Giotto and Giovanni
Scrovegni Chapel

The Chapel was commissioned by Enrico Scovegni; his family fortune was through the practice of usury, (which meant the charging of interest when loaning money; a sin so grave resulted in exclusion from the Christian sacraments). Enrico’s father, Reginald was an erroneous case; he appears in the “Dante’s Inferno as the pro-typical user). Scrovegni called for two of the most famous artists of that time period, Giotto and Giovanni Pisano. Their talents and skill were needed for Scrovegni to atone for his sins; as well to bring an understanding of his power and importance.
The Chapel described as a simple barrel-vaulted room that provides broad walls, a boxlike space. A boxed space that becomes the showcase of Giotto’s paintings.
When we study about the Gothic Churches the structure the strength of its walls, we tend to as well look upon it now as a book that opens as we walk within its halls. We sense the projectory of the architecture, the history and the paint that is often held within its walls. We think of the debate of the structure, the formation of the history of the church. The kings, the servicemen and to simple town folk that walked upon the great stone and within the story itself. As Architectural as the Gothic quarter foil framework, the dimension of the linear perspective as it presents a coverage of the human mind of the time period as well as it vanishes into a linear motion of stone. We lean upon understanding of the differentiation and structure of the cross to find which symbolism it holds of its past and of its history.

“Giotto di Bondone; Scrovegni (Arena) Chapel;” Giotto covered the wall with “The Last Judgment, and the sanctuary hall with three highlighted scenes from the life of Christ. The Annunciation spreads over the two painted architectural frameworks on either side of the high arched opening into the sanctuary itself.”(Fourteenth century art in Europe; Cothren).
The dimensional display of figures and of the story more than explains a perception. The color allows even the angels to be held within the sky on the scene of “Raising of Lazarus”. The color of the painted cloth, layered. The given dimension of emotion and of solace, that seem to give space and depth of tapestry. The facial expressions hold the true “awe” of the moment. As Jesus walks within the Resurrection, the color and the gesture of expression gives serenity of fellowship and of comfort as Mary leans towards his Presence.

“His prodigious narrative skills of design and explorative telling of “Life”, bring alive the miracle and the changing of water into wine. The definitive design brings into imagery the Life of Jesus.
Giotto divided the side walls to form the pictures of life. A “Dado”, (the section of a pedestal between the base and cornice or cap, the lower portion of an interior wall), decorated uniquely.
The concentration of the dimensions of human quality touches upon the expressions of human quality and emotions.
The individual scenes and the overall artwork displayed, brings to life an entrance into more than a Chapel, but beckons at the doors of a sacred everlasting moment of history and faith.
Although Giotto was trained Florentine tradition, his principle and works were much produced elsewhere. His differentiation of his taught skills and training stand out within research just as much as his skill itself. He is described most through his skill of defining the moment the character and giving insight to its viewer.
Giotto was an Italian painter and architect of Florence in the late middle ages. Recognized as a contributor of “The Italian Renaissance”. Giotto’s methods seem to stand in awe themselves when we review the original methods of his training. He as well found within himself a story to bring out through his skill and talent that opens and defines the structure and tone of the chapel.
Giotto’s’ convention (his way of representing forms) is divided into 37 scenes, arranged around the lateral walls in (3) three tiered, beginning at the upper register.
The North Wall; “Jesus Performs His First Miracle” Changing the water into Wine at, ”The Wedding Feast” .To the right is, “The Raising of Lazarus” where boldly modeled and individual figures twist within space”. The lower register, Jesus’ grief stricken followers lament and mourn over the dead body. The works of Giotto described often as bringing to life the “touch, the sense of emotion the obvious anguish and even of human suffering”. The scenes and symbols are purposely intended to grasp the experience, to draw the viewers into the detail. It holds the faith of many, the understanding of life itself for even more.
As though the viewer is walking within the Heavens; watching as time itself unfolds the story of life. It would be easy for the viewer to find their own understanding and faith within the walls. Whether it is of the Savior, or of the sinner, each scene can grasp the mind as it defines the conscious.
A “Decorated Gospel”, celebrated by its intellectual creator, and by all that behold and find understanding. It is a comparison that stands well with the Great Books, it stands outside of its time, far within its grasp, and delights its seeker.
We can envision the time period, a wicked king, a somber artist, and as well find an emotion and a distraction that holds itself through to the paint as it blends for the viewer to find its next scene. As though it is a book that comes to life, each scene walking with its traveler The serve all that deployed its creation into existence.
The South Wall holds within the tragedy and tale of Judas, “The Kiss of Judas”. We see the scene as when the guards came for Jesus. Cane and Rod cast apart and towards. As Judas wraps his covered arm around Christ and we see the onlookers and the reactions of the emotions of will within the scene. Centers in on the halo like fixture upon Christ as he walks towards and beyond to the next scene of life.
When we think about the “Gothic” sense the stone, the story, the structure itself and all that it holds. We can find new insight to old understanding. We as well can find a better understanding of the human mind and will through history and through manifestation of creation. It would not be even possible to focus only on one area of any creation as great as The Scrovegni Chapel. Yet to introduce just a thought of topic and to intrigue its reader to seek more as well and to find all that is held within its old stone and wall.
I find the Chapters and Artwork amazingly intense. They delight the eye, succumb the mind and encase the thoughts. I find it is intriguing and as well has opened more insight and interest into me as a reader.

The Scrovegni (Arena) Chapel

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References and Resources
Arts and Culture “An Introduction to the Humanities (Volume One)
A History of Art; (fourth edition; Stockstad & Cothren) www.artble.com www.adeva.com