Scrovegni Chapel-2012.07.13

Posted: July 13, 2012 in 7.13, 700s-1300s, Architecture & Place-Making, Bearing Masonry, Church, Padua, Roman, Urban

This slideshow requires JavaScript.

Scrovegni Chapel is a church in Padua, Veneto, Italy. It contains a fresco cycle by Giotto, completed about 1305, that is one of the most important masterpieces of Western art. The church was dedicated to Santa Maria della Carità at the Feast of the Annunciation, 1303, and consecrated for use in 1305. Giotto’s fresco cycle focuses on the life of the Virgin Mary and celebrates her role in human salvation. The chapel is also known as the Arena Chapel because it was built on land purchased by Enrico Scrovegni that abutted the site of a Roman arena. This space is where an open-air procession and sacred representation of the Annunciation to the Virgin had been played out for a generation before the chapel was built. A motet by Marchetto da Padova appears to have been composed for the dedication on March 25, 1305.

The chapel was attached to a new palace built by Enrico Scrovegni and was ostensibly a family oratory, but it also served some public functions related to the Feast of the Annunciation. Apart from Giotto’s paintings, the chapel is unornamented and features a barrel vault roof. Giotto’s Last Judgment covers the entire wall above the chapel’s entrance and includes the aforementioned devotional portrait of Enrico. Opposite it, on the chancel arch above the altar, is an unusual scene of God in Heaven despatching an angel to Earth. Each wall is arranged in three tiers of narrative frescoes, each with four two-meter-square scenes. Facing the altar the narrative sequence begins at the top of the right hand wall with scenes from the life of the Virgin, including the annunciation to her mother, St. Anne, and the presentation at the temple. The series continues through the Nativity, the Passion of Jesus, the Resurrection, and the Pentecost. The panels are noted for their emotional intensity, sculptural figures, and naturalistic space. Beneath the main scenes at dado level, Giotto used a faux architectural scheme of painted marble decorations and small recesses containing figures of the Virtues and Vices painted in monotone.

Photo of the interior, it is a symmetrical long space

The painting is vividly present to people, 3d quality are shown on a 2d plane wall.

Interior shot along the longitudinal axis in the opposite direction

The marble was painted on the wall, it is so vivid thus to give us a misvisual sense of the materiality

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s