This is evidently nothing more than a very vapid imitation of the
scriptural narrative of the appearances of angels to Abraham and
Manoah. But Giotto has put life into it; and I am aware of no other
composition in which so much interest and awe has been given to the
literal "burnt sacrifice." In all other representations of such
offerings which I remember, the interest is concentrated in the
_slaying_ of the victim. But Giotto has fastened on the _burning_ of
it; showing the white skeleton left on the altar, and the fire still
hurtling up round it, typical of the Divine wrath, which is "as a
consuming fire;" and thus rendering the sacrifice a more clear and
fearful type not merely of the outward wounds and death of Christ, but
of his soul-suffering. "All my bones are out of joint: my heart is
like wax; it is melted in the midst of my bowels."[15]

[Footnote 15: (Note by a friend):--"To me the most striking part of it
is, that the skeleton is _entire_ ('a bone of him shall not be
broken'), and that the head stands up still looking to the skies: is
it too fanciful to see a meaning in this?"]

The hand of the Deity is seen in the heavens--the sign of the Divine
Presence.

* * * * *

V.

THE ANGEL (RAPHAEL) APPEARS TO JOACHIM.

"Now Joachim being in this pain, the Lord God, Father of mercy, who