present curators are the fathers of the neighbouring convent 
 of the Eremitani, who keep the keys. 
 
 The exterior of the chapel is simple, but not inelegant ; it is somewhat defaced by the ruins, which 
 extend from it in each direction. The interior is also perfectly simple. It is oblong, with a coved 
 ceiling ; the choir is very small, and of the same shape. On one side of the chapel there are six narrow 
 round-headed windows, glazed with small circular panes of Venetian glass ; there is a large window over 
 the door, divided into three compartments, and glazed in the same manner. The ornaments of the chapel 
 are now reduced to the paintings on the walls. Three ranges of these run round the whole chapel, the 
 subjects being divided from each other by ornaments, not unlike the illuminations of an oriental manuscript. 
 The upper cycle of pictures is taken from the Apocryphal Gospels, and relates to the history of the Virgin 
 Mary ; the two lower ranges are taken entirely from the New Testament, and relate solely to the life 
 of Christ. 
 
 B 
 
2 
 
 These are the work of Giotto, as well as the Last Judgment, which occupies the west end of the chapel. 
 Some half figures, introduced into the compartments of the ceiling, and fourteen allegorical figures of Virtues 
 and Vices, which divide the space below the pictures into compartments, are also his. The choir was painted 
 by a later and inferior hand, with subjects taken from the life of St. John the Baptist. A mean altar stands 
 at the entrance to the choir, on a few steps, above the body of the chapel. In the chapel itself some open 
 seats run along each side, and two white marble reading desks, one on each hand, complete its furniture. 
 
 The greater number of the pictures are completely preserved, as far as the design goes ; none are obliterated, 
 excepting something which once apparently filled up the east end over the entrance to the choir. A very few 
 have suffered from mildew, but in many of them the colours in the drapery have changed or chipped. This 
 chapel of itself is a monument of the spirit of the early artists ; they employed all their power to tell their 
 story purely and intelligibly ; they considered it as a work of piety, to set before the beholders the true history 
 of that Gospel which was to save them, and of those Saints who were to act as mediators between them and 
 their Redeemer : and so little was the idea of personal display and distinction in the mere practical part of 
 the art thought of, that we find pupils, rivals, and their descendants, all adopting, as by common consent, such 
 compositions as the Public of the time (which had no books, but pictures, wherein to learn these things) 
 seemed to agree told the story best. In addition to this excellence of telling the story truly, the pictures 
 in this chapel are eminent for a very peculiar expression and grace : qualities which Flaxman had long ago 
 perceived and acknowledged in the works of Giotto and his school in Italy, and to which his own designs, 
 and those of Stothard, who, without a knowledge of the older masters, intuitively drew the same qualities from 
 Nature, their common source, have accustomed the intelligent among ourselves. 
 
 But it is not my intention, even if it were in my power, to enter into any discussion on the merits or 
 the defects of the early Italian Painters : my object being simply to name the Pictures and quote the texts, 
 from both the True and the Apocryphal Gospels which have furnished the subjects. 
 
 The first picture of the series of the history of the Virgin, is in the corner over the window nearest the 
 altar. 
 
 UPPER RANGE OF PICTURES. 
 FROM THE HISTORY OF THE VIRGIN MARY. 
 
 1. The Offering of Joachim, her father, rejected by the High Priest. — Gospel of St. Mary, chap. I., v. 7, 8, 9. 
 " Now it came to pass, that when the Feast of the Dedication drew near, Joachim, with some others of 
 
 " his tribe, went up to Jerusalem, and at that time Issachar was high priest. 
 
 " Who, when he saw Joachim along with the rest of his neighbours, bringing his offerings, despised both 
 " him and his offerings, and asked him, 
 
 " Why he, who had no children, would presume to appear among those who had?" 
 
 The Protevangelion, chap. I., v. 2. 
 
 " When the children of Israel offered their gifts, and Joachim also offered his, Reuben the high priest 
 " opposed him, saying, It is not lawful for thee to offer thy gifts, seeing thou hast not begot any issue in Israel." 
 
 In this composition the painter has represented part of the Temple, within which, are two persons in 
 consultation, and without, the high priest is rejecting Joachim. 
 
 2. Joachim, being ashamed, retires to the Sheep-folds. — Gospel of St. Mary, chap. I., v. 11. 
 
 " But Joachim, being much confounded with the shame of such reproach, retired to the shepherds, 
 " who were with the cattle in their pastures." 
 
 The Protevangelion, chap. I., v. 6. 
 " But retired into the wilderness, and fixed his tent there, and fasted forty days and forty nights." 
 Joachim is represented as arriving in a pastoral country, with trees and hills, and two of the shepherds 
 advance from their cabins to meet him. 
 
 3. The Angel's appearance to St. Anna. — Gospel of St. Mary, chap. III., v. 1. 
 
 " Afterwards the Angel appeared to Anna, his wife, saying, Fear not, neither think that which you see is 
 a spirit." 
 
 The Protevangelion, chap. IV., v. 1. 
 " Then the Angel of the Lord stood by her, and said, Anna, Anna, the Lord hath heard thy prayer ; 
 N thou shall conceive and bring forth, and thy progeny shall be spoken of in all the world." 
 
3 
 
 This is a sort of double composition ; in one she is seen spinning in her house ; in the other, kneeling 
 before the Angel. 
 
 4. The Sacrifice of Joachim. 
 
 The Protevangelion, chap. IV., v. 5. 
 
 " And Joachim went down and called his shepherds, saying, Bring me hither ten she lambs, without spot 
 " or blemish, and they shall be for the Lord my God." 
 
 Here an altar is erected upon a hillock, nearly in the centre of the picture ; on it is an animal slain 
 in sacrifice, with the flames ascending from it. Joachim is on his knees ; the vision of the Lord appears to 
 him; and one of his attendant shepherds is looking up towards a sign that hovers over the burnt offering. 
 
 5. Joachim's Vision. 
 
 The Protevangelion, chap. IV., v. 4. 
 
 " For the Angel of the Lord hath also come down in him, and said, The Lord God hath heard thy prayer, 
 " make haste and go hence, for behold Anna, thy wife, shall conceive." 
 
 Joachim is sitting, in an attitude of meditation, or sleep, by the shepherds' cot. The shepherds themselves 
 are tending the sheep on the left of the picture, apparently unconscious of the presence of the Angel, who 
 is bearing the Heavenly message to Joachim. 
 
