32. The _Trial_.--"And Pilate rent his garments," &c. Chiefly interesting for the very beautiful figure of Christ, who stands with hands tied and body slightly bent, half turned away from his judge, the face expressing resignation, but in an even greater degree removedness from the scene around, possessed by some over-mastering idea.
33. The _Crown of Thorns_.--Here Giotto is again in a somewhat burlesque humour: the delight of those who are here mocking, tickling, pinching, and smiting Christ is evidently the ruling motive of the picture. It is noticeable that here there are only servants engaged in the derision and tormenting, not soldiers, according to the commoner rendering.
34. The _Bearing of the Cross_.--In this fresco the figures of both Christ and Mary are fine, that of Christ being similar to the attitude at the trial above referred to.
35. The _Crucifixion_.--One of the most beautiful of the series. The Magdalen kneels at the foot of the cross, weeping bitterly; St. John, half fainting, is supported by two disciples on the left of the picture; on the right the soldiers squabble over the division of Christ's robe; the Saviour looks down upon the Magdalen, and above the cross fly here and there angels.
36 and 37. The _Entombment_ and the _Resurrection_.--These are the two most beautiful frescoes in the chapel, so beautiful that they throw all the others into comparative shade, and fortunately they are both little injured by damp. In the first, Christ is being prepared for burial by the disciples and the two Maries. The Magdalen supports his feet upon her knees; the Mother lays one arm upon his breast, whilst she raises his head towards her with the other in a last embrace. St. John bends over the body in Giotto's usual attitude of grief and horror; other disciples and attendants stand round weeping and watching; in the background are mountains, and above them a choir of angels.
In the _Resurrection_, the soldiers sleep beside the red porphyry tomb where Christ was laid, and on which, at head and foot, sit the white-winged, white-robed angels. Nearly in the centre kneels the Magdalen in a long robe of crimson, which shrouds her form from head to foot all but her face; to the extreme right of the picture stands Christ, half turning away from the kneeling woman, one arm outstretched as though warning her "_noli me tangere_."