DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61542#0063
13351 SANTA CROCE FRESCOES 37
among the finest of the series. One is the Raising
of Drusiana, who is here seen sitting up on the bier
at the bidding of the Evangelist—a noble figure with
uplifted arm—before the mourners. Both the heads
of Drusiana and of St. John are admirably modelled,
the towers and walls in the background are in ex-
cellent perspective, and there for the first time we see
a really successful attempt at chiaroscuro. The
other is the Ascension of St. John, who is represented
soaring up into the heavens, where Christ bends down
to welcome him, while his disciples stand round the
empty grave, lost in wonder and perplexity.
The frescoes of the second chapel were ordered by
a famous Florentine captain, Ridolfo de’ Bardi, whose
son had joined the Franciscan Order, and represent six
different scenes from the life of Francis. In these
subjects—which were to become the model for Tuscan
and Umbrian artists during the next two centuries-
Giotto refines and simplifies the composition of his
earlier works at Assisi, and treats his theme in a
grander and more heroic manner. The Saint’s
encounter with his angry father is more dramatically
represented, Francis himself is a youthful and attrac-
tive figure, and in the background a stately loggia
rises against the blue sky. After this we have the
Confirmation of the Rule, by Pope Innocent III., and
the Apparition of the Saint in a church at Arles,
where St. Anthony is preaching on the Passion. In
the last fresco two incidents are combined: the
Apparition of Francis at the moment of his death to
Bishop Guido at Monte Gargano, and to a dying
friar in his cell at Assisi. But the most striking com-
positions are those of Francis before the Soldan and
among the finest of the series. One is the Raising
of Drusiana, who is here seen sitting up on the bier
at the bidding of the Evangelist—a noble figure with
uplifted arm—before the mourners. Both the heads
of Drusiana and of St. John are admirably modelled,
the towers and walls in the background are in ex-
cellent perspective, and there for the first time we see
a really successful attempt at chiaroscuro. The
other is the Ascension of St. John, who is represented
soaring up into the heavens, where Christ bends down
to welcome him, while his disciples stand round the
empty grave, lost in wonder and perplexity.
The frescoes of the second chapel were ordered by
a famous Florentine captain, Ridolfo de’ Bardi, whose
son had joined the Franciscan Order, and represent six
different scenes from the life of Francis. In these
subjects—which were to become the model for Tuscan
and Umbrian artists during the next two centuries-
Giotto refines and simplifies the composition of his
earlier works at Assisi, and treats his theme in a
grander and more heroic manner. The Saint’s
encounter with his angry father is more dramatically
represented, Francis himself is a youthful and attrac-
tive figure, and in the background a stately loggia
rises against the blue sky. After this we have the
Confirmation of the Rule, by Pope Innocent III., and
the Apparition of the Saint in a church at Arles,
where St. Anthony is preaching on the Passion. In
the last fresco two incidents are combined: the
Apparition of Francis at the moment of his death to
Bishop Guido at Monte Gargano, and to a dying
friar in his cell at Assisi. But the most striking com-
positions are those of Francis before the Soldan and