 6. The Meeting of Anna and Joachim, at the Golden Gate. — Gospel of St. Mary, chap. III., v. 8. 
 
 " According, therefore, to the command of the Angel, both of them left the places where they were, and 
 " when they came to the place specified in the Angel's prediction, they met each other." 
 
 The Protevangelion, chap. IV., v. 8, 9. 
 
 " And Joachim went down with the shepherds ; and Anna stood by the gate, and saw Joachim coming 
 " with the shepherds. 
 
 " And she ran, and hanging about his neck, said, Now I know that the Lord hath greatly blessed me." 
 
 This picture is a good deal injured by damp; the figures, happily, have escaped, with the exception 
 of a shepherd, who is following Joachim. 'Tis impossible for anything to be conceived with more truth of 
 expression than the two principal figures, or with more grace than the women who appear under the arch of 
 the gate behind St. Anna : this is the last composition on the side of the chapel, over the windows ; and forms 
 the subject of the subjoined wood-cut. 
 
4 
 
 7. The Birth of the Virgin. — Gospel of St. Mary, chap. III., v. 11. 
 
 " So Anna conceived, and brought forth a daughter, and, according to the Angel's command, the 
 parents did call her name Mary." 
 
 The Protevangelion, chap. V., v. 6. 
 " And when nine months were fulfilled to Anna, she brought forth, and said to the midwife, What have 
 " I brought forth 1" 
 
 This composition is another double subject. The washing the babe occupies the fore-ground, one of the 
 attendants being employed in preparing the swathing bands that still continue to deform the children of Italy 
 In the back-ground, St. Anna is seen in bed, and an attendant is presenting the new-dressed child to her. 
 This picture has suffered a little from mildew. 
 
 8. The Presentation of the Virgin — Gospel of St. Mary, chap. IV., v. 6. 
 
 " In the mean time, the Virgin of the Lord in such a manner went up all the stairs, one after another, 
 " without help of any to lead her or lift her, that any one would have judged from hence that she was of 
 " perfect age." 
 
 The Protevangelion, chap. VII., v. 4. 
 
 " And they did thus till they ascended into the temple of the Lord. And the High Priest received her 
 " and blessed her, and said, Mary, the Lord God hath magnified thy name to all generations, and to the very 
 " end of time ; by thee will the Lord show His redemption to the children of Israel." 
 
 This subject is treated with so much expression and delicacy, that it was not only repeated in the same 
 form by the immediate followers of Giotto, but in after time, when Titian himself came to represent it ; he 
 added little, but better perspective, to the buildings, and one or two figures for the sake of colour, and 
 picturesque effect. The buoyant appearance of the child as she goes up the steps, the solicitude of the mother 
 leaning forward as she watches her, and the dignity of the high priest awaiting her at the temple gate, are 
 as true in expression as the best works of the best masters. 
 
 9. The bringing of the Rods to the High Priest. — Gospel of St. Mary, chap. VI., v. 16, 17. 
 
 " He appointed, that all the men of the house and family of David, who were marriageable and not 
 " married, should bring their several rods to the altar. 
 
 " And out of whatsoever person's rod, after it was brought forth, and on the top of it the Spirit of the 
 " Lord should sit in the appearance of a dove, he should be the man to whom the Virgin should be given, 
 " and be betrothed." 
 
 The Protevangelion, chap. VIII., v. 8. 
 
 " Joseph also, throwing away his hatchet, went out to meet them ; and when they were met, they went 
 " to the high-priest, taking every man his rod." 
 
 This represents the high priest sitting under an arch with a table before him, upon which the men of 
 the house of David are depositing their rods ; Joseph stands apart, as unwilling, according to tradition, to take 
 part, on account of his age, in the contest for the hand of so young a Virgin. 
 
 10. The Blessing of the Rods. — Gospel of St. Mary, chap. VI., v. 1, 2, 3, 4, 5. 
 
 " Among the rest, there was a man named Joseph, of the house and family of David, and a person 
 " very far advanced in years, who drew back his rod, when every one besides presented his. 
 
 " So that when nothing appeared, agreeable to the heavenly voice, the high priest judged it proper 
 " to consult God again. 
 
 " Who answered, that he to whom the Virgin was to be betrothed was the only person of those 
 " who were brought together who had not brought his rod. 
 " Joseph, therefore, was betrayed. 
 
 " For when he did bring his rod, and a dove, coming from Heaven, perched upon the top of it, 
 " every one plainly saw that the Virgin was to be betrothed to him." 
 
 The Protevangelion, chap. VIII., v. 9. 
 " After the high-priest had received their rods, he went in to the people to pray." 
 
 This composition represents a portion of the temple within ; the rods are placed symmetrically upon an 
 altar ; the chief priests are praying before it. Outside of the temple gates, the men of Judah, in attitudes of 
 devotion, are awaiting the high-priest's decision. 
 
 11. The Marriage, or rather the Betrothment of the Virgin. — Gospel of St. Mary, chap. VI., v. 6, 7. 
 
 " Accordingly, the usual ceremony of betrothing being over, he returned to his own city of Bethlehem, 
 " to set his house in order, and make the needful provisions for the marriage. 
 
 " But the Virgin of the Lord, Mary, with seven other virgins of the same age, who had been weaned at 
 " the same time, and who had been appointed to attend her by the priest, returned to her parent's house in 
 " Galilee." 
 
5 
 
 The Protevangelion, chap. VIII., v. 16. 
 " Joseph said unto Mary, Behold, I have thee from the temple of the Lord." 
 
 This picture represents what is commonly called the Marriage of the Virgin, though, in fact, it is only 
 the Betrothing ; the high priest standing between them and joining their hands. Behind Joseph, the 
 men of the house of David are seen, most of them in actions of rage or despair, some appearing to threaten 
 Joseph ; and many are either breaking their rods, or throwing them indignantly away. This incident has 
 been copied, down to the time of Raffaelle, by every painter who has treated the subject of the Marriage 
 of the Virgin. Behind the Virgin, her attendant maidens are placed ; and they, as well as the principal 
 figure, are full of that tender and modest grace, in which Giotto never fails, in the subjects where he introduces 
 women. 
 
 12. Mary goes home to Joseph's house. — *Gospel of St. Matthew, chap. I., v. 24. 
 
 Gospel of St. Mary, chap. VIII., v. 12. 
 " Joseph thereupon, according to the command of the Angel, married the Virgin." 
 
