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Giotto and his works in Padua, a non-fiction book by John Ruskin |
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28. The Last Supper |
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_ XXVIII. THE LAST SUPPER I have not examined the original fresco with care enough to be able to say whether the uninteresting quietness of its design is redeemed by more than ordinary attention to expression; it is one of the least attractive subjects in the Arena Chapel, and always sure to be passed over in any general observation of the series: nevertheless, however unfavourably it may at first contrast with the designs of later masters, and especially with Leonardo's, the reader should not fail to observe that Giotto's aim, had it been successful, was the higher of the two, as giving truer rendering of the probable fact. There is no distinct evidence, in the sacred text, of the annunciation of coming treachery having produced among the disciples the violent surprise and agitation represented by Leonardo. Naturally, they would not at first understand what was meant. They knew nothing distinctly of the machinations of the priests; and so little of the character or purposes of Judas, that even after he had received the sop which was to point him out to the others as false;--and after they had heard the injunction, "That thou doest, do quickly,"--the other disciples had still no conception of the significance, either of the saying, or the act: they thought that Christ meant he was to buy something for the feast. Nay, Judas himself, so far from starting, as a convicted traitor, and thereby betraying himself, as in Leonardo's picture, had not, when Christ's first words were uttered, any immediately active intention formed. The devil had not entered into him until he received the sop. The passage in St. John's account is a curious one, and little noticed; but it marks very distinctly the paralysed state of the man's mind. He had talked with the priests, covenanted with them, and even sought opportunity to bring Jesus into their hands; but while such opportunity was wanting, the act had never presented itself fully to him for adoption or rejection. He had toyed with it, dreamed over it, hesitated, and procrastinated over it, as a stupid and cowardly person would, such as traitors are apt to be. But the way of retreat was yet open; the conquest of the temper not complete. Only after receiving the sop the idea _finally_ presented itself clearly, and was accepted, "To-night, while He is in the garden, I can do it; and I will." And Giotto has indicated this distinctly by giving Judas still the Apostle's nimbus, both in this subject and in that of the Washing of the Feet; while it is taken away in the previous subject of the Hiring, and the following one of the Seizure: thus it fluctuates, expires, and reillumines itself, until his fall is consummated. This being the general state of the Apostles' knowledge, the words, "One of you shall betray me," would excite no feeling in their minds correspondent to that with which we now read the prophetic sentence. What this "giving up" of their Master meant became a question of bitter and self-searching thought with them,--gradually of intense sorrow and questioning. But had they understood it in the sense we now understand it, they would never have each asked, "Lord, is it I?" Peter believed himself incapable even of _denying_ Christ; and of giving him up to death for money, every one of his true disciples _knew_ themselves incapable; the thought never occurred to them. In slowly-increasing wonder and sorrow ([Greek: erxanto lupeisthai], Mark xiv. 19), not knowing what was meant, they asked one by one, with pauses between, "Is it I?" and another, "Is it I?" and this so quietly and timidly that the one who was lying on Christ's breast never stirred from his place; and Peter, afraid to speak, signed to him to ask who it was. One further circumstance, showing that this was the real state of their minds, we shall find Giotto take cognisance of in the next fresco. _ |
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