27. The _Expulsion of the Money-changers_.--Like the last this composition is one of varied interest, but the left-hand portion of it having been considerably damaged by damp is scarcely intelligible. The attitude of Christ is energetic, and there is a fine contrast in feeling between the two money-changers on the right hand of the picture, one of whom shrinks away, while the other seems inclined to stand his ground, while the precipitation with which the goat is leaping out of the little pen is one of those little semi-burlesque touches of animal life which Giotto introduces whenever he gets a chance.
[Illustration: THE ENTOMBMENT OF CHRIST. _FRESCO BY GIOTTO._ IN THE CAPPELLA DELL' ARENA, PADUA.]
28. The _Hiring of Judas_.--A small composition of four figures, placed on the wall beneath the arch of the choir, immediately beneath the _Angel of the Annunciation_. Judas has already received the bag of money, and the high priest, with one finger raised, like a sort of ecclesiastical Dogberry, is just giving him his last instructions. The Devil, too, in the shape of a black hobgoblin, with claws and tail, is also giving the apostate advice, whispering it into his ear. The small fresco beneath this and in the corresponding place on the other side of the choir is simply painted with a representation of an arched ceiling, wall, and window, apparently intended to give the impression from a distance of there being a side transept to the choir.
29. The _Last Supper_.--In this, as in all his frescoes of seated figures, Giotto is less at home than usual. It is curious to notice that the attitude of John in this fresco is the same as was adopted in all the later renderings of this scene. The moment chosen is the usual one of the Saviour's speech--"He that dippeth his hand in the dish with me, the same shall betray me."[63]
30. The _Washing of the Feet_.--Very characteristic of Giotto and wonderfully true to life in the positions and actions of all concerned. Notice the apostle tying his sandal on the left of the picture, and the one who is about to have his feet washed, holding up his long robe lest it should get wet.
31. The _Betrayal_.--This composition is much more thickly filled with figures than most of the series, and is one of the finest, though hardly one of the most beautiful. The figures of Christ and Judas are both grand in their respective ways, and stand out vividly from the crowd that surrounds them. There is no mistake about what is transpiring; one does not have to look for the action in a middle of graceful lines, but it presents itself strongly and at the first glance. The figure of the high priest who points out Christ to the soldiery is also very fine, dignified and yet eager in action, and with a mixed expression of triumph and anxiety. In colour this fresco bears comparison with any in the chapel.