 The Protevangeeion, chap. XL, v. 22. 
 
 M Then Joseph took Mary, and went to his house." 
 
 This picture has unfortunately suffered very much from weather-stains, and most of the colours 
 appear quite changed; but there is great beauty in the disposition of the procession going up to Joseph's 
 house, from one window of which a palm-branch is displayed ; and several figures are leaning from the 
 balconies, and advancing from the door to meet the procession. Such outlines of the buildings as have escaped 
 
 * Wherever the true gospels are quoted, only the numbers of the chapter and verse are given, as it is supposed the words are 
 familiar to all. 
 
 c 
 
6 
 
 the injuries of time, correspond with the forms of the ordinary houses of modern Italy. The broad cornice, 
 the balcony, and the massy door on the ground floor, all correspond with the present houses of northern Italy. 
 The following wood-cut represents only the procession from this picture. 
 
 13 and 14 are on each side of the arch leading into the choir. 13 represents the Angel Gabriel, 
 announcing to the Virgin the honour she is about to receive; and 14 represents the Virgin herself 
 kneeling, in a modest but not fearful attitude. — St. Luke, chap. I., v. 26, 27, 28. 
 
 Gospel of St. Mary. 
 
 " Hail, Mary ! Virgin of the Lord, most acceptable ! Oh, Virgin, full of grace !" 
 
 The Protevangelion, chap. IX., v. 7. 
 " Hail, thou who art full of grace, the Lord is with thee ; thou art blessed among women." 
 These pictures have both suffered a good deal from weather, but the action and expression are still 
 distinguishable in both. 
 
 15. The Salutation — Is placed immediately under 14. — St. Luke, chap. I., v. 39, 40. 
 
 The Protevangelion, chap. IX., v. 19, 20. 
 " Then Mary, filled with joy, went away to her cousin Elizabeth, and knocked at the door. 
 " Which, when Elizabeth heard, she ran and opened to her, and blessed her, and said, Whence is 
 " this to me, that the mother of my Lord should come unto me ?" 
 
 This picture is injured by the weather, but fortunately only one of the figures is much damaged, and 
 that is the attendant of Elizabeth. The expression of the two principal figures is remarkable for truth 
 and propriety ; and the whole subject being composed of female figures, the peculiar tenderness and delicacy of 
 taste which characterises Giotto, in his best works, are displayed to great advantage. 
 
 J 6. The Angel appearing to the Shepherds, and the Nativity. — (This picture is between the first and second 
 windows). — St. Matthew, chap. VI., v. 25. — St. Luke, chap. II., v. 7, 8. 
 
 The Protevangelion, chap. XIV., v. 10, 11, 12. 
 " Then a bright cloud overshadowed the cave, and the midwife said, This day my soul is magnified, 
 " for mine eyes have seen surprising things, and salvation is brought forth to Israel. 
 
 " But on a sudden the cloud became a great light in the cave, so that their eyes would not bear it. 
 
 " But the light gradually decreased, until the infant appeared, and sucked the breast of his mother, Mary." 
 
 Fiust Gospel of the Infancy, chap. I., v. 10, 11. 
 " And behold, it was all filled with light, greater than the light of lamps and candles, and greater than the 
 " light of the sun itself. 
 
7 
 
 " The infant was then wrapped up in swaddling clothes, and sucking the breast of his mother, St. Mary." 
 
 This picture is much injured on one side, and in the sky. It represents a double subject ; on the right 
 the shepherds are gazing at the angels, who are announcing the Nativity to them ; on the left, the Virgin 
 Mary with her Infant, St. Joseph and the animals, which have usually found place in pictures of this 
 subject. The quotations from the Apocryhal Gospels which bear upon this subject, show how long the 
 traditions have existed, which ascribe a great light illuminating his birth-place to the body of Christ himself. 
 
 17. The Wise Men's Offering. — (Between the second and third windows.) — St. Matthew, chap. II., v. 11. 
 
 The Protevangelion, chap. XV., v. 10, 11. 
 " Then they brought forth, out of their treasures, and offered unto Him gold and frankincense and 
 " myrrh. 
 
 " And being warned in a dream by an angel, that they should not return to Herod through Judea, they 
 " departed into their own country by another way." 
 
 First Gospel of the Infancy, chap. III., v. 1. 
 
 " And it came to pass, when the Lord Jesus was born, at Bethlehem, a city of Judea, in the time 
 " of Herod the king, the wise men came from the East to Jerusalem, according to the prophecy of 
 " Zoradascht, and brought with them offerings ; namely, gold, frankincense, and myrrh, and worshipped Him, 
 " and offered to Him their gifts." 
 
 This picture is much injured, especially on the left-hand side, where the attendants of the three kings, 
 or wise men, should appear. On the right hand, Mary, under a canopy, attended by angels, is presenting her 
 son to her visiters. 
 
 18. Jesus brought to the Temple, with the customary Offerings : Simeon recognises him to be the Saviour, 
 — (Between the third and fourth windows.) — St. Luke, chap. II., v. 21. 
 
 First Gospel of the Infancy, chap. II., v. 5. 
 " Then, after ten days, they brought Him to Jerusalem, and the fortieth day from His birth they 
 " presented Him in the temple before the Lord, making the proper offerings for Him, according to the 
 " requirement of the law of Moses ; namely, that every male which opens the womb shall be called holy 
 " unto God." 
 
 This picture is also a little injured, but the principal figures are well preserved. There is something 
 very beautiful and natural in the manner in which the child stretches his arms towards his mother, whilst 
 he is held by the high priest. 
 
 19. The Flight into Egypt. — St. Matthew, chap. II., v. 13. 
 
 First Gospel of the Infancy, chap. IV., v. 3. 
 
 " But an angel of the Lord appeared to Joseph in his sleep, and said, Arise, take the child and His 
 " mother, and go into Egypt, as soon as the cock crows. So he arose, and went." 
 
 This picture is between the fourth and fifth windows, and is very well preserved. It represents a rocky 
 country, through which Joseph is leading an ass, on which the Virgin and Child are seated ; they are 
 accompanied by three attendants. Giotto is said to have discovered his talent for painting, while a shepherd- 
 boy, by drawing all the animals about his father's little farm ; and, in truth, the animals he introduces (as the 
 ass in this) have more appearance of nature in them than is to be found in the works of much later painters. 
 
