The modern German renderings of all the scenes of Christ's life in which the traitor is conspicuous are very curious in their vulgar misunderstanding of the history, and their consequent endeavours to represent Judas as more diabolic than selfish, treacherous, and stupid men are in all their generations. They paint him usually projected against strong effects of light, in lurid chiaroscuro;--enlarging the whites of his eyes, and making him frown, grin, and gnash his teeth on all occasions, so as to appear among the other Apostles invariably in the aspect of a Gorgon. How much more deeply Giotto has fathomed the fact, I believe all men will admit who have sufficient purity and abhorrence of falsehood to recognise it in its daily presence, and who know how the devil's strongest work is done for him by men who are too bestial to understand what they betray. * * * * * XXXI. CHRIST BEFORE CAIAPHAS. Little is to be observed in this design of any distinctive merit; it is only a somewhat completer version of the ordinary representation given in illuminated missals and other conventual work, suggesting, as if they had happened at the same moment, the answer, "If I have spoken evil, bear witness of the evil," and the accusation of blasphemy which causes the high-priest to rend his clothes. Apparently distrustful of his power of obtaining interest of a higher kind, Giotto has treated the enrichments more carefully than usual, down even to the steps of the high-priest's seat. The torch and barred shutters conspicuously indicate its being now dead of night. That the torch is darker than the chamber, if not an error in the drawing, is probably the consequence of a darkening alteration in the yellow colours used for the flame. * * * * * XXXII. THE SCOURGING OF CHRIST. It is characteristic of Giotto's rational and human view of all subjects admitting such aspect, that he has insisted here chiefly on the dejection and humiliation of Christ, making no attempt to suggest to the spectator any other divinity than that of patience made perfect through suffering. Angelico's conception of the same subject is higher and more mystical. He takes the moment when Christ is blindfolded, and exaggerates almost into monstrosity the vileness of feature and bitterness of sneer in the questioners, "Prophesy unto us, who is he that smote thee;" but the bearing of the person of Christ is entirely calm and unmoved; and his eyes, open, are seen through the binding veil, indicating the ceaseless omniscience.