Giotto, a popular Renaissance artist and architect,
revolted against the calm, flat works of the Byzantine style. Though the Christ
Child nearly always appears solemn or serenely smiling, this fresco reveals
uneasy baby reaching for his mother. Mary echoes his emotion, with her face somewhat
composed yet anxiously reaching across the altar towards Simeon. Why did Giotto
break from Renaissance tradition to give the newly wed saints, so often seen at
peace, such obvious distress? The servant girl behind them even appears more indignant,
hardly respectful of the Temple.
Giotto insists his saints are humans, too. And even
the saints could hardly be unmoved by Simeon’s frightening prophecy:
“… and a sword of sorrow will pierce even your own
soul- to the end that thoughts from many hearts might be revealed.”
Luke 2:35