 20. The Murder of the Innocents. — St. Matthew, chap. II., v. 16. 
 
 The Protevangelion, chap. XVI., v. 1. 
 
 " Then Herod, perceiving that he was mocked by the wise men, and being very angry, commanded 
 " certain men to go and to kill all the children that were in Bethlehem, from two years old and under." 
 
 This subject is one not well adapted to the genius of Giotto, who rather delights in subjects of devotion, 
 and deep, quiet feeling ; the parts of this picture that are most admirable, are some of the mothers, in the 
 expression of their grief for the loss of their offspring. This picture is well preserved ; it is between the 
 fifth and sixth windows. 
 
 21. Christ among the Doctors — Is opposite the window, and immediately under the Birth of the Virgin. — 
 St. Luke, chap. II., v. 46. 
 
 Second Gospel of the Infancy, chap. XXI., v. 1,2. 
 
 " And when He was twelve years old they brought Him to Jerusalem, to the feast; and when the 
 " feast was over they returned. 
 
 " But the Lord Jesus continued behind the temple, among the doctors and elders, and learned men of 
 " Israel ; to whom He proposed several questions of learning, and also He gave them answers." 
 
 This picture is so injured, that scarcely half of it is visible. The architecture of the temple is graceful, 
 and reminds us of some of the buildings designed by Giotto at Florence. Such heads of the old men as time 
 has spared, have great dignity and expression. 
 
8 
 
 22. The Baptism of Christ.— St. Matthew, chap. III., v. 13, 14, 15, 1C, 17:— St. Mark, chap. I. 
 v. 9, 10 : — St. Luke, chap. III., v. 21, 22. 
 
 Second Gospel of the Infancy, chap. XXI., v. 3, 4. 
 " At which time the father publicly owned Him at Jordan, sending down this voice from heaven, This is 
 my beloved son, in whom I am well pleased. 
 
 " The Holy Ghost being also present, in the form of a Dove." 
 
 This picture is tolerably well preserved ; the most beautiful part in it, is the left side, where ministering 
 angels are waiting, on the opposite side of Jordan, with the raiment of Jesus. On the right is St. John on the 
 bank, pouring water on the Saviour's head. 
 
 23. The Marriage of Cana in Galilee. — St. John, chap. II., v. 1. 
 
 This composition is entirely preserved. One of the most remarkable figures in it is, apparently, a hand- 
 maiden, who is standing before the table, and who appears, by her attitude and countenance, to be entirely 
 absorbed by her attention to the words of Jesus, who is seated by His mother, to the left. The bride and bride- 
 groom are in the centre of the table, and the attendants on the right. 
 
 24. The raising of Lazarus. — St. John, chap. XL, v. 44. 
 
 This picture is slightly damaged, but happily, the principal groups remain untouched. In this composition, 
 Giotto has shown that he could express the highest degree of dignity and majesty ; the figure of the Saviour, 
 as he pronounces the words, " Lazarus come forth" is almost sublime. The two sisters prostrate at Jesus' feet, 
 show the most profound devotion with the most perfect confidence ; and the spectators, whether doubting and 
 astonished Jews, or disciples full of faith, have all actions in the highest degree fitted for their several 
 characters. 
 
9 
 
 25. Jesus rides in triumph to Jerusalem. — St. Matthew, chap. XXI., v. 7, 8, 9 : — St. Mark, chap. XL, 
 v. 7, 8, 9 :— St. Luke, chap. XIX., v. 35, 36, 37:— St. John, chap. XII., v. 12. 
 
 This is a very full composition. Christ, followed by his disciples, rides towards Jerusalem, with His 
 hand held up, in the attitude of blessing the multitude that is flocking out of the city gates to meet Him. The 
 crowd is so great, that several persons are mounted on the neighbouring trees. Among the groups that are 
 spreading their clothes on the way, there is a very remarkable figure, eagerly stripping his robe over his head, 
 which is quite concealed by the action, that gives peculiar life to the scene. 
 
 26. Jesus drives the Money-changers out of the Temple. — St. Matthew, chap. XXL, v. 12 : — St. Mark, 
 chap. XL, v. 15 : — St. Luke, chap. XIX., v. 45. 
 
 This composition represents a court of the temple, but though there are excellent things in it, it is far 
 from being one of the most interesting in the chapel. 
 
 27. Judas receiving the Thirty Pieces of Silver from the Priests. — St. Matthew, chap. XXVI., v. 15: — 
 St. Mark, chap. XIV., v. 11 : — St. Luke, chap. XXIL, v. 5 : — St. John, chap. XIIL, v. 30. 
 
 This is one of the small pictures at the end of the chapel, immediately under No. 13. The expression, 
 both of Judas and of the priests, is very striking ; but one is induced to smile at the grotesque daemon, who 
 is touching J udas on the shoulder. 
 
 28. The Last Supper. — St. Matthew, chap. XXVI., v. 17 : — St. Mark, chap. XIV., v. 17 : — St. Luke, 
 chap. XXIL, v. 13 :— St. John, chap. XIIL, v. 1. 
 
 Under a richly-ornamented tabernacle, the Saviour is seated at supper with His disciples, and seems 
 about to break the bread and distribute it, in token of a solemn institution for ever ; there is a gravity and 
 decorum in this picture, peculiarly fitted to the subject. 
 
 29. Jesus washes the Disciples' feet. — St. John, chap. XIIL, v. 4. 
 
 This is a very beautiful composition. The humility of Jesus ; the earnest remonstrance of Peter, and 
 the devotion of the rest of the apostles, are so expressed, that we feel that the painter himself was a devout 
 man. 
 
 SO. Jesus betrayed. — St. Matthew, chap. XXVI., v. 47 : — St. Mark, chap. XIV., v. 44 : — St. Luke, 
 • chap. XXIL, v. 47 :— St. John, chap. XVIIL, v. 1. 
 
 This composition is a very full one ; in the centre Judas advances, eagerly, before his master, and 
 kisses him. On the left, Peter makes his unsuccessful attempt at defence ; and on the right, there is a 
 figure, finely conceived, of one of the chief priests of the Jews, eagerly pointing out his victim to those who 
 have come out, with staves, to apprehend him. The back-ground is filled up with soldiers and others, bearing 
 lights. 
 
 31. Jesus brought before Caiaphas. — St. Matthew, chap. XXVI., v. 65 : — St. Mark, chap. XIV., v. 54 : 
 —St. Luke, chap. XXIL, v. 54 :— St. John, chap. XVIIL, v. 12. 
 
