278 Route 44. PADUA. Madonna delV Arena.
of their execution is determined by the fact that Dante and Giotto
met at Padua in 1306 (comp. pp. xl et seq.). Morning-light best.
Catalogues are pTOvided for the use of visitors.
The3e frescoea repreaent the History of the Virgin and Christ, from
the apocryphal Proto-Evangelium and the New Testament, and end, accord-
ing to ancient cuatom, with the Last Judgment, painted on the entrance
wall. The lower part of this last work, much injured, waa probably exe¬
cuted chiefly by Giotto's pupils, but the master-hand is revealed in the
youthful Christ at the top, surrounded by apostles, angels, and saints.
The paintings on the side-walls are arranged in four rows, one above
another. The Uppermost Row (beginning to the right of the choir-arch)
relatea the history of the Virgin from the rejection of Joachim'a aacrifíce
to Mary's bridal procession. The Birth of the Virgin and the Presentation
of the Virgin in the Temple show scrupulous fldelity to nature. — The Sec¬
ond Row begins with the Annunciation (choir-arch), and depicts the youth
of Christ and his ministry up to the driving of the money-changers out
of the Temple. The finest scenes are the Adoration of the Magi, the Flight
tu Egypt, and the Entry into Jerusalem. — The grandest flight of Giotto's
imagination is seen in some of the paintings in the Third Row, mainly
devoted to the Passion. The representation of Christ'a sorrows as begin¬
ning with the Corruption of Judus (to the left of the choir-wall) ia a fine
dramatic touch. In the Crucifixión Giotto has not. only surpassed his
predecessors in the nobility of his conception of the Sufferer, but has
added a most effective and pathetic feature in the small winged angels,
who show every degree of sympathy and sorrow. The gem of the series,
however, is the Pietá, or Christ wept over by the Virgin and hia friends,
its tone of composition being in admirable keeping with its tragic content.
— The Lowest Row consists of allegorical figures of the Virtues and Vices
in grisaille, and leads up to the Last Judgment. The Christ enthroned with
angels, above the choir-arch, shows that Giotto was as much at home in
the domain of placid gracefulness as in that of emotion and passion.
— The Frescoes in the Choir (Death, Assumption, and Coronation of
the Virgin) are by a later hand, and of little importance. By the rear
wall is the monument of the founder of the church (d. 1336) On the altar,
in front of this, ia a figure of the Madonna by Giovanni Pisano, to whom
the statue of Scrovegno, in the sacristy, to the left, may also be ascribed.
From the Madonna dell' Arena we may proceed either to the
N.W. direct to the Barriera Mazzini (p. 271), or to the S.W. through
the Via Cittadella to the Piazza Garibaldi (p. 271).
Fbom Padda to Venice viá Fdsina, 26 M., steam-tramway and steamer
in 2'/4-23/4 hrs. (fares 2 fr. 10, 1 fr. 35 c). — Most of the tramway-atations
are unimportant. At (372 M.) Ponte di Brenta (p. 269) we cross the Brenta and
then we skirt the Canale di Brenta. — 7 M. Strit, with the "Palazzo Fisani,
built about 1740 for the Pisani family of Venice by Count Frigimelica and
F. M. Preti, ond bought in 1807 by Napoleón I. for Eugéne Beauharnais,
Viceroy of Italy. It has now been declared a national monument. The
magnificent ball-room contains a huge ceiling-painting by Tiepolo: the Glori-
fication of the Pisani (1762). There is also a beautiful garden. — 11 M.
Dolo (Alb. Garibaldi), also a railway-station (see p. 269). — 1372 M. Mira
Taglio, with the villas of many Venetian familiea. — Passing the Venetian
advanced fort of Oriago, we reach (I81/2M.) Malcontenta. — 2172 M. Fusina
is the terminus of the tramway. Steamer to Venice, see p. 285.