Giotto’s Triumph: The Arena Chapel and the Metaphysics of Ancient Roman Triumphal Arches

IF 0.1 0 MEDIEVAL & RENAISSANCE STUDIES I Tatti Studies Pub Date : 2022-03-01 DOI:10.1086/718972
Henrik Lange
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Abstract

POSITIONED ON THE SITE OF THE ANCIENT ROMAN ARENA in Padua, Enrico Scrovegni’s family chapel, Santa Maria della Carità, has long been known as the Cappella dell’Arena, or Arena Chapel (figs. 1–5). The interior of the oratory was painted byGiotto in the years after the Roman Jubilee of 1300, following his employment in Rome as court painter for Pope Boniface VIII in the 1290s.Wall to wall, floor to ceiling, the chapel is covered in frescoes that create the illusion of an articulated architectural structure. At the dado level, fictive marble paneling surrounds stony faux relief figures: seven Virtues oppose seven Vices on the two walls of the nave, forming a visual psychomachia. Above these allegorical figures appear scenes from the lives of Mary and Jesus set against a blue ground. Overlooking the fictive architrave, the blue barrel vault carries a pattern of golden stars and medallions with two focal apparitions of Mary and Jesus Christ. Celebrated for centuries, the chapel’s walls have been said to exemplify “the utter finality and absolute density of [Giotto’s] images.” The chapel is “an important contribution to the representation andperception of reality”; the blue of its interior is “Giotto’s joy.”
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乔托的胜利:竞技场礼拜堂和古罗马凯旋门的形而上学
位于帕多瓦古罗马竞技场的遗址上,恩里科·斯克罗韦尼的家族教堂,圣玛丽亚della carit,长期以来一直被称为竞技场礼拜堂(Cappella dell 'Arena)。1 - 5)。礼拜堂的内部是乔托在1300年罗马禧年之后的几年里绘制的,他在1290年代在罗马担任教皇博尼法斯八世的宫廷画家。从墙到墙,从地板到天花板,教堂被壁画覆盖,创造出一种铰接式建筑结构的错觉。在护墙层,人造大理石镶板围绕着石质的人造浮雕人物:在中殿的两面墙上,七种美德与七种罪恶相对,形成了视觉上的心理刺激。在这些寓意人物的上方,出现了玛丽和耶稣生活的场景,背景是蓝色的地面。蓝色的桶形拱顶俯瞰着虚拟的门楣,上面有金色的星星和大奖章图案,两个焦点是玛利亚和耶稣基督的显现。几个世纪以来,这座教堂的墙壁一直被认为是“乔托绘画的绝对终结和绝对密度”的例证。教堂是“对现实的表现和感知的重要贡献”;它内部的蓝色是“乔托的喜悦”。
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I Tatti Studies MEDIEVAL & RENAISSANCE STUDIES-
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