 Never has this painter exceeded the two chief figures of this composition ; the mild, calm, and holy 
 composure of Jesus, meekly standing, rather to the left of the picture, affords the strongest contrast to the rage 
 of the high priest, who, seated on his judgment seat, to the right, is rending his clothes in the utmost violence 
 of rage. 
 
 32. Jesus beaten, and despitefully used. — St. Matthew, chap. XXVL, v. 67 : — Idem, chap. XXVIL, v. 29 : 
 —St. Mark, chap. XV., v. 17, 18, 19 :— St. Luke, chap. XXIII., v. 11 :— St. John, chap. XIX., v. 1. 
 
 Nicodemus, chap. VI., v. 23 : — Idem, chap VII., v. 2. 
 
 " Thy own nation has charged thee with making thyself a king ; wherefore, Herod sentences thee 
 " to be whipped, according to the laws of former governors, and that thou be first bound, then hanged 
 " upon a cross in that place where thou art now a prisoner ; and also the two criminals with thee, whose 
 " names are Dimas and Gestas. 
 
 " And when they came to the place, which is called Golgotha, they stripped him of his raiment, and girt 
 " him about with a linen cloth, and put a crown of thorns upon his head, and put a reed in his hand." 
 
 Giotto has treated this subject more in the spirit of the gospel, than almost any other painter ; there 
 is no unseemly display of art — no nudity inconsistent with the character of the pure Jesus, " but he was 
 stricken for our transgressions." " The man of sorrow, and acquainted with grief," is sinking under the 
 indignities and cruelties his enemies are inflicting on that human nature which he took on him ; still preserving, 
 however, the majesty of Him who has saved, and is to judge mankind. 
 
 This picture is extremely well preserved. 
 
 D 
 
10 
 
 33. Jesus is led to Golgotha, bearing his Cross. — St. Matthew, chap. XXVII., v. 31, 32 : — St. Mark, 
 chap. XV., v. 21 :— St. Luke, chap. XXIII., v. 26 :— St. John, chap. XIX., v. 17. 
 
 This is a very full composition. Near the right hand is Jesus bearing the cross, urged on by the 
 stripes of some of his merciless attendants. To the left, some of the Jews are pushing back, with unseemly 
 vehemence, Mary and her companions, who would fain have followed her son on his painful road to the 
 cross. The expression of this last group is very beautiful. 
 
 34. The Crucifixion. — St. Matthew, chap. XXVII., v. 35 : — St. Mark, chap. XV., v. 25 : — St. Luke, 
 chap. XXIII., v. 33 :— St. John, chap. XIX., v. 18. 
 
 Nicodemus, chap. VII., v. 3, 4, 5. 
 " And in like manner did they to the two thieves who were crucified with him, Dimas on his right hand, 
 " and Gestas on his left. 
 
 " But Jesus said, My Father forgive them; for they know not what they do. 
 " And they divided his garment, and upon his vesture they cast lots." 
 
 Giotto has treated this subject, in part, allegorically. In the upper part of the picture, Christ on the 
 cross (without the two thieves Dimas and Gestas) is attended by angels. The sun and moon appear over 
 either arm of the cross, while the ministrant angels, in various attitudes of adoration, seem to expect the 
 moment when He shall give up the ghost. At the foot of the cross is Mary Magdalen, weeping ; and to 
 the left the other pious women, with St. John, attempting to comfort the Virgin; to the right, the soldiers 
 are casting lots for His vesture ; two of them are holding up the garment without seam. 
 
 This picture has sustained some injury. 
 
 35. Christ taken down from the Cross. — St. Mark, chap. XV., v. 46 : — St. Luke, chap. XXIIL, v. 
 52, 53 :— St. John, chap. XIX., v. 38, 39, 40. 
 
 Nicodemus, chap. VIII., v. 12, 13, 14. 
 
 " And behold a certain man of Arimathea, named Joseph, who also was a disciple of Jesus, but not openly 
 " so, for fear of the Jews, came to the Governor, and entreated the Governor, that he would give him leave 
 " to take away the body of Jesus from the cross. 
 
 " And the Governor gave him leave. 
 
 " And Nicodemus came, bringing with him a mixture of myrrh and aloes, about a hundred pound 
 " weight ; and they took down Jesus from the cross, with tears, and bound him in linen clothes, with spices, 
 M according to the custom of burying among the Jews." 
 
 This is perhaps the most striking in expression of all the compositions in the chapel. The tenderness 
 with which the Virgin leans over her son, as if to embrace him — the sorrow of the other holy women, and 
 the eagerness of the disciple whom Jesus loved, whose hands are thrown back in an attitude of haste and 
 despair, form a contrast to the composure of Joseph of Arimathea, and Nicodemus, perfectly in accordance 
 with the characters ,of the various persons introduced. 
 
11 
 
 36. The Resurrection — St. Matthew, c. XXVIII., v. 2—9 :— St. Mark, c. XVI., v. 1— 9 :— St; Luke, 
 c. XIV., v. 6 :— St. John, c. XX., v. 13, 14. 
 
 Nicodemus, c. X., v. 2, 3, 4, 5. 
 
 " Behold one of the soldiers who kept the sepulchre of Jesus, spake in the assembly. 
 
 " That while they were guarding the sepulchre of Jesus, there was an earthquake ; and we saw an angel 
 " of God roll away the stone of the sepulchre, and sit upon it ; 
 
 " And his countenance was like lightning, and his garments like snow ; and we became, through fear, 
 " like persons dead." 
 
 This subject may be divided into two parts ; on the left, the angels are sitting upon the tomb, near which, 
 the soldiers are fallen to the ground. On the right, Christ stretches forth His hand towards Mary Magdalen, 
 as if to forbid her to touch Him ; her figure, kneeling at His feet, is one of Giotto's very best personifications 
 of devotion. 
 
 37. The A scension. — St. Mark, c. XXVI., v. 19 : — St. Luke, c. XXIV., v. 51 : — Acts of the Apostles, 
 c. I., v. 9, 10. 
 
 Nicodemus, c. X., v. 18, 19, 20, 21. 
 
