Giotto In The Arena Chapel

Through examining the fresco paintings of Giotto in the Arena Chapel, c.1303-10, located in Padua, Italy I have chosen the fresco painting “The Betrayal of Christ”, c.1304-1306, to be closely analyzed. I will analyze this composition in terms of Giotto’s visual impact, style, technique, expression and context. Additionally, I will be close analyzing this composition in terms of how Giotto illustrates the narrative elements directly taken from “The Holy Bible”, specifically from the gospel according to St. Luke, in order to highlight a visual storytelling.

“The Betrayal of Christ” is a fresco painting belonging to a narration of frescos depicting the cycle of Christ’s birth and death, decorating the interior of the chapel. Giotto evokes a

Luke are Jesus and Judas, interlocked in the center of the fresco. Jesus’ disciples and enemies, both to the left and right sides of the center figures, surround them. Giotto makes the presence of good versus evil apparent in this fresco, by depicting Jesus with a glowing halo around his head, and his follower, Peter, the figure on the left, cutting the ear off the servant of the high priest. These are the only two figures depicted with bright gilding halos, a symbol Giotto utilizes to distinguish saintly figures from average ones in the service of narrative clarity. The opposing enemy figures are depicted holding weapons, compressed amongst soldiers rushing around the two prominent figures. Their facial expressions appear animalistic and infuriated, which Giotto mimics in their structural stance: they frantically surge their weapons in the air, their drapery folding naturally with the their raised movements, suggesting to the viewer the notion of urgency they evoke in condemning Christ. Here, the advance of good versus evil becomes evident as these saintly figures become swarmed amongst the those convinced of Christ’s sins, their evil beliefs sparking the falling of Christ. With the wrath of Christ’s enemies upon him, Giotto gives the viewer hope in his application of Christ’s facial expression; Christ is depicted with a serene facial expression, encompassed with an all-knowing countenance of forgiveness towards his betrayer. Evidently, no singular figure shares the same facial expressions, in order to allow the viewer to interpret the different reactions to Christ’s betrayal. However, Giotto render’s his figures with the same face structure, an oval almond shape indicative of the Romanesque period. Compared to Christ’s serene facial acceptance towards his fate, it is opposed by Peter’s enraged attack on the servant of the high priest. Due to the knowledge that