miracle: Lazarus stands up, white as a sheet after four days in the grave, still bound
in his winding sheet, his eyes still unseeing. Compare this depiction of the story with
the one in Plate 4.2 (p. 142). As in the Ottonian portrayal, some of the Jews hold
their noses and Mary and Martha bow down before Christ. But in Giotto’s fresco,
the figures interact as well as gesture; they operate within a fully realized landscape;
and Lazarus’s miracle does not undo the order of nature: he still looks dead.