 " But a certain Priest, Phineas Ada, a schoolmaster, and a Levite, named Ageus, they three came 
 " from Galilee to Jerusalem, and told the chief priests, and all who were in the synagogue, saying, 
 
 " We have seen Jesus, whom ye crucified, talking with His eleven disciples, and sitting in the midst of them, 
 " on Mount Olivet, and saying to them, 
 
 " Go forth into the whole world, preach the Gospel to all nations, baptizing in the name of the 
 " Father, and the Son, and the Holy Ghost ; and whosoever shall believe, and be baptized, shall be saved. 
 
 " And when he had said these things to His disciples, we saw Him ascending up to Heaven." 
 
 This composition is one in which, for greater solemnity, Giotto has placed an equal number of figures on 
 each side, in attitudes nearly alike. In the upper part of the picture, the figure of Christ is seen, in profile, 
 ascending up to heaven, with a double rank of angels on each side, accompanying his upward flight. 
 Below, in the centre, are the two angels, in shining apparel, announcing His glorification to His disciples, 
 six of whom are kneeling in attitudes of devotion, on the right of the picture ; while on the left, the Virgin 
 and the other disciples, also kneeling, are watching His ascent. The Virgin here is the most conspicuous 
 
12 
 
 figure ; there is no astonishment, either in her action or countenance, but both express the confidence and 
 devotion which she, who had witnessed His miraculous career, from the time when His birth was announced 
 by the angel, until His resurrection, must have experienced. 
 
 38. The Pentecost. — Acts of the Apostles, c. II., v. 1. 
 
 In this picture the apostles are assembled in a tabernacle, like that in which Jesus and the disciples are 
 assembled in the picture of the Last Supper. The action and appearance of the disciples are perfectly 
 simple, but sufficiently varied, as they look up with wonder to the cloven tongues suspended over their 
 heads. 
 
 These thirty-eight pictures complete the three ranks surrounding the chapel, all but the west end, which, 
 as already mentioned, is filled up with the Last Judgment. Immediately in the centre, under the window, 
 is the figure of Christ, in a circle of glory, behind which appear the angels sounding the trumpet for the 
 resurrection ; on either hand are seated the judges of Israel, above whose heads are countless myriads of 
 angels, waving the banners of the Lamb ; above these again, though so much damaged as to be barely 
 discernible, angels appear to be rolling up the scroll of creation, on which are inscribed the sun and moon, 
 which are partially obscured. Such are the accompaniments of the Throne of Judgment. 
 
 Immediately below the figure of Christ stands the cross, each arm of which is borne up by an angel, 
 and at its foot is a mystical representation of this chapel, with its guardian angels ; and kneeling below, 
 are the builder, and benefactor, at whose cost it was built*. To the left of the picture, and, consequently, to 
 the right-hand of Christ, are groups of the blessed from every nation, and of every degreef ; while, to the 
 left of the Saviour, hell, with its flames and punishments, are laid open. This great composition contains 
 some of the very best, as well as the worst, portion of Giotto's work in this chapel. The expression of the 
 Saviour, inviting the good with his right hand, is grand and solemn ; so are the figures of the twelve judges; 
 and there is the greatest sweetness and beauty in the groups of the blessed, and the angels. 
 
 * This presentation of the chapel is the subject of the wood-cut in the title page, 
 t One of these groups forms the headpiece of this description. 
 
13 
 
 But the hell, which the guides are fond of telling you was suggested by Dante, when he visited Giotto, 
 whilst at work at this chapel, presents nothing but mean or grotesque images, which we regret that time 
 has not entirely obliterated. 
 
 We have already mentioned, that on either side of the chapel there are seven single figures, painted in 
 umber ; they are placed at equal distances, so as to divide the space into compartments. The first, as you 
 enter on your right hand, is Hope. Hope, not tied to earth, or resting on an anchor, more like Confidence than 
 Hope, but winged, with her arms stretched upwards, and her eyes fixed on that heaven to which she aspires. 
 
 The next figure on the same side is Charity, receiving, from a figure descending from heaven, riches, and 
 all the goods of this life, with one hand, while with the other she appears to be distributing all she receives. 
 Faith follows next, a grave and dignified figure ; she leans on a cross with one hand, and with the other 
 spreads out the roll of the gospel ; the keys at her girdle denoting her power in heaven and earth. The 
 fourth figure is Justice, seated in a kind of Gothic shrine, apparently weighing in her hand the figures of 
 Good and Evil, or it may be Reward and Punishment. Through an opening in the tabernacle, by the side 
 of Evil, is a malefactor kneeling to receive punishment ; the corresponding figure is nearly obliterated. On 
 the step of the throne of Justice, are depicted the pleasures of living under a just government ; the traveller 
 rides along the high road in perfect safety ; the huntsman, with hawk on his hand, goes forth in equal 
 security ; and a group of women, dancing, with their timbrels, complete the picture of happy security. 
 Next to Justice is Patience, or Temperance, a grave matron, holding a sheathed sword: beyond her is 
 Fortitude, bearing a shield, on which a lion is painted ; the last figure on the same side is Prudence ; half 
 of her person is seen arising from behind a barricade ; she is contemplating herself in a mirror, as is usual in 
 personifications of this Virtue. 
 
 E 
 
14 
 
 These seven figures are well preserved, and almost all are beautifully imagined. 
 
 Opposed to these, and on the left, as you enter the chapel, are seven figures of the Vices. 
 
 Immediately opposite to Hope is Despair; a figure full of expression, who appears to have just 
 hanged herself. 
 
 Opposed to Charity is Envy, whose feet appear set in flames ; from her mouth proceeds a serpent — 
 serpents form her head-dress ; with her hooked finger she is pointing as if in scorn. 
 
 Immediately opposed to Faith is Impiety, apparently scoffing at a sacred image he holds in his hands. 
 
 Next comes Injustice, exactly opposite to Justice ; he is represented as an elderly man, and instead of 
 holding his court in an open shrine, he sits at an ancient castle gate, half obscured by brush-wood ; below his 
 seat are painted the evils that Injustice brings on a land. The traveller is stopped, robbed, and murdered ; 
 women are dragged, naked, into scenes of violence ; and armed ruffians appear to be seeking prey through the 
 fields. 
 
 Next to Injustice, and opposed to Patience, is Ire, tearing his own garments in despite. 
 
 The sixth Vice is Inconstancy, rocking on part of a wheel, and giddy with the motion. 
 
 The seventh figure, opposite Prudence, is Folly, in the cap and bells of an ancient fool, and a grotesque 
 habit ; but the figure is injured, and cannot be clearly made out. 
 
 THE CEILING, OR RATHER, VAULTED ROOF, 
 
 AND ITS ORNAMENTS. 
 
