This is one of the most famous “choral” scenes in the murals of the Capella del Arena. It shows more than two dozen characters. But in the image of Giotto, who seems to be crowded together in a disorderly crowd, knows how to withstand the general impression of an artistic order. He manifests himself in compositional poise and in focusing attention on the main point of the narrative episode.
The central place is occupied by the image of a kiss, singled out not only compositionally, but also coloristically: the poisonous yellow color of the cloak of Judah dominates among the motley mosaic of local color spots formed by the clothes of other participants in the drama. Grabbing Christ by the shoulders, Judas, like a spider, reaches out to his victim, and she quietly bows her head, ready to accept a treacherous kiss. But it is here that the pathos of the whole scene reaches its culmination.
In contrasting the noble profile of Christ and the repulsive-ugly physiognomy of the traitor, the age-old idea of the struggle between the two forces – Good and Evil – is realized with surprising clarity.
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