Giotto and his works in Padua: An Explanatory Notice of the Series of Woodcuts Executed for the Arundel Society After the Frescoes in the Arena ChapelRuskin, John
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Giotto and his works in Padua: An Explanatory Notice of the Series of Woodcuts Executed for the Arundel Society After the Frescoes in the Arena Chapel
Ruskin, John
Cappella degli Scrovegni nell'Arena (Padua, Italy); Giotto, 1266?-1337; Mural painting and decoration -- Italy -- Padua
"This precious St. Anna had always persevered in the service of God
with great wisdom and sincerity; ... and having received Joachim for
her husband, was subject to him, and gave him honour and reverence,
living in the fear of God. And Joachim having lived with his wife Anna
for twenty years, yet having no child, and there being a great
solemnity in Jerusalem, all the men of the city went to offer in the
temple of God, which Solomon had built; and Joachim entering the
temple with (incense?) and other gifts to offer on the altar, and
Joachim having made his offering, the minister of the temple, whose
name was Issachar, threw Joachim's offering from off the altar, and
drove Joachim out of the temple, saying, 'Thou, Joachim, art not
worthy to enter into the temple, seeing that God has not added his
blessing to you, as in your life you have had no seed.' Thus Joachim
received a great insult in the sight of all the people; and he being
all ashamed, returned to his house, weeping and lamenting most
bitterly." (MS. Harl.)
The Gospel of St. Mary differs from this MS. in its statement of the
respective cities of Joachim and Anna, saying that the family of the
Virgin's father "was of Galilee and of the city of Nazareth, the
family of her mother was of Bethlehem." It is less interesting in
details; but gives a better, or at least more graceful, account of
Joachim's repulse, saying that Issachar "despised Joachim and his
offerings, and asked him why he, who had no children, would presume
to appear among those who had: adding, that his offerings could never
be acceptable to God, since he had been judged by Him unworthy to have
children; the Scripture having said, Cursed is every one who shall not
beget a male in Israel."
Giotto seems to have followed this latter account, as the figure of
the high priest is far from being either ignoble or ungentle.
The temple is represented by the two most important portions of a
Byzantine church; namely, the ciborium which covered the altar, and
the pulpit or reading desk; with the low screen in front of the altar
enclosing the part of the church called the "cancellum." Lord Lindsay
speaks of the priest within this enclosure as "confessing a young man
who kneels at his feet." It seems to me, rather, that he is meant to
be accepting the offering of another worshipper, so as to mark the
rejection of Joachim more distinctly.
* * * * *
II.
JOACHIM RETIRES TO THE SHEEPFOLD.
Public-domain text, read in full here on John Shaqi.
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