 The ceiling is painted in dark ultra marine, studded with golden stars, and is adorned by eleven circles, 
 each containing a head ; the centre one represents Christ; one at the west end is filled with the head of the 
 Virgin, and a dove is introduced in the circle ; at the east end is a representation of the Eternal Father ; 
 these three are larger than the others, which are disposed, four on each side in the curve of the roof; they 
 are filled with the heads of the four Evangelists, and the four greater Prophets ; these circles are each 
 surrounded by arabesque borders, similar in character to those which divide the pictures on the side walls. 
 
 The quantity of colour disposed all over the chapel, reminds the spectator at first of the pages of an 
 illuminated missal, but it is far from being disagreeable ; the same delicacy and taste which has given grace 
 to Giotto's compositions, in spite of defective drawing, have bestowed beauty upon the general colour ; 
 notwithstanding, it is evident that the Painter had little knowledge or dexterity in this part of his art. 
 
CHURCH OF THE ERIMITANI DELL' ARENA. 
 
 On entering this church, the guide leads the visitor at once to the fine picture, by Fumicelli, at the great 
 altar ; it is a votive picture, well painted, and composed in a dignified manner ; but we were more attracted 
 by the frescoes, by Andrea Mantegna. These evince extraordinary talents for composition, and particularly 
 the Martyrdom of St. Christopher ; in one of the compartments of which, it is said, that Mantegna has painted 
 his own portrait, and that of Squarcione. In the same chapel we found some much-injured works of Buono, 
 and of Asuino. 
 
 In a side chapel, there is a picture, by an unknown painter, of the Coronation of the Virgin ; a com- 
 position simple, and in feeling extremely pure. 
 
 There are, in the choir, some curious small frescoes, painted in brown earth, by Guariento, one of the very 
 first, probably, of the Venetian painters. He was born at Padua, and studied under Squarcione. If we may 
 judge by the small compositions left by Guariento in this place, he was one of those men who deserved the 
 name of" great," by the advance he had made beyond his contemporaries. The designs of the sort of almanac, 
 with which he has decorated the walls, particularly the figures of the zodiac, have great merit, and, in some 
 instances, great beauty. Together with the signs, he has placed symbolical figures of the planets, in allusion 
 to the seasons : thus, Saturn is placed with Capricorn and Aguarius, and depicted with all the attributes of old 
 age, as well as cold. Jupiter accompanies Sagittarius, and the fishes. There are various figures, denoting the 
 employments of Spring, and that it is the season of religious festivals. Mars accompanies the next signs, and 
 there is in his horse more action than is commonly met with in works of this period. With these signs is painted 
 a woman, surrounded by objects of female industry. Guariento is represented by a fiery sphere, strangely 
 personified by a man in a car, drawn by lions. As to Venus, who follows the earth, she is adjusting her dress 
 with her left hand, and has a looking-glass in her right. Mercury is dressed like a friar, and has a table 
 covered with books before him. I should imagine that this strange representation of the God of Eloquence 
 is a compliment to some of the powerful preaching friars of the age. The moon is seated in a two-wheeled 
 car, and holds in her hands a sort of zodiac, indicating her path through the heavens. These small pictures, 
 by Guariento, remain nearly as he left them, saving the injuries of time ; the larger compositions in the choir 
 were restored or renewed about two centuries after his death, and from them nothing can be learned as to his 
 practice. These are all the remains of ancient painting in this great church, but there are several pieces of 
 sculpture worth looking at, both altar pieces and tombs, by Donatello and his disciples. 
 
THE GREAT TOWN HALL AT PADUA, 
 
 COMMONLY CALLED THE SALONK 
 
 This magnificent room, in which all the political and civil business of Padua was formerly transacted, 
 has on its walls a great number and variety of ancient frescoes. Many, if not most, of these were designed 
 by Giotto ; but, as the building has suffered at different times from storms, and even from fire, the necessary 
 repairs and restorations have effaced many, and probably altered more of them. The subjects were originally 
 disposed in three rows, round the wall ; the middle row, on which the others seem to depend, was divided into 
 twelve portions, according to the months of the year, and marked by the signs of the zodiac. These twelve 
 portions were each filled, in the manner of an ancient almanac, with a picture representing the occupation of 
 each month. The subjects above them are generally taken from the occupations of common life ; such as 
 instructing the young, household business, and the ordinary trades of the city. In that part of the hall where 
 the magistrates' seats were placed, there are some striking subjects on a larger scale; some of them sacred, 
 and some, such as the figures of Justice and Prudence, allude to the duties of the magistrates holding their 
 courts in the hall. The few notes that follow were hastily made, during a visit to the Salone, in 1827. 
 
 Aries. 
 
 The figures descriptive of this month denote, first, that in it knights and soldiers take the field. A knight, 
 riding with great ease, has passed over the body of a monk ; near him, two figures at a grindstone are 
 sharpening weapons of war, and tools for agriculture ; young men and women, with crowns of roses, seem to 
 belong to a marriage procession ; others are looking at them from a window. 
 
17 
 
 Taurus. 
 
 The subjects here are chiefly religious, as Easter and its following festivals generally fall under this sign 
 One of the compartments is filled with the worship of the Lamb ; another represents Truth, above whom is 
 Christ, with saints at his feet : one who is on his knees, seen in profile, is remarkable. The amusements and 
 duties of this season are represented by a woman seated on a car, with four hawks, and a figure of Industry 
 with a distaff and spindle. 
 
 Gemini. 
 
 The figures best preserved under this sign belong to a corn field ; there are two reapers, and several 
 sleeping figures. 
 
 Cancer. 
 
 There appears to be a great deal of business under this sign. Three pilgrims returning from a shrine; 
 several people are in a boat ; many are employed dressing the olive, and others are threshing ; there is also a 
 grocer's shop, with candles hanging up, much as in the present day ; there is a pretty figure of a girl buying 
 something that another is weighing for her. 
 
 Leo. 
 
 St. Mark is of course introduced in this sign, and there is an angel by him. One of the compartments 
 shows the chamber of an astrologer ; various figures are gathering grapes, others are leading oxen to the 
 field. There are a number and variety of dogs. The most agreeable figure in the compartment is that of an 
 elderly person reading. 
 
 Virgo. 
 
