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Chap. VIII. GIOTTO IN ROME. 255 The religious sentiment of which Giotto was so great an exponent, was indeed rendered with the utmost success in the foremost figure of an angel, kneeling by the side of the throne, opposite to the donor. The panel immediately to the left is devoted to the martyrdom of S. Peter, in which the saint may be ob served crucified with his head downwards in the centre of the space. 1 Living and serenely looking out into space in spite of his agony, S. Peter’s features, though somewhat swollen, are true to the type preserved in the traditions of the church. His well proportioned forms are animated, full of life and elasticity. The nude, indeed, is here rendered with an intelligence surprising, if one considers the period. Not only are the parts divided according to rules which Michael Angelo laid down with authority in the sixteenth century, but the articulations and the muscles occupy their natural places. Even the external outlines showing the flexibility of the flesh and its adherence to the muscles and joints, the play of the parts about the neck and collar, bone are analyzed with precision. Admitted, indeed, that something may be wanting to perfect detail of anatomy, still in general all is correct. 2 The only indication of suffering, which Giotto ventured upon, was the contraction of the toes and muscles of the feet nailed separately to a cross board. A female, emulating the grief of the Magdalen grasps the foot of the instrument of death, whilst behind and in front of her, a noble group of women and a child wail over the tortured saint in the most varied yet chastened attitudes and expressions. 3 1 According to the legend, he was so crucified at his own re quest. Vide Cap. LXXXIX of the Legenda Aurea. 2 One may discern that Giotto intended to depict the frame and flesh of a man advanced in years. 3 One of these,seen from behind, throws back her arms with a mo tion which is so often repeated in Giotto’s pictures that it was evidently a favorite with him. It may be seen in the crucifixion at Assisi (lower church), in the Scro- vegni Pieta, but in both witli more vehemence of passion than here. On both sides, soldiers on foot and horseback are grouped round the principal figure. In rear of the women, to the left of the saint, one with the face of Nero holds a hammer in his hand. Two pyramidal towers form the background on each side, and above the cross, two angels come flying downwards to comfort the tortured saint, one, of aged fea tures holding an open book, an other clasping its hands, both in fine draperies flying in the wind.