and thinks, and then he paints his two little pictures for the
predella.

They represent, of course, the sequence of the time in Gethsemane; but
see what choice the youth made of his moments, having two panels to
fill. Plenty of choice for him--in pain. The Flagellation--the Mocking
--the Bearing of the Cross;--all habitually given by the Margheritones,
and their school, as extremes of pain.

"No," thinks Giotto. "There was worse than all that. Many a good man
has been mocked, spitefully entreated, spitted on, slain. But who was
ever so betrayed? Who ever saw such a sword thrust in his mother's
heart?"

He paints, first, the laying hands on Him in the garden, but with only
two principal figures,--Judas and Peter, of course; Judas and Peter
were always principal in the old Byzantine composition,--Judas giving
the kiss--Peter cutting off the servant's ear. But the two are here,
not merely principal, but almost alone in sight, all the other figures
thrown back; and Peter is not at all concerned about the servant, or
his struggle with him. He has got him down,--but looks back suddenly at
Judas giving the kiss. What!--_you_ are the traitor, then--you!

"Yes," says Giotto; "and you, also, in an hour more."

The other picture is more deeply felt, still. It is of Christ brought
to the foot of the cross. There is no wringing of hands or lamenting
crowd--no haggard signs of fainting or pain in His body. Scourging or
fainting, feeble knee and torn wound,--he thinks scorn of all that,
this shepherd-boy. One executioner is hammering the wedges of the cross