 Persons engaged in devout exercises, and angels receiving their prayers, mark the number of saints whose 
 festivals fall under this sign. Domestic figures represent a painter's shop — a boy learning to write — women 
 spinning and sewing, others dancing to a timbrel ; men playing the harp and violin, and another weighing 
 money. 
 
 Libra. 
 
 Most of the figures, which time has spared, under this sign, are females engaged in dressing and amusing 
 themselves : one has her head in her mother's lap, who is combing her hair ; another is adorning her own 
 head with ribbons and garlands ; others are playing on the lute, or dancing ; one youth appears with a 
 hunting spear. 
 
 Scorpio. 
 
 Warriors appear, as at the end of a campaign ; now hunting seems to occupy them fully : an angel, with a 
 sword, hovers over the whole compartment. In one division there is a surgeon's shop, where tooth-drawing 
 and bleeding are going on. In another, some countrymen are feeding pigs ; farther on, a friar is preaching ; 
 and the last figure is a man at his studies. 
 
 Sagittarius. 
 
 Immediately under the personified figure of the sign, is a portrait of Dante. One of the principal groups 
 consists of a schoolmaster at the desk with his pupils : an angel seems to preside ; some figures are lighting a 
 fire ; there is a child, warmly swaddled up ; and, finally, by way of winter provision, some figures are 
 engaged in killing a pig. 
 
 Capricorn. 
 
 Various trades are going on — digging, hoeing, leather-dressing, stone-cutting ; a covered waggon, appa- 
 rently full of goods, goes along a road, and snow mountains are in the distance ; an elderly figure is dozing in 
 a chair, and two monks are sleeping in their cells. 
 
 Aquarius. 
 
 Immediately under the figure of this sign, appears the sacred subject of the Coronation of the Virgin, and 
 one of the compartments is filled with the ceremony of ordination. The domestic figures that remain visible, 
 are a man with an adze, a hermit, a shepherd, some vine-dressers, and wrestlers. There is also a group, 
 apparently engaged in chaunting. 
 
 Pisces. 
 
 Among the few remaining figures under this sign, is a young woman, supporting an aged person with 
 great tenderness. There is also a very beautiful kneeling figure. 
 
 F 
 
18 
 
 There is one very curious antique preserved in the salone, called the Stone of Vituperation ; the lower 
 part is a square flat member, about a foot high ; upon this is a cube, one side of which has been partly 
 cut down, so as to permit an accused person to stand upon a step left at the lower part ; a third portion 
 consists of a circular altar, not unlike an urn in shape, on the upper edge of which is an inscription*. While 
 Padua was still subject to the ancient Lombard laws, if an accused person dared to come with a certain 
 number of companions, and, laying hands upon this stone, swear that he was innocent, the judges were 
 bound to acquit him. 
 
 I cannot omit to mention a mark of gratitude from a modern citizen of Padua to the place of his birth. 
 Poor Belzoni sent, in the year 1819, two large sitting Egyptian figures, with cats' faces, in black bazalt, 
 to his native town. The following inscription in the salone, records the gift, and its date. 
 
 10 BAPT: BELZONI PATI : 
 EX THEBIS AEGIPTIIS 
 DONUM MISIT 
 A M DCCC XIX 
 CIVITAS GRATA. 
 
 * LAPIS VITUPERII ETCESS B°NJZ. 
 
THE GREAT CHURCH OF ST. ANTHONY, AT PADUA, 
 
 contains, even now, prodigious riches, of almost every description. The shrine of the saint is resplendent 
 with gold and marbles, painting and sculpture, the accumulation of centuries ; and the various chapels, 
 to the right and left, contain objects of great interest to the antiquary and painter, although Giotto's 
 works have perished. We were particularly struck with some ancient pictures in the chapel now dedicated 
 to St. Felix, but originally consecrated by the Marchese Sorogna Bonifacio da Lupi, to his patron, St. James 
 the apostle. He caused it to be painted by Aldighiero da Zevio, of Verona, in the middle of the fourteenth 
 century ; one of the subjects has been engraved by d'Agincourt, and falsely attributed by him to Giusto, 
 of Padua. The chapel is rendered very dark, by placing a huge marble altar in the centre, so near the 
 entrance as nearly to obscure the general light from the church, and there is but one small and very 
 narrow window in the chapel itself. Immediately behind the great modern altar, is a very fine compo- 
 sition, between two marble columns ; this formed the altar-piece to the original altar ; the subject is the Cruci- 
 fixion. To the right, and separated from it by one of the columns, the soldiers are casting lots for the gar- 
 ments of Christ. The skill displayed in this composition, seems almost in advance of the age of the painter. 
 Nothing can be finer than the groups — nothing more true than the expression. To the left of the crucifixion, 
 and likewise separated from it by a marble pillar, is the crowd following Jesus from the city ; one group is 
 particularly beautiful : it is a woman supporting the fainting figure of the Virgin Mother, followed by 
 another, who is leading along her own infant son. In the picture of the crucifixion itself, there is a beautiful 
 figure of a young man at the foot of the cross : probably the disciple whom Jesus loved, and near him 
 the figure of a woman weeping, full of nature, and remarkable for the grandeur and gracefulness of her 
 drapery. Farther on, to the right of the crucifixion, there is a tomb, probably corresponding in height 
 with the original altar; the space above it is filled with the picture of the Resurrection. Another tomb 
 on the opposite side, contains the ashes of the founder of the chapel ; the picture over it, represents the 
 Taking down from the Cross. These five pictures fill the whole side of the chapel opposite the entrances ; 
 they are each under a pointed arch. Over them the space is divided into three parts, each also canopied 
 by a pointed arch, and fitted with a picture ; but the darkness of the chapel prevented our distinguishing 
 the subjects. 
 
 The long narrow window is in the end of the chapel to the right of the entrance. One of the compart- 
 ments on that side contains the picture of the Virgin and Child, engraved by d'Agincourt ; the others are 
 filled up with scenes from the Lives of St. Christopher, and other saints. The opposite end is divided 
 into irregular compartments, and painted with subjects from the Scripture and the Legend. 
 
 It is believed that Jacopo Avanzi, and Giusto, were really employed in painting some of the sub- 
 ordinate parts of the chapel. 
 
 The Chapter House, painted by Giotto, is so injured by time, that scarcely any trace of the master's 
 work is visible. 
 
LONDON : 
 
 ] J R1NTEI> KV T. BKETTELL, RUPERT STREET, HAYMARKET. 
 
GETTY RESEARCH INSTITUTE